Born in 1997 in St. Petersburg, where he currently lives and works.
Graduated from St. Petersburg Repin Academy of Arts, Faculty of Theory and History of Art (2022).

The author interacts with the artistic heritage of the past, occasionally borrowing some artistic techniques, and then transforming them into something closer to him. Egor is often inspired by the thinking of neural networks, sometimes completely unpredictable. Each work of the artist is multi-layered. It begins with a tonal substrate created using various pigments, solvents and inks, after which traditional materials such as watercolor, pastels and others are added.

SOLO EXHIBITIONS:

• 2019 — (Non)Perfect Forms, FossArt Gallery, St. Petersburg
• 2019 — Reflections on Form, GB Gallery, St. Petersburg

GROUP PROJECTS:

• 2025 — Oberton Graphics Fair, a—s—t—r—a Gallery, Moscow
• 2024 — Blazar, a—s—t—r—a gallery, Moscow
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2024 — KONTUR Graphics Fair, a—s—t—r—a gallery, Nizhny Novgorod
• 2024 — a—s—t—r—a open.vol. 4, a—s—t—r—a  gallery, Winzavod, Moscow

“I call my work interdisciplinary research. Being both an artist and an art historian, I play several roles at once. This allows me to occupy a kind of middle ground between a philosopher and a creator of the material. Since childhood I have been attracted and mesmerized by the art of the past, including Christian art. It is in biblical motifs that I have always felt some special aesthetics, energy that is very close to me. 
I have always been drawn to research. And my own art for me is always research, discovery, it is always global reflections on culture, philosophy, life as such. 
Inspired by the art of the past, I have created a special visual language. It is multifaceted, it is unique. There are many rules within it, there are certain constructions, schemes. However, I am the only one who knows about their existence. The viewer, perceiving, “listening” to my language, always finds his own meanings, translations, “transcriptions”.
Creating a full-fledged universe within my own work has always been and remains a very special task for me. The most important goal for me is to mystify and mythologize the content of my pictorial universe. 
For me, every work, every graphic sheet is always a portal to another world, it is always a genuine artifact. If a work can be perceived as an artifact, then it is a good work. And I strive for my work to be good.”

Egor Voskresensky

St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg

ABOUT THE ANTIQUITAS PROJECT:

“The ANTIQUITAS project is not a reconstruction, but a reflection. Instead of a dry reproduction of canons, I offer the viewer a game with deceptions and allusions. My project is a time machine that works both ways. I dive into the depths of the past to return with trophies marked with the seal of Chronos. These “artifacts” are not so much evidence of an era as they are symbolic distortions, visual paradoxes. “Pompeian” frescoes come to life in graphics on paper, marble turns out to be bread, bas-reliefs appear on aged wood. Using a variety of mediums, I create the illusion of authenticity while emphasizing the fragility and changeability of memory. It is important for me not just to quote antiquity, but to create an antiquity of my own, an authorial antiquity, where time is not a linear process, but a powerful force that deforms, rethinks and inspires. My project is about how the past shapes the present and how we, in turn, rewrite history. It is a reflection on the nature of time, its ability to simultaneously destroy and create, to blur the boundaries between the authentic and the imaginary. I am creating my own universe in which the past is not a frozen monument, but a living, pulsating organism subject to constant transformation. Time... Time charred. Time distorts. Time disfigures. Time confuses. Time rethinks. Time puts things in their proper place. Time inspires.”

Egor Voskresensky

SELECTED PUBLICATIONS:

•  Artguide - Year three: the results of the art fair 1703
•  Forbes - Results of St. Petersburg Art Fair “1703”
•  BURO - Social Art, Dreams and Mountains: Where to Go and What to See in Museums in February
•  Art Flash - Group project a-s-t-r-a OPEN vol.4. A Fresh Look at Contemporary Art
•  INTERIOR+DESIGN - New names in the fourth edition of the Open project at a-s-t-r-a gallery.
•  NOW - What to do this weekend: January 27-28
• MOSCOW24 - Project a-s-t-r-a OPEN vol.4 started at Winzavod
• BURO - A-s-t-r-a OPEN vol.4 group project opened at Winzavod
• Playbill - a-s-t-r-a open vol.4

Born in 1994 in Ufa.

Graduate of Bauman Moscow State Technical University (2012-2018) and the School of Contemporary Art “Free Workshops” at MMOMA (2021-2022). He lives and works in Moscow and Paris. 

Arthur's works are in private collections. 

In Arthur's works, abstraction is a way of cognizing and fixing the processes of changeability of the world around us and making decisions that affect our lives. The artist's paintings begin with a single point on the canvas and culminate in a multi-layered mass of elements, like our thoughts, which overlap and intertwine with each other for further action. The final outcome of a particular work is never initially known to the artist, but working on a canvas is not pure improvisation, but rather a thought process, a decision-making and a choice that one is doomed to make endlessly. 

SELECTED PROJECTS:

• 2025 — Blazar, a—s—t—r—a gallery, Moscow
• 2024 — Blazar, a—s—t—r—a gallery, Moscow
• 2024 — Tangled Holidays, a—s—t—r—a gallery, Moscow
• 2024 — “Razdvatrikchetrychetpyat”, ZAMAN museum, Ufa
• 2024 - St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2023 — “Forêt imaginaire”, Faux gallery, Paris, France
• 2023 — Seller of colored shells, a—s—t—r—a gallery, Moscow
• 2023 — Blazar, a—s—t—r—a gallery, Moscow
• 2023 — “Les primevères”, Microcredit, Paris
• 2023 — “Sorting Center”, ZAMAN Museum, Ufa
• 2022 — Blazar young art fair, a—s—t—r—a gallery, Moscow
• 2022 — “The Future Already”, MMoMA (10 Gogolevsky Street, Gogolevsky), Moscow
• 2022 — a—s—t—r—a Open.Vol 1, a—s—t—r—a gallery, Winzavod, Moscow
• 2022 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2022 — Collective self-fulfilling prophecy about our beautiful tomorrow, a—s—t—r—a gallery, Winzavod, Moscow
• 2021 — Solo exhibition “Google page 7”, 2021, Moscow
• 2021 — “Watching the Earthlings”, HERE Gallery on Taganka
• 2021 — “Fields” exhibition; BLAZAR ART
• 2020 — Solo exhibition, IMPULSE, 2020, Moscow
• 2020 — Opening/Collection/Plans, New sincerity gallery, 2020, Moscow

TEXT FOR THE EXHIBITION “SELLER OF COLORED SHELLS”:

“In his solo exhibition “seller of colored shells” Artur Krivoshein turns to the visualization of the period of childhood. What surrounds us every day in our childhood? What books, movies, games? Endless explorations of space, walks, conversations and little discoveries and performances. How do you figure out amongst all this diversity what truly impacted you? Going through our memories, just like sorting through seashells on the beach, we find funny ones, beautiful ones, colorful ones, ugly ones, all shapes and sizes. Which one will you take as a memento?

Krivoshein connects the emergence of paintings with the experience of his family, for example, conversations about art with his grandfather, who was also an artist, permeate his childhood memories. As a child, a reproduction of Van Gogh hung in the house, which the artist mistook for his grandfather's work. This incident can clarify much about the artist's attitude to painting. Van Gogh in the 20th century occupies the place of the myth of the painter who, working with color and reflecting on its effects, was a marginal artist and the beginning of the modernist canon. Krivoshein, in turn, confronts modernist techniques that intertwine art history and the “family tree.” These instances indicate that the artist collages not just elements (strokes, stains, and shards of images), but the connections of these elements to family subjective experience. According to the artist, only abstract art is capable of doing this - it can delineate and map this experience in a different way. Abstraction, understood in this way, can be traced in the titles of many of the works - “At the Desk with Spring”, “Blues of Fictitious Animals”, “Tiger Taste”: they are poetic and they themselves seem to cut and glue different parts of the language, which is like playing with a child's language: he learns the language by playing with the phrases themselves, tasting them. 

In the case of Van Gogh, the artist is credited with using dissonant colors, according to Goethe's theory. Artur Krivoshein, on the contrary, works with color harmoniously. A painting should be ready when it finds “unity” with the artist himself. 

The experience of childhood cannot be described, according to the artist, in any other way - it can only be grasped through abstract means. Exploring memories, which are so often abstract in nature, and especially vivid in color precisely in connection with childhood, Krivoshein creates and as if invites the viewer to share this experience, to “take apart” his collection of shells, to find his color and his moments”.

Boris Klyushnikov, philosopher and art theorist

Exhibition Seller of colored shells, a—s—t—r—a gallery, Moscow, 2023

TEXT FOR THE EXHIBITION “MIXED UP HOLIDAYS”:

“Artur Krivoshein's solo exhibition “Tangled Holidays” addresses the modern world where history repeats itself, ways of life and values change, new words come and old holidays are replaced by new ones. A society where digital space is the second reality in which a person spends most of his time. A world where artificial intelligence can connect the unconnected, and where logic and the usual course of things are sometimes lost. Arthur's series of works is dedicated to depicting this reality. The artist's technique is spontaneous and dynamic, as he works without a sketch. Arthur associates this method with the surrealist concept of “automatism”, when a work is created without special preparation, without control, based on an unconscious feeling. The outcome of the work is initially unknown to the author, finding old books, newspapers, unusual quality paper, rare variety of paints and pastels, he makes collages and paints pictures. The avant-garde aspiration to connect art with life, to make it an everyday practice, unintentionally becomes the main line in the artist's work. The works “The Revealed Division of the Underside”, “Sky Population Project”, “Juggling the Multipoint” and others are a response to irrational reality and seek to show a “sur” that mixes news agenda, personal and common subjects, dreams, digital reality and natural motifs. Fabrics, old photographs, scraps of books from different times and countries, acrylic and oil in Arthur's paintings create multifaceted surreal images. They capture the moment, call to stop in the moment, being “points of preservation” in the endless surrealistic game of our life. The exhibition also presents a separate room with joint paintings by Krivoshein and artist Vlad Maltsev, or rather the art group “2KM”. Guided by the principle of “art-life”, this series was painted this summer at the dacha in real time. The artists filmed their daily creative process, in which they combined two directions - abstractionism and figurative art. The authors write about what they see around them - it could be “Striped Fog”, “Fruit Colonnade” or “Appetizing Rise”. The proximity to nature, animal life, summertime pushes the digital world away, allowing us to explore the real and be in the present.”

Alina Muratova

SELECTED PUBLICATIONS:

• The Blueprint - The Blueprint 100. Contemporary Art
• Poster Daily - 10 emerging artists to keep an eye on
• Artguide - Seller of Colored Shells
• Artocratia - Artur Krivoshein. SELLER OF COLORED SHELLS
• Simple group - Artur Krivoshein
• ARTuzel - Artur Krivoshein: “Abstract painting is an exact science”
• BURO. - “Collection as a self-portrait”: Anastasia Postrigay - about how much the choice of a painting says about its buyer
• Big City - 18 exhibitions of the fall in Moscow
• Cabinet de l'art - Arthur Krivoshein, Show me how to be mysterious, 2023
• Cultobzor - Artur Krivoshein. Seller of colored shells

Gleb Nestrelyaev was born in Vladivostok in 1995. The author received his first art education in Vladivostok Art College (workshop of Makeev E.E.). Since 2019 he lives and works in St. Petersburg, where since 2020 he has been studying at the Repin Academy of Arts (workshop of H. V. Savkuev).

SELECTED EXHIBITIONS:

• 2024 — a—s—t—r—a Open.Vol 6,  a—s—t—r—a gallery, Winzavod, Moscow
• 2024 — A familiar tree grows out of the haze, OpenYou Gallery, St. Petersburg
• 2024 — "I am not a robot” Artocratia Gallery, Moscow
• 2024 — Avant-garde: Workshop of the Future, Serpukhov Museum of History and Art, Moscow, Russia
• 2024 — All Houses, ETO, House of Culture
• 2024 — Spring - 2024, St. Petersburg Union of Artists
• 2023 — Youth of St. Petersburg, St. Petersburg Union of Artists
• 2023 — Ark. Itaian Hall, Academy of Arts
• 2022 — Beehive Fest, Villa Vitali Mansion
• 2022 — Lost?!, MORS Illustration Festival
• 2021 — One Day Today. A Journey, PortArt Gallery
• 2021 — Hive Party, Villa Vitali Mansion
• 2019 — We Are Around Me, FEFU MC Gallery
• 2019 — Molodezhnaya, Primorsky branch of the ARF
• 2019 — Once Upon a Time Today. My Neighbors, FEFU MC Gallery
• 2018 — Dreams, “MC” gallery FEFU
• 2018 — Once Upon a Time Today, FEFU MC Gallery
• 2018 — I've seen it. Summer, FEFU MC Gallery
• 2018 — Lust for Life, Seaside Branch of the ARF

FAIRS:

• 2025 — Blazar, a—s—t—r—a gallery, Moscow
• 2024 — Blazar, Independent Artists Section
• 2024 — PAF:ALL COLORS, Sevkabel Port
• 2024 — 1703, Central Exhibition Hall Manezh, Repin Collection of St. Petersburg Academy of Fine Arts

“Since childhood I have been attracted to colorful texture on various surfaces, cracked paint on garages or school hallways, old paper and whitewashed walls for the “hundredth time”. The sense of time from these things I try to recreate in my work. I like to observe people, communicate with them, listen to their stories. All my works are about human relationships and the cyclical nature of our history. I like to experiment with materials, often to create the surface I want I have to manipulate the work for a long time: skinning, scratching, painting and stripping the paint layer. In my work I often use mythological elements and natural motifs, personal reflective experiences to create my own stories.”

Gleb Nestrelyaev

Yesol Kim (1999) is a sculptor, DJ and Influencer and the creator of Yesol-bot ceramic robots. 

Yesol Kim’s practice is centered around ceramic sculpture and the image of the toy robot. Through this medium, the artist explores the visual culture of an entire generation that grew up in South Korea during the late 1990s and early 2000s.

“I am interested in how the most ordinary everyday objects become carriers of collective memory.”

The robot was one of the most recognizable images of South Korea’s popular visual culture at the turn of the millennium. It became an integral part of the visual language of the time, appearing in toys, cartoons, comics, advertisements, and even in elements of the urban landscape. “For me, the robot is neither a character nor a symbol of a technological future, but a form through which I explore memory, identity, and the passage of time. I am not interested in reproducing recognizable toys; rather, I explore the cultural codes they embody.”

Mass-produced objects are rarely recognized as a significant part of an era’s cultural heritage, even though they play a fundamental role in capturing its context and shaping the experience of a generation. Through her work, Yesol seeks to monumentalize these images, transforming personal and collective memory into sculptural form.

By translating familiar forms into ceramics, the artist changes their status: the temporary becomes lasting, the mass-produced becomes unique, and the everyday becomes a subject of artistic inquiry.

“In my ceramic practice, I strive for an almost factory-perfect surface, creating the illusion of plastic. I deliberately work against the inherent nature of the material, traditionally associated with visible traces of the maker's hand and tactile surface qualities. I am interested in the tension between these opposing states: unique sculpture and serial object, craftsmanship and industrial production, the permanence of ceramics and the ephemerality of the plastic toy.”

Each series focuses on a distinct layer of everyday culture — from districts of Seoul and children's street games to other elements of daily life. “I am interested not only in personal nostalgia, but also in preserving the visual language of my generation and the images through which both its identity and my own were formed.”

No series in Yesol Kim’s practice is considered complete; each remains an open-ended process of exploration and reflection. Every sculpture is unique, yet the artist deliberately leaves room to revisit existing works, reinterpret them, and expand them through new iterations that reflect changes in her own perspective on the subject of her research.

SELECTED PROJECTS:

2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
2024 — Fair blazar, a—s—t—r—a gallery, Moscow, Russia

Ilya Kutoboy is an illustrator from Moscow. Graduated from the Faculty of Physics and Technology of KSU (1997-2002), and from the Graphic Design course of the Belarusian Higher School of Art (2013). Also studied at the Illustration Workshop of the Russian Reporter Summer School (2017) and on the Design Legends course at Future London Academy (2017).

Collaborated with the illustration agency BANG! BANG! STUDIO, RBC style and others.

The artist calls his style “tropical primitivism”, inspired by his numerous travels to the islands of Asia and Indonesia. In his works Ilya mixes painting and graphics, scraps of phrases and words, creating images reminiscent of dreams with a non-linear plot. Often his heroes are animals, plants, peculiar ladies and unusual creatures who find themselves on the same plane of the ever-changing carnival of life.

SELECTED SOLO AND GROUP EXHIBITIONS:

• 2024 — Two turns around the rainbow, a—s—t—r—a gallery, Winzavod, Moscow
• 2023 — Blazar, a—s—t—r—a gallery, Moscow
• 2022 — a—s—t—r—a Open.Vol 1, a—s—t—r—a gallery, Winzavod, Moscow
• 2022 — Blazar young art fair, Museum of Moscow, Moscow
• 2021 — Syndrome of Tropical States, Moscow / Khlebzavod
• 2021 — MOST contemporary art auction, Krasnodar
• 2014 — Prosmotr, St. Petersburg
• 2014 — Time for art, Moscow

Exhibition Two turns around the rainbow, a—s—t—r—a gallery, Winzavod, Moscow

"Initially, my fascination with art started with music. Music for me is a big field for experimentation. I've participated in different genre projects, recorded solo albums and I'm a big music lover. I call my style at the moment - "Tropical Primitivism". The theme of tropics appeared in my work thanks to my numerous travels to the islands of Asia and Indonesia - the heat and raging vegetation of those places have deeply sprouted inside me. In my works I like to mix painting and graphics, scraps of phrases and words, superimpose ghostly or more concrete images on each other, which remind me of dreams with a non-linear plot. Often the heroes of my works are animals and plants, peculiar ladies and creatures who find themselves on the same plane of the ever-changing carnival of life. I think it is great when art does not carry strict dogmas, but expands the boundaries of our imagination. I try not to forget that I'm just stardust."

 Ilya Kutoboy

SELECTED PUBLICATIONS:

• Kommersant FM - Otkritie Bank organizes exhibitions of contemporary art for Private Banking clients
• Playbill - Ilya Kutoboy. Two turns around the rainbow
• U magazine - Ilya Kutoboy: “Contemporary art could use an extra dose of self-irony”
• Snob - Ilya Kutoboy: I create a kind of oasis where I can take a break to move on
• Art Flash - “I try to be a good observer, to look around and notice different details”: Ilya Kutoboy about the exhibition at “a-s-t-r-a” gallery
• Bang! Bang! - Artist or Illustrator? Interview with Ilya Kutoboy
• Bang Bang Education - Why do bad things when you can do nothing?
• Chef.ru - Ilya Kutoboy's exhibition opened in the gastrobar SHROME

Rinat Mustafin was born in Magnitogorsk, Chelyabinsk Region, in 1991.

In Moscow he received a higher education in the specialty of Architect. Since 2011 is engaged in artistic practices in the field of modern art, combining with with projects in the field of curatorship, scenography, architecture and design. In 2020, together with the team of the creative association WIP, he opened an experimental gallery, where he took the position of chief curator.

His works are a part of the collections of the Nakovalnya Gallery Foundation, the private collection of artist Aidan Salakhova.

SOLO EXHIBITIONS:

• 2024 — Entropie des menages, L galerie Paris, Париж
• 2023 — "Territory", Cube Gallery, Moscow
• 2022 — "Zenith", Anvil Gallery, Moscow
• 2022 — Performance "Shell", Mutabor club, Moscow
• 2022 — Performance "Shell", WIP Gallery, Moscow
• 2021 — "Forma", Kommunalka Gallery, Moscow
• 2021 — Vdeo art installation "Rain", WIP gallery, Moscow.
• 2021 — Abstract Meanings in Visual Forms, WIP Gallery, Moscow

GROUP EXHIBITIONS:

• 2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Fair blazar, a—s—t—r—a gallery, Moscow, Russia 
• 2024 — Shimmering, Art&Brut, Moscow
• 2024 — a—s—t—r—a open.vol. 4, a—s—t—r—a gallery, CSI Winzavod, Moscow
• 2023 — "Loading", Art Kvartal, Erevan
• 2023 — "Rinat & Segotchka", Object Gallery, Tbilisi
• 2019 — "Good Weather", Užupio Meno Incubatorius, Vilnius
• 2016 — "Alternative Theories of Evolution", Dravidian Museum, Moscow

"I believe in perfect form, colour and composition. The silent power of visual art leaves me in awe, and the emergence of ever new media and tools makes me mesmerised by the vividness of the visual world. In my works I explore: the relationship between new and old technologies, in which lies the beauty of human thought, new signs and symbols that replace the old without changing their nature, themes of humanism and anti-humanism. Based on the experience, principles and discoveries of modernists and postmodernists of the 20th century, I try to use new approaches and develop original techniques. I do not see myself outside the context of my time. I am in love with the era I'm living in."

Rinat Mustafin

SELECTED PUBLICATIONS:

• Playbill - Rinat Mustafin. Zenith
• Cube - Rinat Mustafin's solo exhibition “Territory”, 159F Gallerie
• Anvil - “Zenit” - Rinat Mustafin's solo exhibition
• Interior + Design - Rinat Mustafin's exhibition at Anvil Gallery
• ArtTube - Rinat Mustafin “Zenith”
• ARTvoda - Rinat Mustafin
• Raan - Rinat Mustafin
• Design District DAA - Exhibition “How long ago, dear friend?” in Abramova Gallery
• Gallery on Kashirka - Questions of Art
• Modern Megapolis - Neuroel desires and digital kokoshnik for Kristina Asmus

Born in 1991.

Graduated from the Stroganov Moscow State Academy of Fine Arts, specializing in artistic ceramics.

In 2011 became co-founder and designer of jewelry brand Mineral Weather.

She took part in international exhibitions in Paris, Venice, Milan, Copenhagen and Barcelona.

Since 2016, she has been involved in ceramic sculpture.

“Everything I make is a reflection of what is happening around me, my experiences spill out into objects. I interact with the world through plastic statements on the level of tactile-sensory language.”

Anna Pavlova

SELECTED EXHIBITIONS:

• 2023 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2023 - "Arty Advent", Liza Fetisova Gallery, Paris, France
• 2022 - "Isn't the color white what gets rid of darkness?", solo exhibition, lobby, Moscow, Russia
• 2022 — Blazar young art fair a—s—t—r—a gallery, Moscow, Russia
• 2022 — a—s—t—r—a Open.Vol 1, a—s—t—r—a gallery, Winzavod, Moscow, Russia
• 2022 — Délices et Malices, Liza Fetissova Gallery, Paris, France
• 2022 — Invasion, solo exhibition, Liza Fetissova gallery, Paris, France
• 2022 — Homo Faber, Michelandgelo Foundation, Venice, Italy
• 2021 — A Family Story, Liza Fetissova gallery, Paris, France
• 2021 — Workspace: untitled, Azot gallery, Cub, Moscow, Russia
• 2020 — We know it’s going to happen but, flat of director of Austrian cultural forum, Moscow, Russia
• 2019 —  Analpha-bettes, solo exhibition, Transatlantique gallery + Liza Fetissova Gallery, Paris, France
• 2019 — Chamber of Secrets, library N67, Moscow, Russia
• 2019 — Revelation, fair, Grand Palais, Paris, France
• 2019 — Re_generation, Dety Marii, Moscow, Russia
• 2018 — I Feel Warm and Scared, Ovcharenko gallery, Moscow, Russia
• 2018 — Baikonur now, Аrhiv space, NIIDAR, Moscow, Russia
• 2018 — Artdacha of Riabuschinskii, exibition of the results of the residence, Vyshny Volochek, Russia
• 2018 — End of Sunset, the roof of Setun area, Moscow, Russia
• 2018 — Project Element. Earth, White Room Foundation, Moscow, Russia
• 2018 — Abrakadabra, The 6th Moscow International Biennale for Young Art, Moscow, Russia
• 2017 — Designed by a cyborg, OS.MOS / AWG Society, Moscow, Russia