Born in 1989 in China.

Graduated from Nanyang Junior College in Singapore (1999) and the St. Petersburg Repin Academy of Arts in the Department of Graphics under the supervision of A.A. Pakhomov (2010–2016). His artistic practice is focused on the awakening and sublimation of the inner spirit of a person, based on the belief that at the moment of deep existential insight, an individual experiences an imperative — a call from higher dimensions or the depths of his own being. This call is not a concrete sensory phenomenon, but manifests itself as an intense internal intentionality that directs the subject to the place where the transmutation ritual is performed.

This process is visualized as entering a forest-like locus — a symbolic transpsychic space representing a portal to another ontological reality (not a literal natural landscape). Within this space, the subject acquires a personal installation, often visually likened to an operating room with pronounced ritualistic semantics. The object embodies a unique individualized rite necessary for the completion of internal sublimation.

In terms of visual representation, the dialectic of the relationship between the human body and the surrounding space is explored in depth, especially the states of dissolution (dissolution of boundaries), integration (fusion) and transgression (crossing of limits). As the individual awakens, the demarcation lines between the individual and the outside world, as well as the intrapsychic boundaries, are subject to erosion and become labile (mobile).

SELECTED EXHIBITIONS:

• 2025 — Solo exhibition at Simulacra Gallery, Beijing, China
• 2024 — Solo exhibition at Zimmer 48 Gallery, Berlin, Germany
• 2022 — “Eschatological Fugue” Sation Hall, Brusnitsyn Cultural Portal, St. Petersburg, Russia

RESIDENCES:

• 2025 — Culterium program

FAIRS:

• 2025 — Oberton Graphics Fair, a—s—t—r—a Gallery, Moscow
• 2025 — Blazar, a—s—t—r—a gallery, Moscow
• 2024 — BAAM ART FAIR, Berlin, Germany

Marina Busel is a renowned interior designer and decorator whose unique projects have been realized in various countries around the world. Inspired by natural phenomena, ancient artifacts, primitive art, and the works of creative geniuses from the past and present, Marina has been creating collectible design and art objects since 2023. The proportions of Marina's objects are encoded with the Fibonacci sequence, which is fundamental to nature itself, resulting in objects with a harmonious emotional aura. The use of handcrafted techniques, visual simplicity, and natural materials adds a unique sensory experience to each object. Minimalist design and sculptural forms go beyond traditional images and structures. The concept's meaning is free and has a wide range of associations. The objects combine the natural and symbolic, the sensual and the conceptual, which are essential components of contemporary art and design.

 

SELECTED EXHIBITIONS AND FAIRS:

• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Exhibition "50/50", FINEART Gallery, Moscow
• 2025 — Exhibition "Circular Design", Muzeon, Moscow
• 2025 — International ARTDOM Exhibition, Moscow
• 2025 — Solo exhibition "SILUR", BUSEL gallery art space, Moscow
• 2025 — Solo exhibition "Sunny Circle", WE ART Gallery, Nikolina Gora
• 2025 — Exhibition "50/50", A-O Gallery, Ufa
• 2025 — blazar Contemporary Art Fair, curated by Sample gallery, Moscow
• 2024 — Art Moscow 2024, exhibition of the Polyot gallery, Moscow
• 2024 — Yuri Zlotnikov "Neoconstructivism", pop/off/art Gallery, Moscow
• 2024 — All-Russian Museum of Decorative Arts, festival of Contemporary Russian Art and Design "Games of Color", Moscow
• 2024 — Personal exhibition "Beauty Lives", BUSEL gallery, Moscow
• 2024 — Personal exhibition "Sun in the Garden", WE ART gallery, Nikolina Gora
• 2024 — Exhibition "EMOVEO", FINEART gallery, Moscow
• 2024 — blazar Contemporary Art Fair, curated by Sample gallery

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

«A new door to art begins with a new search for the boundaries of this garden. Her vision happens approximately the way Vernadsky saw his biosphere. It is necessary to create your own language, your own method for going abroad. For example, the language of perspective: Egypt depicted landscapes in the form of diagrams and maps. The linear begins with Giotto. Rauschenbach and his followers began analyzing the prospects of individual masters. And he came to the conclusion that everyone has their own vision of space. That is, the garden opens up to everyone in their own way."

— Mikhail Krunov, artist

An artist, a representative of the generation that replaced the nonconformist sixties. Graduated from the Art and Graphic Faculty of the Pedagogical Institute in Moscow (1984). He was a student of Alexei Kamensky (1927-2014) and Yuri Zlotnikov (1930-2016). He has been exhibiting since 1979 in Russia, Europe, America, India, and China.

In the 1980s, he began working professionally with a palette of smoky gray and white shades in the genre of landscape, developing the ideas of escapism and minimalism in painting. The landscape in Krunov's vision acquires signs of generalization with horizontal hills, parks, and perspectives. At this time, the artist develops a technique of multi-layered painting and seeks to shade the boundaries of the image and paste in the structures of the strokes. From the point of view of the emotional, sensual, and content of the artist's paintings during this period, he was fascinated by the transmission of thoughtful moods and the effect of meditative practices of Indian yoga.

In the 1990s, Krunov worked, forming his sacred symbolic palette based on the scientific ideas of V.I. Vernadsky and N.V. Fedorov. He paints images of human figures and birds, this series of works was presented by the artist in the Italian city of Padua. Since 1996, Krunov has been a member of the presidium of the Russian-Indian Friendship Society, founded by the indologist and writer A.N. Senkevich. The main areas of work are the organization of artistic, literary projects and expeditions in Russia, India, and France.

The Key Exhibition (1989) The artist considers a personal project at the Biological research center in Pushchino on the Oka River, where communication with major Russian biologists influenced his creative worldview and became the beginning of a new geometric series of works, The Genetic Code. In the 2000s, Krunov's artistic method was an analog abstract painting in the classical medium of oil on canvas.

In the 2000s, the artist's conceptual doctrine was shaped by the Vedic idea of Kalpa cycles, a system of calculating time in the universe. Influenced by the practice of yoga and Eastern philosophy, the artist begins the Kalpa Cycle project, in which he paints a visualization of the cyclical movement of time. At the same time, color compositions in painting are shown as vast epochs: the Golden Age, the Silver Age, the Bronze Age, the Iron Age (Kali Yuga, 432,000 years) of human existence.

From the point of view of art criticism, in 2025, the artist exists as part of the science art tradition. Close figures include Vyacheslav Koleychuk (1941-2018), Francisco Infante (1943), Alexander Pankin (1938-2020), Mikhail Chernyshov (1945). Since 2020, together with curator Alexander Korytov, he has been working to popularize the concepts of Russian cosmism, discoveries in the field of particle physics and new materials.

Russian Russian art From 2000 to 2020, Krunov has been working with Russian art in the European and Russian markets as the art director of Nadya Brykina galley in Zurich and Moscow. As a result of the gallery's work, a galaxy of important Russian nonconformist artists from the 60s and 70s became famous and collected among European collectors.

In the 2020s, Nadia Brytkina Galleries (Zurich), the Museum of Nonconformism (Moscow), the ULM Gallery (Moscow), the Prometeus Foundation (Moscow), the JART Gallery (Moscow), the a-s—t—r—a Gallery (Moscow) are working with the artist.

Since 1979, Mikhail Krunov has presented his work at Moscow, regional and foreign exhibitions (Poland, England, Turkey, Italy, Israel, India, New Zealand, Korea).

THE WORKS ARE IN INSTITUTIONAL COLLECTION:

• The State Russian Museum, St. Petersburg 
• Museum of Nonconformism, Moscow 
• Nadja Brykina Gallery, Zurich
• Ministry of Culture of Russia, Moscow
• Foundation of the All-Russian Directorate of Exhibitions
• The Museum of Modern Art, Moscow 
• Civico Museum (Italy)
• M. Chagall Museum (Vitebsk)
• The Sara Vinits Foundation
• Bakhrushin Theatre Museum
• Collection of George Kostaki, Greece, Thessaloniki

PRIVATE COLLECTIONS: 

• Catherine and William McDougall Collection (London, UK)
• Haner Urs (Zurich, Switzerland) 

SELECTED PERSONAL PROJECTS:

• 2025 — "The Supra—cultural Absolute or the sensual exploration of time", a-s—t—r—a Gallery, Moscow
• 2022 — "Arithmetic Combinatorics", Moscow 
• 2018-2019 — "Surface", Nadia Brykina Gallery, 2015 — at the representative office of the auction house MacDougall's "arithmetic combinatorics"
• 2008 — Personal exhibition Mikhail Krunov, Nadia Brykina Gallery, Zurich, Switzerland
• 1993 — Mikhail Krunov Personal exhibition House of Scientists, Pushchino, Russia
• 1990 — Personal exhibition Izograf Gallery.
• 1991 — Solo exhibition Les Oreades Gallery

SELECTED GROUP PROJECTS:

• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2021 — "Not the slightest sign of haste", JART Gallery, curators Svetlana Kerro, Alexander Korytov, Moscow
• 2019 — "25 years in nonconformism. Exhibition in honor of the creation of the Nadia Brykina Foundation, Nadia Brykina Gallery, Moscow
• 2017-2018 — "Collection", Nadia Brykina Gallery, Moscow
• 2016 — "Formula of the form", Central House of Artists, Moscow
• 1991 — "Seventh Triennial", Lalit Kala Academy, Delhi
• 1991 — "ART MYTH 2.", Moscow International Art Fair, Central Exhibition Hall "Manege", Moscow
• 1990 — "NTR in Fine Art", House of Artists on Kuznetsky Bridge, Moscow
• 1990 — "Soviet-British Group Exhibition", Central House of Artists, Moscow
• 1990 — "The Origins. Action", exhibition on the cities of the Mediterranean, Turkey, Italy, Israel
• 1990 — Asia-Europe Biennale, Ankara
• 1990 — "Painting on Paper", Moscow, London
• 1989 — "Andreenkov, Borodin, Krunov", Padua, Italy
• 1989 — "Ecology-89", 1st International Exhibition-manifestation, Warsaw
• 1988 — All-Union Youth Exhibition, Moscow
• 1988 — "Still Life and interior", Leningrad
• 1984 — "Spring Exhibition of Moscow Artists", Moscow
• 1983 — "We are for peace. Spring Exhibition of Moscow Artists", Moscow
• 1982-1988 — 14th-18th Youth Exhibitions, Moscow

SELECTED PUBLICATIONS:

• THE ART NEWSPAPER RUSSIA - Exhibition of Mikhail Krunov's works at MacDougall's Moscow office
• ArtAndYou — Mikhail Krunov: “There are two parallel processes in art - doing and seeing”
• MyDecor — Mikhail Krunov: “I believe in quantum reality, alchemy and magic wand”

Sergey Sonin

Born in Smolensk in 1968. Artist, director, screenwriter, producer. Studied at Semyon Aranovich's workshop for film directing at St. Petersburg State University of Cinema and Television 

Elena Samorodova

Born in Moscow in 1973. Architect, production designer and photographer. Studied at Moscow Art School №1. Graduated from the Moscow Architectural Institute, Experimental Design Group in 1998.

Sergey Sonin and Elena Samorodova (Partnership "Lead and Cobalt") are multimedia artists, working in two capitals: Moscow and St. Petersburg, founders of several art associations. Their works are in the collection of the Museum of Moscow, Krasnoyarsk Museum Center "Peace Square", Multimedia Art Museum and in private collections.

For the last decade and a half, the artists have been continuously experimenting, playing with imaginary reconstructions of the world's cultural and historical present, past and future in their works, filling them with new content. In their mystifications they also refer to time, shortening or prolonging its course, establishing “their” author's perceptions and frameworks.

SELECTED PROJECTS:

• 2023 — “Paradoxical Paradise”, a—s—t—r—a gallery, Moscow
• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2024 — “Utopia and Uchronia”, personal project, MMOMA Museum, Gogolevsky b-р. 10/2 , Moscow, Russia
• 2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia
• 2024 — KONTUR Graphics Fair, a—s—t—r—a gallery, Nizhny Novgorod, Russia
• 2024 — 1st GRAUND Biennale “Textile in Contemporary Art”, a—s—t—r—a gallery, GRAUND Solyanka, Moscow
• 2023 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2023 — “Utopia and Uchronia. The Dream of a Landowner of the Middle Strip”, a—s—t—r—a gallery, Moscow
• 2022 — "Northern Arcadia", solo exhibition, City Sculpture Museum, St. Petersburg.
• 2022 — "Utopia and Uchronia", solo exhibition, Navicula Artis Gallery, St. Petersburg.
• 2019 — "Procession" video premiere, Karo-art, Oktyabr cinema, Moscow
• 2018 — "Razvilka. Personal exhibition, Krokin Gallery, Moscow
• 2016 — "Trapper's Fragment. Russian Stereo". Solo exhibition, Krokin Gallery, Moscow
• 2015 — "Russian Realism XXI century", Museum of Modern History of Russia, Moscow.
• 2015 — "Now&After" video festival.  Film "Egyptian flock".
• 2015 — "Kvadratura", - "Strategic Heritage", Tenishev ECC, Smolensk
• 2015 — auction PIASA. Russian & soviet photographs. "Gogol. Rome. From the Third to the First", Paris
• 2015 — "Enrichment of Reality", - "Strategic Heritage", A3 Gallery, Moscow
• 2015 — "Victory as a new epic", - "Strategic Heritage", Zurab Tsereteli Art Gallery, Moscow
• 2014 — "Gogol. Rome. From the Third to the First", Museum of Moscow. Personal exhibition
• 2013 — "Egyptian flock", Krasnoyarsk Museum Center, personal exhibition, Krasnoyarsk
• 2013 — "Shelter for Sniper", Transatlantic Gallery, Moscow, Parallel program of the 5th Moscow Biennale of Contemporary Art. Solo exhibition
• 2013 — "Strategic Heritage", Polytechnic Museum, Moscow. Solo exhibition
• 2012 — "Hot Cold. Loft Floors, St. Petersburg
• 2012 — "Egyptian Pack. Part 1", gallery POBEDA, Moscow. Solo exhibition
• 2010 — "Divine Wind", Marble Palace, St. Petersburg
• 2009 — Exhibition "Divine Wind", Museum of Modern Art, Moscow
• 2007 — "Generals of the 70s", Yakut Gallery, Moscow
• 2005 — "Generals of the 70s", Festival "Fashion and Style in Photography", Moscow

“The universe of Elena Samorodova and Sergey Sonin is a “Russian invisible Empire”, either a post-apocalyptic world or a parallel reality, fixed in aesthetically perfect video frescoes and artifacts, such as, for example, stove tiles, which make us believe that all this happened in reality. The ordinary viewer risks getting lost in these quantum movements and, waving his hand, giving himself over to emotional and aesthetic experiences, but now we have the opportunity to talk to the authors and untangle this tangle of meanings.”

Quoted from the article “Elena Samorodova, Sergey Sonin: Over the Russian Void, through Russian Zen”

The project "Utopia and Uchronia. Dream of a Landowner of the Middle Strip"  was represented by a—s—t—r—a gallery in 2023.

“The exhibition-installation, to be more precise-a visionary interdisciplinary performance of 'Utopia and Uchronia. The dream of a middle-class landowner” is one of the variants of the embodiment of the large project of the Partnership ‘Lead and Cobalt’. It is dedicated to the Indian campaign (the turn of the 18th-19th centuries) of Emperor Paul I and Napoleon Bonaparte (then First Consul of France, and soon, in 1804, crowned Emperor of all Frenchmen).  This campaign and alliance of the two emperors almost failed to materialize in 1801. Only the assassination of Paul (in our usual linear history) stopped the advance of Russian troops towards India and put an end to the Russian-French rapprochement aimed at destroying the British dominance in the world economy and politics of the 18th-19th centuries. In the space of the project “Preparing for the Indian Campaign” the fate of the sovereign Paul the First was quite different, and the villainous conspiracy suffered a complete fiasco.”

Ivan Chechot

Exhibition “Utopia and Uchronia. Dream of a Landowner of the Middle Strip”, 2023, a—s—t—r—a gallery, Moscow

SELECTED PUBLICATIONS:

• Artguide - Year Three: the results of the 1703 art fair
• Forbes - Results of St. Petersburg art fair “1703”
• Snob - “Art owes no one anything”. A conversation between gallery owner Alina Kryukova and art historian Ivan Chechot
• BURO - New exhibitions in “HES-2”, MMOMA, “Zotov”: where to go and what to see in museums in May
• ART Knot - “I want to escape from the leveling and simplified monotony of the modern world's offerings”

Sasha Frolova is a multidisciplinary artist working in the genres of performance and sculpture. 

Born in 1984 in Moscow. Graduated from the art school at the Russian State Pedagogical University named after S.G. Stroganov. National Institute of Design at the Union of Designers of Russia, specialty "Graphic Design". Graduated from the course "New Artistic Strategies", specialty "Contemporary Art", Joseph Bakstein Institute of Contemporary Art (IPSI), 2006. Member of the Creative Union of Artists of Russia and the International Federation of Artists, the Newest Trends section.

Sasha Frolova's exhibitions and performances are successfully held all over the world. In recent years, her work has been shown in Belgium, France, Germany, Italy, and the USA. She has collaborated with Jean-Paul Gaultier, Tim Walker and Dolce & Gabbana. 

Sasha Frolova explores the aesthetics of the future, using latex and various polymer materials to create costumes and sculptures that look both monumental and weightless.

In her works, the artist combines the ironic reflection of the modern world and Epicurean sensuality, eccentricity and philosophical meditativeness. Working towards a post-pop visual language, she builds her own unique approach to creating form using biomorphic, fluid, and simplified geometric abstractions.

Алексей Мартинс родился в Красноярске 1989.

Окончил факультет живописи Красноярского художественного училища и школу современного искусства "Свободные мастерские" Московского музея современного искусства. В своей практике Мартинс использует особый набор материалов, техник и сюжетов, которые раскрывают динамичное напряжение между цивилизацией и природой. Из старых, переработанных деревянных досок, которые до сих пор хранят память о диком лесу и тепле жилища, он создает поразительные и загадочные зооморфные скульптуры. Используя акрил и графитовый карандаш, он создает лаконичные монохроматические композиции, в которых следы антропоцентрического пейзажа растворяются в “снежной” белизне незаполненного фона. Мартинс рассматривает все свои работы в различных медиа, в том числе созданные для общественных пространств, как неотъемлемо связанные части единого социального и эстетического проекта – размышления об экологических катаклизмах, двойственном статусе человека в системе органической жизни, региональной идентичности и объединяющем потенциале искусства.

Финалист премии Кандинского в 2015-м году номинации “Молодой художник". Проект года” за совместный перформанс с художником Игорем Лазаревым "Как рассказать об искусстве сибирскому городу". В 2017 году Алексей Мартинс стал победителем ежегодного конкурса Ruinart Art Patronat Award в области современного искусства. В портфолио Мартинса более 30 групповых выставок и семь персональных. Он принимал участие в 3-й Московской биеннале молодого искусства, главном проекте 7-й Московской международной биеннале современного искусства и 12-м Международном фестивале ландшафтных объектов.

Работы Мартинса находятся в Государственной Третьяковской галерее, Московском музее современного искусства, Музее современного искусства Красноярска.

ОБРАЗОВАНИЕ:

• 2017 — ММОМА, Школа современного искусства «Свободные Мастерские»
• 2010 — Живописный факультет Красноярское художественное училище

ПЕРСОНАЛЬНЫЕ ВЫСТАВКИ:

• 2025 — Темный лес, галерея Diodia Night, Москва
• 2020 — Пятна на солнце, галерея Фрагмент, Москва
• 2019 — Полярники, галерея Фрагмент, Москва
• 2018 — Формы тепла, галерея Фрагмент, Москва
• 2017 — Ментальные дрова, галерея Фрагмент, Москва
• 2016 — Сад должен разрастаться, галерея Отдел, Красноярск
• 2015 — Ментальные дрова, галерея Отдел, Красноярск
• 2010 — Пространство борьбы, галерея Секач, Красноярск

ФЕСТИВАЛИ И БИЕННАЛЕ:

• 2021 — Живая материя, Новая Третьяковка, Москва
• 2019 — Переговорщики, 13-ая Красноярская музейная биеннале, Красноярск
• 2019 — Двенадцатый часовой пояс, Центр изящных искусств Bozar, Брюсель
• 2017 — 7-ая Московской международной биеннале современного искусства. Куратор: Юко Хасегава, Новая Третьяковка, Москва
• 2017 — 12-й международный фестиваль «Архстояние» ,Никола-Ленивец
• 2015 — Практики соприкасания, 11-ая Красноярская музейная биеннале, Красноярск
• 2014 — Новосибирское биеннале наукоёмкого искусства, Новосибирск
• 2013 — Любовь пространства, 10-а яКрасноярская музейная биеннале, Красноярск
• 2012 — LIQUID LIFE, Спец.проект 3 Московская биеннале молодого искусства, Москва

НАГРАДЫ:

• 2025 — SCAN AWARDS, Наминация «Художник года», шорт-лист
• 2020 — Премия Present Continuous, Мезей современного искусства, Антвемпер (M HKA) и программа фонда V-A-C, шорт-лист
• 2017 — Победитель конкурса на соискание гранта в области современного искусства Ruinart Art Patronat
• 2015 — Премия Кандинского. Номинация «Молодой художник, проект года», шорт-лист