Oleg Dou is the pseudonym of artist Oleg Douryagin.

Born in 1983 in Moscow. Graduated from the Moscow Institute of Steel and Alloys, specializing in economic programming. Since childhood he was interested in art, became interested in creating computer graphics. In 2005 he took up photography and began to combine it with post-processing. He works in various media from digital images and video to sculptures.
Winner of International Photography Awards (2007), International Color Awards (2008) and Arte Laguna Art Prize (Italy, 2009). Nominee of the Kandinsky Prize in 2007 and 2008.
Oleg created a Photoshop cover commissioned by Adobe, participated in the “Leaders of Public Opinion” program, creating works at the invitation of the Culture Department of the Brazilian Ministry of Foreign Affairs. He has collaborated with brands such as Givenchy, Juun J, David Koma. 
His works are in museum collections of Luxemburg Museum of Modern Art, Luxembourg; Ekaterina Foundation, Russia; Jan des bouvrie, Institut Culturel Bernard Magrez, France; Samawi Collection, Dubai; Jeju museum of art, Korea; 21 cMuseum, USA; Moscow Multimedia Art Museum, Russia; FRAC Reunion, France; Sollo Collection, Spain and others. As well as in private collections in Russia, America and Switzerland. 

SELECTED EXHIBITIONS AND PROJECTS:

• 2025 — Oberton Graphics  Fair a—s—t—r—a gallery, Moscow, Russia 
• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 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, Russia.
• 2024 — Fair |catalog| April, a—s—t—r—a gallery, Moscow, Russia
• 2019 — “Mutant”, solo exhibition , Osnova Gallery, Moscow, Russia 
• 2018 — “Looking Back and Beyond”, group exhibition, Deborah Colton Gallery, Houston, USA 
• 2018 — “Elèctric i llunyà”, group exhibition, Tecla Sala Cultural Center, Barcelona, Spain
• 2017 — “Elegance”, group exhibition, RTR Gallery, Paris, France 
• 2016 — “On behalf of baboushka”, group exhibition, RTR Gallery, Paris, France 
• 2016 — “All eyes on me”, group exhibition, Pechersky Gallery, Moscow, Russia 
• 2016 — “Lonely Narcissus”, solo exhibition, Osnova Gallery, Moscow, Russia
• 2014 — “Faces”, solo exhibition, Galerist, Istanbul, Turkey
• 2014 — “8 years. Retrospective”, solo exhibition, RTR Gallery, Paris, France
• 2012 — “Another Face”, solo exhibition, Museum of Multimedia Arts, Moscow, Russia
• 2012 — “Tears and Toy Story”, solo exhibition, Museum of Regional Arts of Krasnodar, Russia
• 2012 — “Another Face”, solo exhibition, RTR Gallery, Paris, France
• 2012 — “Reboot”, group exhibition, Red October Gallery, Moscow, Russia
• 2012 — “I am who I am”, group exhibition, KIT Kunst im Tunnel, Düsseldorf, Germany
• 2012 — International Photography Festival, Republic of Korea
• 2012 — “Perestroika”, solo exhibition, Fotofest 2012 Biennial of Photography, Houston, USA
• 2012 — “Photography: Russia, China, Czech and Slovak Republic” group exhibition, Allen Center, Houston, USA
• 2011 — “Cubs”, solo exhibition, Espace Art 22 gallery, Brussels
• 2011 — “Cubs”, solo exhibition, Senda Gallery, Barcelona, Spain
• 2011 — FotoArtFestival, BWA, Bielsko, Twarze, Poland
• 2011 — “Cubs”, solo exhibition, RTR Gallery, Paris, France
• 2011 — “Gevaarlijk Jong”, group exhibition, Dr. Ghislain Museum, Ghent, Belgium
• 2011 — “F for Fake”, group exhibition, Belvedere Palace, San Leucio “Smell, Colour, Chemestry, Art and Education”, Santa Monica Museum, Barcelona, Spain
• 2010 — “Toystory”, solo exhibition, Flatland Gallery, Utrecht, Netherlands
• 2010 — “Toystory”, solo exhibition, Senda Gallery, Barcelona, Spain
• 2010 — “Russian Tales”, group exhibition, EXPRMNTL gallery, Toulouse, France
• 2010 — “Russains! Photographic portrait 1970-2010”, group exhibition, OREL ART gallery, Paris, France
• 2010 — “Atopia”, group exhibition, Center for Contemporary Culture of Barcelona, Barcelona, Spain
• 2010 — “inSPIRACJE”, festival, Poland
• 2010 — “L'exquis et l'obscur”, Galerie D.X, Bordeaux, France
• 2009 — “Tears”, solo exhibition, Art Espace 22, Brussels, Belgium
• 2009 — “Les Visages”, group exhibition, Interalia, Seoul
• 2009 — “Look me in the Eyes”, group exhibition, RTR Gallery, Paris
• 2009 — Pingyao International Photography Festival 2009, China
• 2009 — “Visage. Image. Timps”, group exhibition, Ekaterina Cultural Foundation, Moscow Biennale of Contemporary Art, Moscow

Fair |catalog| April 2023, a—s—t—r—a gallery, Moscow, Russia

SELECTED PUBLICATIONS:

• Artguide - Year Three: the results of art fair 1703
  
• Photoplay - Talks. Oleg Dou
  
• Moskvich Mag - This is my city: artist Oleg Dou
  
• ArtInvestment - Artist of the Week: Oleg Dou
• U magazine - Artist Oleg Dou - about fashion, design and art collaborations
  
• BURO. - The Carol Christian Poell store will host an exhibition of artist Oleg Dou
• Next Level - Oleg Dou. Sketches

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:

• 2025 — Fair |catalog| November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 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|

«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”

Grigory Orekhov is an artist and sculptor, born in Moscow in the family of the outstanding Soviet sculptor, academician, People's Artist of Russia Yuri Orekhov. His work is characterized by perfection of form and metaphorical depth. One of his significant works is the sculpture "Tumbler Agatha", created in honor of the artist's daughter. Agatha's birth was an inspiring and significant event in Gregory's life, vividly reflected in this work.

Grigory Orekhov is known for his projects in the field of public art and land art.

Grigory Orekhov is a regular participant of the Cosmoscow International Contemporary Art Fair. In 2017, he participated in the international exhibition "Start" at the Saatchi Gallery in London. 

In 2017, Grigory Orekhov installed the 4-meter-high sculpture "Agatha" at the main entrance to GUM on Red Square, and two years later it decorated the architectural ensemble of Stoleshnikov Lane, becoming the central element of Moscow's urban space.

In 2019, Grigory Orekhov became the first contemporary artist to present his work in the historical space of the Peterhof State Museum-Reserve – the sculptural composition "Eternity", dedicated to the 220th anniversary of the birth of Alexander Pushkin. Also in the same year, at the 58th International Venice Biennale, he presented the site-specific installation "Salvation" in the garden and on the facade of the Scuola Grande della Misericordia.

In 2020-2021, his sculpture OVOID 7.1 was presented on the Cathedral Square of the Moscow Kremlin as part of the exhibition "Carl Faberge and Fyodor Ruckert. Masterpieces of Russian Enamel" in the Museums of the Moscow Kremlin.

Grigory Orekhov also created Russia's first modern sculpture dedicated to Kazimir Malevich in the park of the same name in 2020.

In 2021, he presented a large-scale land art project "Crossroads" on the Moskva River, drawing attention to the problem of building protected areas in the Moscow region.

In 2022, Grigory Orekhov took part in the first land art project "White Forest" in K. Malevich Park with his work "Nowhere", a 250-meter red carpet laid out in a snow-white forest along linden alley.

In 2023, he created a unique sculpture “Talmud” in the middle of Lake Senezh among thickets of reeds as part of the state program for landscaping the territories of the Moscow region.

He actively participates in solo and group exhibitions. His works are in the collections of the Russian Museum, MAMM and in private collections. In addition, Grigory Orekhov holds the post of General Director of the Sculptor Foundation of the Russian Academy of Arts and is a member of the Moscow Union of Artists.

SELECTED EXHIBITIONS:

• 2024 — Dream Shuttle, Toile Blanche Contemporary, Saint-Paul-de-Vence
• 2024 — Echo, Land Art project in Malevich Park, Moscow Region
• 2023 — Red Vertical 2022, a land art project in the Moscow region
• 2021 — Crossroads, a land art project on the Moskva River, Moscow Region
• 2020 — Harvest, Land art project, Moscow region
• 2019 — Eternity, Peterhof State Museum, Saint Petersburg
• 2019 — Major Tom, installation at the Skolkovo Golf Club, Moscow
• 2019 — Salvation, Scuola Grande della Misericordia, Venice, Italy
• 2018 — Undoubtedly, the Shchusev State Museum of Architecture, Moscow
• 2017 — Agatha, GUM, Red Square, Moscow

SELECTED GROUP EXHIBITIONS:

• 2024 — Group exhibition, Gallery in the East, Compiegne, France
• 2022 — White Forest, Malevich Park, Moscow region
• 2022 — New exhibition "90th anniversary of the Moscow Union of Artists", Moscow
• 2022 — Created in Moscow, Jart Gallery, Moscow
• 2021 — A shadow of the soul, but a little sharper, Multimedia Art Museum, Moscow
• 2021 — Through and Through the Looking Glass, Museum of the 20th and 21st Centuries, St. Petersburg
• 2020 — Another reality, Gallery "O", Moscow
• 2020 — Exhibition of works by the nominees of the First Moscow Art Prize, Zaryadye, Moscow
• 2020 — Ovoid 7.1, for the exhibition of CARL FABERGE and FYODOR RÜCKERT at the Kremlin Museums, Moscow
• 2020 — Artists and Collectors at the Russian Museum, State Russian Museum, St. Petersburg
• 2019 — Personal Structures-Identities, Palazzo Mora, Venice
• 2018 — Breakthrough, Ekaterina Foundation, Moscow
• 2018 — Lilac Ladies, O Gallery, Moscow
• 2018 — KANON, O Gallery, Moscow
• 2018 — RGB, O Gallery, Moscow
• 2017 — Start, Saatchi Gallery, London
• 2017 — Reflexion, O Gallery, Moscow

SELECTED FAIRS:

• 2025 — Fair |catalog|  November, a—s—t—r—a gallery, Moscow, Russia
• 2025 — Cosmoscow, a—s—t—r—a gallery, Moscow, Russia
• 2024 — Cosmoscow, Timiryazev Center, Moscow
• 2024 — BAD, Bordeaux Art+Design, Bordeaux
• 2023 — Art Moscow, Gostiny Dvor, Moscow
• 2022 — Art Moscow, Gostiny Dvor, Moscow
• 2022 — Cosmoscow, Gostiny Dvor, Moscow
• 2021 — Cosmoscow, Manege, Moscow
• 2020 — Cosmoscow, Manege, Moscow
• 2019 — Cosmoscow, Gostiny Dvor, Moscow
• 2018 — Cosmoscow, Gostiny Dvor, Moscow
• 2017 — Cosmoscow, Gostiny Dvor, Moscow

AWARDS:

• 2024 — Gold Medal of the Russian Academy of Arts

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.