Born in 1987 in the city of Kopeysk, Chelyabinsk region.

Graduated from I.I. Repin St. Petersburg State Academic Institute in 2014 (graphic arts department, workshop of Andrei Alexeevich Pakhomov).

From 2014 to 2017 he studied at the creative studios of the Russian Academy of Arts in St. Petersburg.  His works are in the collections of the Fabergé Museum, BREUS Foudation, the private collection of the head of the Guerlain House and in other collections in Russia and abroad. 

The work presented in the "Deformation" series captures the process of profound changes during the experience of something that comes from the outside, the metamorphosis that occurs inside a person in the process of reflection, the scarring of events and the experience of them and the very thought of them, which distort our cognitive shell.

"Having received an art academic education, I continue to develop in various modern media, being in search of new forms and images, I am constantly experimenting with artistic languages. But the lion's share of my fine practice is still black and white graphics.

In my work, I often come across academic drawing with modern trends, at the moment on the verge of between them is the most interesting space for research for me. It is there that you can find out the limits of normality and subjectivity, reality and mysticism, releasing the images of the subconscious in a more accessible visual manner.

Creativity must always be sincere to find its viewer. Creativity is a constant search for our sides. This is a pleasure from the find. This is a continuous resentment from what has already been done, as a sign that it is necessary to move on.

While working on illustrations for Bram Stoker's Dracula, I needed to find a solution for the performance of this piece. Having tried several techniques, the choice fell on the monotype. The miraculous magic of printing, its randomness bribed me, forced me to look for new images and meanings. In parallel with the work on illustrations for the dark novel, the Warp series was born.

Deformation (from Lat. Deformatio - "distortion") - a change in the relative position of body particles associated with their movement relative to each other. This series presents the deep deformations occurring inside a person. Perceptions of events, experiences and thoughts, as well as external factors pass through us, distorting the cognitive shell. Deformation is the fixation of these sensations." (Pavel Bushuev)

SELECTED EXHIBITIONS AND AWARDS

• 2022 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
• 2022 — Program Art Moscow within the framework of the 48th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
• 2021 — Program Art Moscow within the framework of the 46th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
• 2021 — "Russian Shield", St. Petersburg, Russia
• 2020 — Group exhibition "Kholotel", Moscow, Russia
• 2020 — Cosmoscow Art Fair, Moscow, Russia
• 2019 — ART Event Suspense. Brackhausen Mansion, St. Petersburg
• 2019 — ART Event Suspense 2.0. Sevcable Port, St. Petersburg
• 2018 — Intervention. Hermitage, General Staff Building, St. Petersburg
• 2018 — International Fifth Biennale of Graphics. Romania
• 2012 — International Art Exhibition. Beijing, China
• 2011 — 1st place in the competition for the design of the Olympic bill
• 2010 — International Art Exhibition. Seoul, Korea

Born June 29, 1988 in St. Petersburg.

Since 2022 he has been living and working in Moscow.

Kirill Doeshvili is an artist, poet and musician. He studied art, philosophy, poetry and literature. Attended courses for free students at the Academy of Repin. Studied at Dnepropetrovsk Art School. Participated in Russian and international exhibitions and residencies. 

Kirill sees his art through an eye that does not obey the man-made laws of perspective, an eye that is not corrupted by compositional logic, an eye that does not respond to the names of everything, but which must learn every object encountered in life through the adventure of perception.

"I dig deep to find the clearest water, and that's my way to go."

Doeshvili tries on a plane of paper subjective and metaphysical time, taking the position of an artist working with reality. Drawing itself turns into an interlocutor and a stranger with whom he begins to juggle images. In the process, they change, as does their relationship to space and to each other. New layers of interactions with the force that governs this dimension emerge. "As the universe flows, so do we transpire, because we are its stardust," says the artist.

The artist is the architect of worlds. Symbolically, to create his characters Doeshvili uses exactly archival architectural paper. Fictional characters suddenly come to life on the sheets: Treschak the Unpunished, Friendly Pirate the Rascal, Wandering Apollo, Unscientific Chatterbox, Neptune's Unspent Client, Romeo the Sad Man, Lunatic Pierrot and others.

The characters are constantly communicating telepathically and are in the same field, in the process of exchanging something for which the stars give them their blessing. Each work is a new situation in which events unfold dynamically, but they are all simultaneously linked by a common logic and characters. There is no good or bad among them. They are all embraced by the flame of love, but they don't know how to express it properly. Just like us.

SELECTED EXHIBITIONS:

• 2022 - Juice from Stone and Earth, a-s-t-r-a gallery, Winzavod Contemporary Art Center, Moscow
• 2022 - a-s-t-r-a open.vol. 2, gallery a-s-t-r-a, CCCI Vinzavod, Moscow
• 2020 - art residence "South Coast" theme: "Secret".
• 2020 - participant of the project NEW REALITY. TO THE 100TH ANNIVERSARY OF UNOVIS.
• 2020 - art forum Berlin Art.
• 2020 - exhibition of expressionism, Gostiny Dvor
• 2020 - creation of psychedelic objects at Sunburn art festival Goa, India.
• 2019 - art residence "South Beach".
• 2018 - art festival "Colors of the World" Koktebel.
• 2017 - creation and art design, "Extreme festival".
• 2016 - "Tavrida".

Doeshvili's works are in private collections in Russia, Ukraine, the United States, Australia, England, Germany and the Czech Republic.

THE WORLD OF DOESHVILI

An instinctive Belief in the artistic form, a symbiosis of internal and external journeys, signs on the way forward in art.

Without thinking that death is near, I am constantly trying to comprehend the emptiness of all forms, which are distorted and modified, have their own magnitude and even a formal notion of time. When one paints or writes diligently, one has two types of signs of progress along the path, definite and indefinite, which indicate that the result will soon be reached. 

Uncertain signs, called basic signs, appear because of previous connections, even if one has never practiced art at all. Since they cannot be relied upon, I will not describe them here.

Certain signs appear as a result of drawing and are of two kinds: transient and unchangeable.

Transient signs can appear in reality as well as in mood. As for the first kind, when you are making preliminary sketches, you may feel as if your body is about to fall apart like the walls of a cracking house. Your voice may weaken, as in a state of extreme exhaustion. You may start convulsing like you are possessed by spirits. These are indicators that you have separated reality from the world of images.

Frustration with your own body, speech, and mind may appear in the mood. This demonstrates that you have purified yourself . If these states do not appear, then you have not had enough experience, so you need to dive further into the form.

As a result of fatigue, the actual signs show up in the bliss of the physical body, in the fact that you want to speak out, and in the mind everything is experienced as space. You can feel, "Nothing exists!" Along with that comes a joy pure as the sky. You may get the feeling that you have forgotten that there is a body, you don't notice your breath, and you don't want to leave the state of no thought, thinking, "This is it!" These are signs of mastering the stability of one's natural state, which is inherent in us. 

This understanding can also manifest itself in sensation: wherever your attention moves, you realize and comprehend that it is your own mind, you see the projections and returns of your thoughts as your own manifestation and realize that they are absolutely unobstantial, like space. These are signs that you have determined through seeing that the phenomena are your mind.

Born in 1983 in Kemerovo.

Kemerovo artist, a graduate of the Stieglitz Academy. Stieglitz. Creates industrial landscapes, transformed in accordance with the author's special philosophy into futuristic images of the city. Uses Kuzbasslak - coal tar, which refers to the industrial context of the small motherland.

EDUCATION

• 2007 - Graduated from Mukhin Academy of Arts in St.Petersburg.
• 2004-2008 - St.Petersburg State Academy of Art and Industry named after Mukhina. Faculty of Monumental and Decorative Art, workshop of O.I. Kuznetsov.

Lives and works in St. Petersburg.

"The Tree of Life" is a complex image that exists in various cultures and is one of the monumental symbols of life, the planet and all living things. Kirill Koteshov reinterprets this image in the form of a large pictorial installation, enveloping the entire space and completely absorbing our visual perception.

The monumental pictorial installation that was created at the Russian Museum for the exhibition "Actual Drawing" really combines monumental painting, which practically passes into a painting of a wall. The painting is of such a high quality that it gives the impression of the work of old masters, nevertheless the theme of the Tree of Life and its realization by Kirill Koteshov remain topical today.

In Kirill Koteshov's work the tree is formed by intertwining human figures, their bodies touching and joining each other, creating a sense of the crown of a tree, a monolithic mass moving upwards and uniting all being into a single connection. The bodies are devoid of faces, gender, individual attributes, but they are physically perfect, perfect and identical. The figures support each other, make each other bend, move, assume certain poses - but all together they form a single chain of being, a life taking shape, a mass that seems indestructible.

PERSONAL EXHIBITIONS

• 2008 - "Three Days", Triumph Gallery, Moscow
• 2008 - "The Last Snow", Globus Gallery, Saint Petersburg
• 2008 - "UNDER GROUND", Manezh, Small Hall, Saint Petersburg.
• 2007 - Parallel Kuzbass, Triumph Gallery, Moscow
• 2007 - Academy of Arts and Design.

Born in 1974.

Sculptor, architect, member of the Russian Academy of Arts.

In 1999 he graduated from the Faculty of Sculpture (workshop of academician L. Kerbel) Moscow State Academy of Arts named after Surikov.
Since 2014, member of the Presidium of the RAKh (Russian Academy of Arts).

Aleksey Morozov began his artistic career in the early 1990s, taking part in the Second Biennial of Contemporary Art in St. Petersburg, where he won one of the Grand Prix of the exhibition. After graduating from the institute, he spent a year in Provence in 1998, where he studied French sculpture from the 16th-18th centuries and practiced working with terracotta. 

After his return to Russia, Morozov collaborated for a long time with the founder of the New Academy of Fine Arts, and was a member of the New Serious creative movement, a conservative wing of Neo-Academism. He has held solo exhibitions in St. Petersburg, Moscow and Italy and has participated in international art fairs.

In December 2011 - January 2012, the Marble Palace of the Russian Museum hosted a large solo exhibition of Morozov, entitled Antologia, where the artist presented about 60 works created in the previous 10 years. 

In July 2013, Alexey Morozov was appointed director of the Moscow State Academic Art School in Memory of 1905. Under his leadership, the reconstruction and renovation of the school began, a new sculpture department was opened, an anatomy department was created to train specialists in plastic anatomy, and Italian internship programs for students were introduced. 

He lives and works in Lucca (Italy).

Alexey Morozov's works are sold at Sotheby's, Christie's and Phillips auctions and are in private and museum collections, such as the State Russian Museum, the Museum of the New Academy of Arts in St. Petersburg, etc.

"Alexey Morozov is the author of the project PONTIFEX_MAXIMVS, shown at the 6th Moscow Biennale of Contemporary Art in 2015. The idea for the project refers back to Raphael's Stanzas of the Vatican, where the master introduced the image of caryatids coming to life, and the frescoes of each room were united by a common plot or character. Animate sculpture is one of the fundamental themes of Alexey Morozov. Throughout his artistic career, Morozov consistently creates a huge art universality, reinterpreting the Greco-Roman classical heritage in the context of modernity. In the artist's opinion, the possibilities of the plastic language of Greek and Roman sculpture, which for so many centuries continued to nourish European civilization, are far from exhausted and can still serve as the basis for creating works with a keenly relevant authorial message. The title PONTIFEX_MAXIMVS - that is, "the great bridge-builder" (from the Latin term pons facere, understood in the esoteric practices of the Romans) verbalizes the idea of restoring the links between antiquity and modernity, the East and the West.

Morozov uses classical iconography, but removes its historical meanings and connotations, giving ideal forms the provocative content of modernity. This is also reflected in the choice of materials: the "classical" ones of bronze and marble, as well as concrete and carbon fiber. The bronze sculptures are made in Pietrasanta, Italy, using techniques based on the ancient tradition of hand craftsmanship. Amidst the kaleidoscope of shifting ethical, moral and aesthetic guidelines of today's world, classical culture and iconography proves to be an important point of reference. In his sculpture, graphics and video, Morozov uses the orderly structure of ancient art to analyze and transcend the chaos of the world. His narrative is transported into a post-apocalyptic, desolate, militaristic space, but offers no unambiguous interpretations or interpretations." MMOMA

SELECTED EXHIBITION PROJECTS:

• 2022 - "Art Gardens. Metamorphosis", Arkhangelskoye Estate Museum, Moscow 
• 2017 - "PONTIFEX_MAXIMVS/ le stanze", Alexey Morozov Art Project. MMOMA, Moscow
• 2016 - "PONTIFEX_MAXIMVS", Alexey Morozov Art Project. Museo Archeologico Nazionale di Napoli, Naples
• 2015 г. "ANTROPOMAHIA," art project by Alexey Morozov. Istanbul Contemporary, Istanbul
• 2015 - "PONTIFEX_MAXIMVS_preview", Alexey Morozov art project. 6th Moscow Biennale of Contemporary Art. VDNKh, Moscow
• 2015 - "Antropomakhia", Alexey Morozov's art project. Cosmoscow, Moscow
• 2015 - "Cantata_iTunes", Alexey Morozov's art project. Homofarber, CAV, Pietrasanta, Italy
• 2014 - "MOROSOV_MMXIV", Heritage Gallery, Moscow
• 2013 - "ART-STAGE" 11.12 Gallery, Singapore 
• 2013 - "KARIATIDA SUPERSONICS" M&O, Paris 
• 2013 - "KARIATIDA SUPERSONIKA" Piazza Bra, Verona
• 2012 - "SERENITAS" Art Moscow. Sculpture by Alexey Morozov from private collections, Moscow
• 2011-2012 - "ANTOLOGY" The State Russian Museum, St. Petersburg
• 2010 - "BASILICA" Art Moscow. Triumph Gallery, Moscow
• 2009 - "PRAETORIA X" Art Moscow. Triumph Gallery, Moscow
• 2007 - "MOROZOV MANUFAKTURING" Moscow World Fair of Fine Arts. Manege, Moscow
• 2006 - "ERIHO" Moscow World Art Fair. Manege, Moscow
• 2004 - "CONSTANTINOPOLIS" ARTPLAY, Moscow
• 2003 - "Kraft Deco Classics" Gallery D137, Saint Petersburg
• 2003 - "Kraft Deco Akademik" Novaya Akademia, Saint Petersburg
• 2002 - "MAGOS", Vicenza, Italy.
• 2000 - "MITRA SUPER" together with New Academy. Manege, Moscow.
• 1992 - "II Biennial of Contemporary Art" Okhtinsky Exhibition Hall of Artists Union of St.Petersburg.

"...Alexey Morozov's work is a kind of bridge between traditional (and paradoxically attractive) ideas of sculpture, harmonious and transparent; and modern ideas of sculpture, which are conceptually analytical and polemical in nature..." Alexander Borovsky, art historian, curator, head of the department of contemporary trends, State Russian Museum, St. Petersburg/Russia

"...Integrating it and guiding its transition to modern iconography, not retreating from the hieratic character of historical significance.Integrating it and guiding its transition to modern iconography, not retreating from the hieratic character of historical significance.
Bronze, like other "classical" materials, facilitates this type of experimentation, iconographic "transition" and integration between manual labor and technological intervention.
Morozov, as already mentioned, imposes a syncretic strategy also applied to the use of materials, combining "classical" media with technological materials of an industrial nature, as evidenced by the works on display..." Alessandro Romanini, art historian, president of the scientific committee of the Ragianti Lucca Foundation/Italy

"...Alexey Morozov addresses numerous and varied traditions, combining linguistic and iconographic sources - maintaining a balance between coupling and irony and insinuating bold and unexpected 'distractions' - with intensities, signs and themes of a distinctly contemporary nature, while forcing us to reflect on the need, repeatedly manifested throughout history, to choose past models and express ourselves..." Paolo Giulerini, Curator, Director of the National Archaeological Museum of Naples, Naples/Italy)

Born in 1971 in Moscow.

EDUCATION

• 1989-1991 - Lomonosov Moscow State University, Department of Psychology
• 1991-1993 - University of North Carolina at Wilmington, USA, majoring in Neuropsychology, studies in the field of A.R. Luria's legacy;
• 1993-1996 - Universite de Provence, Aix-en-Provence, France, art history department;
• 1996-1998 - Universite de Provence, Aix-en-Provence, France, postgraduate course "Text and Image in the Russian Avant-garde Art".

Since 2007 she has collaborated with the VGLAZ association founded by the artist Gosha Ostretsov. 

For four years, Daria taught ceramics and sculpture at the Tretyakov Gallery and developed an inclusion policy: with her help, the museum created art classes for people with disabilities.

Daria is a member of International Council of Museums (ICOM) and International Association of Art Critics (AICA), a member of ICA/AIC (International Academy of Ceramics) and a member of IAPMA (International Association of Artists Working with Paper).

Daria Krotova's works are in various galleries, museums and private collections: in the United States (The Kramlich Collection), Britain (The Saatchi Collection), France, Belgium, Austria, Israel, Switzerland and Russia. Regular participant of European art fairs: Art Paris, Vienna Contemporary, Cosmoscow, Art Vilnius, Art Moscow, Tbilisi Art Fair.

The series "Memes" (fabric, transfer paper, prints, hand embroidery) was made for the exhibition Renaissance, curated by Gosha Ostretsov. Daria works with the idea of visual profanations, twists and layering to which images of classical painting are subjected in social media and masmedia.

He was born in 1967 in Moscow.

In 1984 he graduated from the Theatre and Art School at the Bolshoi Theatre in Moscow. Was a member of the group of artists "Children's Garden". From 1988-1998 he lived in Paris and worked with Jean-Charles de Castelbajac, Jean-Paul Gautier and Luc Besson. 

Works are in the collections of the State Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, the Moscow Museum of Modern Art in Moscow, the Arctic and Antarctic Museum in St. Petersburg, the Dreams Museum in St. Petersburg. The Gallery's collections include the Tretyakov Gallery, the State Russian Museum, the RACh Moscow Museum of Modern Art, the Arctic and Antarctic Museum in St. Petersburg, the Z. Freud Dreams Museum in St. Petersburg, and the private collections of Charles Saatchi, Simon de Pury and Lawrence Graff.

In his work, Ostretsov appeals to the aesthetics of the comic strip. He creates authorial iconography in the spirit of mainstream comics. At the same time, unlike American artists Andy Warhol and Roy Lichtenstein, Ostretsov does not copy other people's illustrations, but develops his own graphic story close to action comics.

"New Government" is a series of fantasy installations arranged like an American comic book. There are no direct references to either country or architecture. But something, probably irrational, gives away the origins of the works. Maybe because we are all inheritors of totalitarianism, and the audience somewhere in Saatchi says after the exhibition, "Well, now we understand how things work in Russia. Art reveals national codes. International communications arise naturally.

The project "Gems of Dissent" is a kind of gray gloomy supremacist world of reliefs, reminiscent of house models, in which suddenly emerge dynamic abstract forms of bright colors, exploded architectons - the gems of dissent. These are both intimate and monumental forms. In each installation I set the subject: the pursuit, the prison, the escape, the explosion, the crown of thorns." Gosha Ostretsov

SELECTED SOLO EXHIBITIONS:

• 2022 - Gems of Dissent. Syntax Gallery, Moscow, Russia
• 2021 - Imitation of the Similar to the Similar. Syntax Gallery, Moscow, Russia
• 2019 - Party for Time Travelers. Syntax Gallery, Moscow, Russia 
• 2019 - Sunshine Fighters. GUM-Red-Line, Moscow, Russia
• 2019 - How To Learn The Upside Down World? NK Gallery, Antwerp, Belgium
• 2018 - 360 Degrees from the Inside. Artis, Moscow, Russia
• 2017 - I've been abducted hundreds of times! Palazzo Nani Bernardo, Venice, Italy
• 2016 - I've been abducted a hundred times. Triangle gallery, Moscow, Russia
• 2014 - Motor Vehicles NP. Central Art Center Zarya, Vladivostok, Russia
• 2010 - Heavy Patients. Rabouan Mousson Gallery, Paris, France.
• 2010 - Love For Electricity. TM Project, Geneva, Switzerland.
• 2009 - Apocalypse. M.&J. Guelman Gallery, Moscow, Russia.
• 2009 - Banality and Eternity. Triumph Gallery, Moscow, Russia.
• 2009 - Robbing Good. Paradise Row Gallery, London, United Kingdom.
• 2009 - Coolville. Claire Oliver Gallery, New York, USA.
• 2008 - Dead Souls. Triumph Gallery, Moscow, Russia.
• 2008 - Milk SOS. Ravenscourt Galleries, Moscow, Russia
• 2007 - Salon Beaute. Rabouan-Moussion Gallery, Paris, France.
• 2007 - Repairs. Moscow Museum of Modern Art, Moscow, Russia.
• 2005 - Lawlessness. Marat Guelman Gallery, Moscow, Russia
• 2004 - Performance Art. Ceremony of presentation of New Government to the "Silver Order of Honour" of the best people of Russian Federation. S.Art Gallery, Moscow, Russia. 
• 2002 - Vandals and Generals of New Government. Guelman Gallery, Moscow, Russia.
• 2001 - Agitation for Art. Guelman Gallery, Moscow, Russia.
• 2000 - New Government. Guelman Gallery, Moscow, Russia.
• 2000 - Visitor. State Russian Museum, Marble Palace, Saint Petersburg, Russia

SELECTED GROUP PROJECTS:

• 2022 - New from the Old. Krasnokholmskaya Gallery, Moscow.
• 2021 - 2MAP. Media Center of Zaryadye Park, Moscow
• 2019 - Actual Art. Contemporary Artists. Red Line GUM, Moscow, Russia 
• 2016 - Collections! Contemporary Art in the USSR and Russia. 1950-2000. Center Pompidou, Paris, France. 
• 2016 - Russian artists participating in the Venice Biennale. Central Exhibition Hall Manezh, St. Petersburg, Russia. 
• 2015 - Something Different. Outside the Biennale, Cairo, Egypt. 
• 2015 - Enlightenment. As part of the 6th Moscow Biennale of Contemporary Art, Skolkovo, Moscow, Russia. 
• 2015 - Pink Box. Erarta Museum, St. Petersburg, Russia. 
• 2015 - Liberation Continues. Graz Museum, Graz, Austria 
• 2014 - Reconstruction 2 Ekaterina Foundation, Moscow, Russia 
• 2014 - Modern Drawing. State Russian Museum, Marble Palace, St. Petersburg, Russia
• 2013 - Parts of the Whole. Within the framework of the 5th Moscow Biennale of Contemporary Art, Vinzavod, Moscow, Russia 
• 2012 - Gaiety Is The Most Outstanding Feature Of The Soviet Union. Saatchi gallery, London, United Kingdom 
• 2011 - Russian Landscape. Guelman Gallery, Moscow, Russia 
• 2009 - Russian Pavilion 53rd Venice Biennale of Contemporary Art. Venice, Italy 
• 2009 - Another Mythology. SCCA, Moscow, Russia 
• 2009 - Invasion: Rejection. Baibakov Art Projects, Moscow, Russia 
• 2008 - Dead Souls. Triumph Gallery, Moscow, Russia. 
• 2008 - Russian Roulette. Nassauischer Kunstverein, Wiesbaden, Germany. 
• 2008 - Laughterlife. Diehl + Gallery One, Moscow, Russia 
• 2008 - Zoo Art Fair (Paradise Row). London, Great Britain 
• 2008 - Domestic Appliance. Flowers East Gallery, London, United Kingdom 
• 2007 - Sots Art. State Tretyakov Gallery, Moscow, Russia 
• 2006 - Amateurs. Marres Centre for Contemporary Art, Maastricht, Holland. 
• 2005 - Russia 2 Bad News from Russia. WHITE BOX, New York, USA. 
• 2004 - Russia 2 Special Project at 1st Moscow Biennale of Contemporary Art, Moscow, Russia 
• 2001 - Art for Time. Graz, Austria. 
• 1996 - Collection of latex costumes and masks in the galleries of the 13th Quarter (Jenifer Flay Gallery, Emmanuel Perrotin Gallery, Gallery Praz - Delavallade e.t.c.). 
• 1996 - Correction. Gallery e.o.f., Paris, France. 
• 1993 - Biennial of Contemporary Art in Istanbul, Turkey. 
• 1992 - Manifestation of Illustrators of France. Bibliothèque Municipal, Villeurbanne, France. 
• 1990 - Arte Sacra Biennal. Pescara, Italy. 
• 1985-1986 - Exhibitions with non-conformist artists of "Detskiy Sad" group. Moscow, Russia