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."

SELECTED EXHIBITION PROJECTS:

• 2024 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — EXODUS, Pisa, Italy
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia
• 2024 — “Antiquity. Coordinate System”, Zaryadye Media Center, Moscow, Russia
• 2024 — “You are here. Always. Today. The Day After Tomorrow”, Museum of Transport of Moscow, Pavilion 26 ‘Transport of the USSR’, VDNKh, Moscow, Russia
• 2024 — Fair |catalog| April, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2023 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia
• 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)

ABOUT THE APPROPRIATION PROJECT:

A cycle of three series of works from the EXODUS project:

1. METOPE - painting

2. HDV (heavy duty vehicle)- sculpture. 3. Nuovo Marmo (new marble)

3. Nuovo Marmo (new marble)               

The APPROPRIATION project is the artist's reflection on the borrowing through metaphysical substitution of aesthetic and ethical categories occurring in contemporary society. The pragmatic “Modus Operandi” of the actual civilization leaves no room for stylization and reflection in the cultural discourse. The laws of global marketing and the concept of sustainable development fundamentally affect the perception of visual images by the viewer of the early XXI century.         

The Doric order's metopes are not Polaroid cards? Or the yellow panel of a quarry truck, executed in the tradition of Hellenistic plastic art? And the marble of the Carrara quarries mimic vinyl and silicone. All this has an undeniable right to exist in the world of the “maxim” of pragmatism.

EXODUS exhibition, Pisa, Italy, 2024

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

Born in 1983 in Kemerovo.

Graduated from St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz at the Department of Monumental and Decorative Painting, workshop of Prof. V.G. Lekanov (2004-2010) and Kemerovo Art College at the painting and pedagogical department (1999-2004). The works of the artist are in the Russian Museum.

In his works Kirill considers the idea of globalization as a metaphor for biblical subjects, using a stylistics referring to the aesthetics of the High Renaissance. Koteshov dissects the aesthetics of classical body image, exploring a motif reminiscent of Michelangelo's late sculptures from the Slaves series - spiraling bodies, somewhere unfinished, hardly carved from stone. 

The artist also creates industrial landscapes transformed into futuristic images of the city, using Kuzbasslak - coal tar, which refers to the industrial context of his small homeland.

SOLO EXHIBITIONS AND PROJECTS:

• 2024 — “Cosmopera”, a—s—t—r—a gallery, Moscow 
• 2010 — “Stolpopotvlenie”, Atelier No. 2 Gallery, Moscow
• 2010 — “Vive la jeune Garde”, Atelier du vent, Rennes
• 2010 — “L'Exposition d'Ilya Gaponov & Kirill Koteshov”, Maison du ventes Leclere, Marseille
• 2010 — “Summer snow”, Maison du Loir-et-Cher, Blois
• 2008 — “Three Days”, Triumph Gallery, Moscow
• 2008 — “The Last Snow”, Globus Gallery, St. Petersburg
• 2008 — “UNDER GROUND”, Manezh, Small Hall, St. Petersburg
• 2007 — “Kuzbass Parallel”, Triumph Gallery, Moscow
• 2007 — “Position”, Museum of St. Petersburg State Art and Design Academy, St. Petersburg

GROUP EXHIBITIONS AND PROJECTS:

• 2024 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
• 2024 — Fair |catalog| April, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Fair |catalog| December, a—s—t—r—a gallery, Moscow, Russia
• 2023 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2023 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg, Russia
• 2021 — “Answer 42” in the framework of the International Women's Forum, Kuzbass Ice Palace, Kemerovo, Russia
• 2020 — “Realism: yesterday and today. Art and Truth”, the branch of the Russian Museum in Malaga. Spain, Malaga
• 2020 — “Artists and collectors to the Russian Museum.Gifts.1898 - 2019. Selected” State Russian Museum, St. Petersburg
• 2019 — “Beauty: PLUS-MINUS”, Central Exhibition Hall “Manezh”.
• 2018 — “Project of interregional cooperation in the field of contemporary art NEMOSKVA”
• 2016 — “Ark”, as part of the V International Biennale of Young Art, Moscow.
• 2016 — “Changes”, Ural Vision Gallery, Budapest
• 2015 — “Russia. Realism XXI century”, State Russian Museum, Benois Building, St. Petersburg
• 2014 — “Newer than New” as part of the Baltic Biennale, New Museum, St. Petersburg
• 2014 — “Strictness and Beauty”, Ural Vision Gallery, Yekaterinburg
• 2014 — “The Other Capital”, Moscow Museum, Moscow
• 2014 — “Actual Drawing”, State Russian Museum, St. Petersburg
• 2014 — “Waterline” installation, as part of the parallel program of the biennale “Manifesta10”, Rizzordi art foundation, St. Petersburg
• 2013 — ICONS. Creative space Tkachi. St. Petersburg, Russia
• 2011 — “Gates and Doors”, State Russian Museum, St. Petersburg
• 2010 — ART Moscow, Triumph Gallery, Moscow
• 2010 — “Vive la jeune Garde”, Atelier du vent, Rennes
• 2010 — Summer Snow. Maison du Loir et Cher. Blois, France
• 2010 — “Hero of Our Time”, Moscow International Biennale “Stop! Who's Coming?”
• 2010 — “Futurology”, Garage Center for Contemporary Culture, Moscow.
• 2009 — Kandinsky Prize Exhibition. Louise Blouin Foundation. London
• 2009 — ART Moscow, Triumph Gallery, Moscow
• 2009 — VIII Krasnoyarsk Museum Biennale, Krasnoyarsk
• 2009 — Festival of Contemporary Art ART Zavod, Yekaterinburg (GTSI)
• 2009 — “Topology of Happiness”, Historic Architectural Museum Tsaritsyno, Moscow
• 2009 — “Russian Beauty”, GTSI, Moscow
• 2009 — Europe Art Fair 2009, Geneva, Switzerland
• 2009 — Art Basel Selection, Basel, Switzerland
• 2008 — “Death.net”, Art Gallery “Victoria”, Samara.
• 2008 — “White Space” Gallery, London
• 2008 — Festival of Contemporary Art ART Zavod, Yekaterinburg (GTSI)
• 2008— ART Moscow, Triumph Gallery, Moscow
• 2008 — “Pereuchet” Manege, Small Hall, St. Petersburg
• 2008 — “Memory of Fields”, loft-project “Etazhi”, St. Petersburg
• 2008 — Festival of contemporary art “Snegarry”, Kemerovo
• 2007 — “The Most New”, Atelier Gallery No. 2, Winzavod Center for Contemporary Art, Moscow
• 2006 — Festival of contemporary art “Art - Status”, Kemerovo
• 2006 — First Biennale of Contemporary Art, St. Petersburg
• 2005 — Exhibition of competitive works “The Nutcracker”, Exhibition Hall of the State Opera and Ballet Theater of the St. Petersburg Rimsky-Korsakov Conservatory
• 2003 — Work of the Year, Kemerovo Union of Artists, Kemerovo

ABOUT THE PROJECT “TREE OF LIFE”:

The main goal of the exhibition is to show the specifics of the functioning of drawing in contemporary Russian art. The main focus is on works from the 1990s-2000s, but earlier material, mostly related to conceptualism, is also included. The exhibition demonstrates various ways of actualizing drawing and drawing technique.

The intention of the work reflects the contemporary artist's distrust of the proper degree of grandeur of the space around him. The desire for the “great” inevitably leads to the element of monumental art organized according to classical laws. The idea is realized using the plot of the most daring creative event in the supposed history. The Tower of Babel, not the authentic stone steps of the ancient temple, but its mental construction, has penetrated the structure of memory and language as a multidimensional symbol. The creative act of erecting the tower can be regarded as a pure desire for greatness. The transformation of desire into action generates architectural splendor, allowing man to order nature according to the rules of supports and slabs. The creation of the tower (pillar) is the technological magnification of human civilization, and it continues to this day. Peoples, institutions, cultures and subcultures, overt and covert societies are equivalent as elements of the structure, the removal of one of them provokes instability of the puzzle. The personification of social realities turns into a metaphor of the construction process, where each character becomes an architectural block. It becomes clear that the piled bricks, which fall into place on their own, may not be aware of the existence of the Architect. Meanwhile, there is an Architect. In his role for a moment appears an artist creating virtual architecture. The scale and risk of this endeavor is deliberately high. An enthusiastically begun tower has turned into a construction frozen for lack of funds; a creation of grandiose utility risks turning into an aimless pandemonium of the crowd. And so, as a reminder of the great collapse of great ideas, the spirit of the titanic frescoes of the Renaissance inevitably accompanies the building. Considering the idea of globalization as a metaphor for biblical stories, the author uses a stylistic style that in its formal features refers to the aesthetics of the High Renaissance to build a sharp compositional structure. The body in this work merges one with the other. The body becomes at the same time a living matter, an inanimate object, a fragment, a puzzle, a detail of a mechanism that extends beyond the space of the canvas. By dissecting the aesthetics of the classical image of the body, the author thereby explores a motif that in some ways resembles the moment of Michelangelo's last sculptures from the “Slaves” series - these are spiraled bodies - somewhere unfinished - almost not carved from stone.  One can notice such a modernist gesture in them - the body both is and is not. In the same way, the body in Corpus II becomes a kind of refrain and continuation of the classical story of man, his spirit and struggle. The span of time of which we are participants and observers is a time of tectonic shifts of concepts and paradigms, like the Renaissance. Global structures absorb identities, leading to unification - of languages, images, worldviews. But can total equation be avoided? can a compromise between identity and the global emerge? can nations remain? Mixing and equation seems to be inevitable, but polyphony is always deeper and more complex. The paradox of globalization is the realization of identity. The tower cannot be completed. The general will still collapse into the particular. 

Actual Drawing Exhibition, 2014, Marble Palace, Russian Museum

Space Opera” exhibition, a-s-t-r-a gallery, Moscow, 2024

“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, which was created in the Russian Museum for the exhibition “Actual Drawing”, really combines monumental painting, which practically turns into wall painting. The drawing is executed so qualitatively that it creates a feeling of the work of old masters, nevertheless, the theme of the Tree of Life and its realization by Kirill Koteshov remain relevant today.  In Kirill Koteshov's work, the tree is formed by the intertwined figures of people, the bodies touching and connecting with each other, creating a sense of a tree crown, a monolithic mass moving upwards and uniting all things into a single bond. The bodies are devoid of faces, gender, individual characteristics, but they are physically ideal, 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.”

Kirill Koteshov

SELECTED PUBLICATIONS:

• Artguide - Year three: the results of art fair 1703
• Artguide - Cosmoopera. Imaginary Architecture by Kirill Koteshov
• Vedomosti - Classics and contemporaries: four new exhibitions of spring
• BURO - Who's new? Participating artists worth coming to Cosmoscow 2023 for
• Playbill - What to see at the new contemporary art fair |catalog|

Born in Zagorsk in 1986.

He lives and works in Moscow. 

At different stages of his creativity Barabanov turned to a variety of techniques: using automatic writing, fixing images from virtual reality, involving animals to create works of art, experimenting with pigments and textiles. Vitaly resorts to the use of different media in creating works, keeping the main focus on exploring the possibilities of painting and graphics. The natural aspect is very important for his artistic practice.

Participant of artist-run space Center "Red" (2015-2017).

EDUCATION:

• 2001-2005 - AHPU named after Vasnetsov.
• 2006-2011 - Stroganov Moscow University of Arts and Industry
• 2014-2016 - BAZA Institute

SOLO EXHIBITIONS:

• 2022 - "Gardens of Daffodils", Anvil gallery, Moscow 
• 2021 - "Make garden great again", Shilo gallery, Blazar 
• 2021 - "Perfect decay", Shilo gallery, Cube Moscow 
• 2017 - "Red Carnations", Krasny center, Moscow
• 2017 - "Red. 2.0", Red Center, Moscow
• 2017 - Plastic Cultura, Osnova gallery, Moscow
• 2016 - "Red 1.0", Krasny Centre, Moscow
• 2016 - "Practices of Plein Air", Osnova Gallery, Moscow
• 2015 - "Red. 0.5", Red Center, Moscow
• 2012 - "Suprematism in contour", DOM, Moscow

GROUP EXHIBITIONS:

• 2022 - "Myths and Incidental Encounters", Ural vision gallery, Ekaterinburg 
• 2021 - "Living Substance", State Tretyakov Gallery, Moscow
• 2021 - "Selecting the Distance: Speculation, Fakes, and Predictions in the Age of Coronation, Garage Museum of Contemporary Art, Moscow
• 2021 - "Metapause", Gromov House, Saint Petersburg
• 2021 - "ShIK Collector's Choice", All-Russian Museum of Decorative Art, Moscow
• 2020 - Special Project of the Moscow Youth Biennale "Support Group", Cube, Moscow
• 2020 - "The spring that never happened", Ball and Cross, Moscow 
• 2019 - "Visiting Valera" OZON gallery, CUBE Moscow
• 2018 - "Daria Kudinova and Vitaly Barabanov", Osnova gallery, Moscow
• 2017 - "Cosmoscow", special project, Gostiny Dvor, Moscow
• 2017 - As part of the Istanbul Biennale "Picture of nothing", PG Art gallery, Istanbul
• 2017 - "Transparent Borders", Krasny Centre, Moscow
• 2017 - "Hurrah for Sculpture", Manezh, St. Petersburg
• 2016 – «Психо», Фабрика, Москва.
• 2016 - "Open Systems. Experiences of artistic self-organization in Russia. 2000-2015", Krasnoyarsk. 
• 2016 - "Politics of Fragility", Gallery "Na Shabolovka", Moscow
• 2016 - "Raw/Boiled", Special Project of the 5th biennale of young art at MMSI, Moscow
• 2016 - "Mobile Museum of One Painting", Belyaevo Gallery, Moscow
• 2015 - "Hurrah for Sculpture", Vinzavod, Moscow
• 2015 - "Open Systems. Experiences of artistic self-organization in Russia. 2000-2015", Garage, Moscow
• 2015 - "Dirty Laundry", Red Center, Moscow
• 2015 - "Manifesto. Pulse 2", Maly Manezh, St. Petersburg
• 2015 - "On Quarantine", Krasny Center, Moscow
• 2015 - "Do Medium", Museum of Moscow, Moscow
• 2015 - "Voices", Krasny Centre, Moscow
• 2015 - "Futuristic Mimicry", Chekhov House, Moscow
• 2015 - "Bomba", Red Center, Moscow
• 2014 - "Manifest. Pulse 1", Maly Manezh, St. Petersburg
• 2014 - "Before and After", IV Moscow Biennale of Young Art, Tunnel Gallery, Moscow
• 2014 - "Beuys, Josef Beuys, My Beuys", RMCIA, Rostov on Don
• 2012 - "Open Letter" public art action, Museon, Moscow
• 2012 - "Strategic Project" III Moscow Biennale of Young Art, MMCI, Moscow.
• 2011 - "Malevich Style", Moscow, DOM
• 2010 - "Artzond", Maly Manezh, Saint Petersburg