COSMOSCOW Art Fair 2022
a-s-t-r-a x COSMOSCOW
14 - 17 September, 2022
NATALIA TURNOVA, PAVEL BUSHUYEV, DMITRY MARGOLIN
Booth С11
JOLIE ALIEN
Created in Moscow Section
Gostinyi dvor
The artists at the a-s-t-r-a gallery stand work with different techniques, being at different stages in their careers and with different ways of communicating with the public, but all three share a common artistic orientation - exploring internal processes, searching for their own answers to eternal questions, a backward perspective that focuses on the personal.
Natalya Turnova's vibrant works, created during different periods of creativity, metaphorically illustrate the struggle and endless shift of ideas that exist at the expense of the energy of human lives and form a vortex that spirals into a merciless time spiral.
Pavel Bushuyev's sculptural group of works, Deformation, complemented by monotypes from the same series, provides a visual opportunity to interact with the faceless, deformed fates of people who have thrown their time into the flames of the great bonfires.
Dmitri Margolin's graphics from The Apocalypse reveal a hidden plan of timeless reflection on the creation of the world and its end, on the multifaceted heroes of Adam and Eve's dramas and their Apocalypse, and on the inevitable transformation of this whirlwind of ideas and destinies into a universal conflagration.
But in all this there remains an open ending: the end of one thing is always the beginning of another, which has yet to be invented by the same new Adam and Eve who are just entering this world.
Alien Jolie
An autodidact artist, she works with catchy images, simple plots, cropped compositions and expressive drawings. Each of Jolie's works is introspective, connected with personal memories, which partly explains her visual language, which is intertwined with surreal images, simple geometric patterns, catchy inscriptions made with paint and spray.
Born in 2002 in Moscow.
Graduated from the Joseph Bakstein Institute of Contemporary Art. A nominee for the Art Theater Prize in the contemporary art section for her solo exhibition “Dry Nettles” at MMOMA.
Jolie combines her art studies with a career in the fashion industry, participating in shows for such brands as Valentino, Off-White, Jil Sander, Paco Rabanne, Prada, Vivienne Westwood, Simone Rocha and others. She has starred in international advertising campaigns for Mango, Fendi and Adidas. The rights to use the image of her work “Whirpool” were acquired by Mango for a collection of T-shirts worldwide. She has been featured in Document Journal, Vogue.com, InStyle, Elle and Badlone.
The artist works with eye-catching imagery, simple subjects, framed compositions and expressive drawing. Jolie's visual language weaves together surreal imagery, geometric patterns and brightly colored lettering to create a collage effect reminiscent of graffiti. Jolie outlines a youth to which she has direct access and which is closed to the adult world. As an artist, she values and prioritizes perception over reflection, the intuitiveness and automaticity of her paintings kin them to the art brut and works of Jean Dubuffet.
Her works are in the museum collections of the Siyaniye Center, Apatity, MMOMA (Russia), as well as in private collections in Russia, China, Japan, Belgium and America.
She lives and works between Moscow, London and Tokyo.
SELECTED PROJECTS:
- 2024 — Blazar, a—s—t—r—a gallery, Moscow
- 2024 — Support - Surface, Frédérick Mauraux gallery, Antwerp, Belgium
- 2023 — Blazar, a—s—t—r—a gallery, Moscow
- 2023 — “Private Chaos” solo exhibition, Salahin gallery, Paris, France
- 2023 — Nomination for the Art Theater Prize in the field of art in the section of contemporary art, Moscow, Russia
- 2023 — Opening exhibition at Serene gallery, Lugano, Switzerland
- 2022 — Amici / Friends, Serene Gallery, Lugano, Switzerland
- 2022 — “Girls! Girls! Girls! Girls!” Exhibition of contemporary art by Russian female artists, Vladey, Winzavod, Moscow
- 2022 — Cosmoscow art fair, stand “Made in Moscow”, a—s—t—r—a gallery Moscow
- 2022 — Dry Nettles, MMOMA (Petrovka, 25), Moscow
- 2022 — a—s—t—r—a Open.Vol 1, a—s—t—r—a gallery, Winzavod, Moscow
- 2022 — Collective self-fulfilling prophecy about our beautiful tomorrow, a—s—t—r—a gallery, Winzavod, Moscow
- 2022 — Art Moscow program within the 48th Russian Atiquarian Salon, a—s—t—r—a gallery. Gostiny Dvor, Moscow
- 2021 — Blazar, a—s—t—r—a gallery, Moscow
- 2021 — Program Art Moscow within the framework of the 46th Russian Antique Salon, a—s—t—r—a gallery. Gostiny Dvor, Moscow
- 2021 — Solo show “Symbiosis”, Peak Moscow by a—s—t—r—a gallery
- 2020 — Cosmoscow Art Fair, Moscow, Russia, a—s—t—r—a gallery
- 2020 — ENTER Art Fair, Copenhagen, Denmark, a—s—t—r—a gallery
- 2020 — “I Lost Track of the World”, curated by Irina Shulzhenko, Richter Space
- 2019 — Group show “One, Two, Three”, curated by a—s—t—r—a, space Cube.Moscow
- 2019 — Solo show “20.11”, curated by Irina Shulzhenko and Dmitry Yanchoglo, Richter Space 2019
- 2019 — Solo show “1367 number of my tick - what to do?”, curated by a—s—t—r—a, space Cube.Moscow
live performance at the opening of a—s—t—r—a LAB, “Tsvetnoy” (creating a five-meter wall painting) - 2018 — “I Wanted”, Kino Gallery
SELECTED PUBLICATIONS:
- The Blueprint - A brand with a big future: Jolie Objects
- The Blueprint - Artist Jolie Alien on art and modeling career
- The Blueprint - Art Gifts in the online gallery THE BLUEPRINT
- The Blueprint - Art + Fashion in Russia
- InStyle - Ours in business: what you need to know about model Zhenya Makarova
- Kommersant - Models from the new Loewe collection travel around Moscow with artist Jolie Alien
- Sportchic - Model and artist Jolie Alien opens her second exhibition in Moscow
- Typical Moscow - Jolie Alien exhibition at the Ritz-Carlton.
- Document - Model Jolie Alien discusses her first solo art exhibition
Works
Alien Jolie
Chair without support covered with a bouquet, 2023
Canvas, oil, acrylic, pastel
120 х 90 см
Bushuev Pavel
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.
Born in 1987 in Kopeysk, Chelyabinsk region.
Graduated from the Chelyabinsk Art College (2007) and the graphic arts department (studio of Andrei Alekseevich Pakhomov) of the Repin St. Petersburg State Art Academy (2014). From 2014 to 2017 he trained in the creative workshops of the Russian Academy of Arts in St. Petersburg. During his studies he participated in exhibitions and competitions in Russia, Korea and China, cooperated with GOZNAK (Mint). Pavel's works are in the collections of the Fabergé Museum, BREUS Foundation, private collection of the head of the House of Guerlain, as well as in private collections of many countries, including Russia, France, Korea, USA and China.
In his works, Pavel captures the process of internal metamorphosis that takes place within a person while experiencing something that comes from the outside. Having received an academic art education, Paul continues to develop in various contemporary media, experimenting with artistic languages, however a large portion of his visual practice is black and white graphics. In his work, the artist often collides academic drawing with contemporary trends, exploring the boundaries of normality and subjectivity, reality and mysticism.
SELECTED EXHIBITIONS AND AWARDS:
- 2024 — KONTUR Graphics Fair, a—s—t—r—a gallery, Nizhny Novgorod
- 2023 — Fair |catalog|, a—s—t—r—a gallery, Moscow
- 2023 — St. Petersburg Art Fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg
- 2023 — KONTUR Graphics Fair, a—s—t—r—a gallery, Nizhny Novgorod
- 2023 — Quiet Move. (Un)obvious art scene of St. Petersburg, a—s—t—r—a gallery, Winzavod, Moscow
- 2022 — blazar young art fair, a—s—t—r—a gallery, Moscow
- 2022 — Cosmoscow art fair, a—s—t—r—a gallery, Moscow
- 2022 — a-s-t-r-a Open.Vol 1, a—s—t—r—a gallery, Winzavod, Moscow
- 2022 — St. Petersburg art fair “1703”, a—s—t—r—a gallery, Manezh, St. Petersburg.
- 2022 — Collective self-fulfilling prophecy about our beautiful tomorrow, a—s—t—r—a gallery, Vinzavod, Moscow
- 2022 — Art Moscow program within the 48th Russian Atiquarian Salon, a—s—t—r—a gallery. Gostiny Dvor, Moscow
- 2021 — Group exhibition “12345 I go looking”, St. Petersburg, Russia
- 2021 — Cosmoscow art fair, a—s—t—r—a gallery, Moscow
- 2021 — Blazar, a—s—t—r—a gallery, Moscow
- 2021 — Art Moscow program 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 — Cosmoscow art fair, a—s—t—r—a gallery, Moscow, Russia
- 2019 — Art Event Suspense. Brakgausen Mansion, St. Petersburg, Russia *
- 2019 — ART Event Suspense.
- 2019 — ART Event Suspense 2.0. Port Sevkabel, St. Petersburg
- 2018 — Intervention. Hermitage Museum, Main Staff, St. Petersburg
- 2018 — International Fifth Biennial of Graphic Arts. Romania
- 2012 — International Art Exhibition. Beijing, China
- 2011 — 1st place in the competition for the design of the Olympic banknote
- 2010 — International Art Exhibition. Seoul, Korea
“Creativity must always be sincere in order to find its audience. Creativity is a constant search for its sides. It is the pleasure of discovery. It is the continuous dissatisfaction with what has already been done, as a sign that one must move on. Deformation (from Latin Deformatio - “distortion”) is a change in the mutual 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. The deformation is the fixation of these perceptions.”
Pavel Bushuev
FAVORITE PUBLICATIONS:
- Playbill - What to watch at the new contemporary art fair |catalog|
- Moscow Online - The a-s-t-r-a gallery hosted the opening of the group exhibition “Quiet Move. (Not) obvious art scene of St. Petersburg”
- Afisha Daily - Which exhibitions are worth going to in April 2023?
- Zhara Media - Pavel Bushuyev: “Being an artist is not a job, but rather a way of life”
- Buro. - “The Great Emptiness” and “Sunset in a Hundred and Forty Suns”: exhibitions visited in the past year and planned to see in 2024
Works
Margolin Dmitriy
Dmitriy Margolin was born in Leningrad.
In 2020 Dmitry received an offer to paint the Church of St.John the Baptist in the Pushkin Mountains. Work on the large-scale painting had been lasting for 5 months and was completed in September 2020.
Dmitriy Margolin was born in Leningrad.
He graduated from Leningrad Secondary Art School. In 2007 he graduated from Ilya Repin State Academic Institute of Painting, Sculpture and Architecture, Faculty of Painting.
His paintings, graphics and sculpture have been exhibited at the Academy of Arts, the Manezh Central Exhibition Hall, the Erarta Museum, the Gromov Gallery and other galleries in Russia and abroad. His works are part of the collection of the Russian Museum.
In 2020 Dmitry received an offer to paint the Church of St.John the Baptist in the Pushkin Mountains. Work on the large-scale painting had been lasting for 5 months and was completed in September 2020.
SELECTED EXHIBITIONS:
- 2022 – Cosmoscow art fair, a-s-t-r-a gallery, Moscow, Russia.
- 2021 – Start Art Fair, London, UK.
- 2019 – Street and Heavenly, DK Gromov Gallery, St.Petersburg, Russia.
- 2015 – Passions, Erarta Museum, St.Petersburg, Russia.
- 2014 – Night Voyage, Italian Hall of the Academy of Arts, St.Petersburg, Russia.
- 2013 – Paintings and graphics by Dmitry Margolin, Master gallery, St.Petersburg, Russia.
- 2008 – Together and individually, MART gallery, St. Petersburg, Russia.
Curatorial text: Dmitry Ozerkov
"...Dmitry Margolin does not use tracing paper, powder and other ancient techniques of copying and drawing images. Each composition he invents anew, and it is not completely similar to well-known Byzantine or Old Russian prototypes, which are only partially recognisable in it. For example, in the scene "Noli me tangere", where the Saviour is open and attentive to Mary coming to him. He does not pull away from her, saying, "Do not touch me, for I have not yet ascended to my Father" (Jn 20:17), but extends his arms to her, as if in a reciprocal embrace. What is this, a violation of the canon? Not at all. Dmitry Margolin depicts an earlier episode of the meeting, when Mary is still only recognizing Jesus. At the open coffin she searches for His body to take Him away. "Jesus says to her: 'Wife, why are you weeping? Who are you looking for?' She, thinking it was the gardener, says to Him, 'Sir! If you have carried Him out, tell me where you put Him, and I will take Him' (Jn 20:15). She still does not understand that it is He, for His appearance appears to be different from that to which she is accustomed. Then He calls her by name and she recognises Him by His voice: "'Mary!' she turns to Him and says, 'Rabboni! - which means 'Teacher!'" (Jn 20:16). And she rushes to Him. Just then He cautions: "Do not touch Me". Margolin does not yet have these last words. And the whole episode is depicted in the Garden of Eden, which apparently the artist was prompted to do by the Gospel word for gardener. All herbs and flowers are there; beasts of unseen beauty roam about. The tiger here does not attack the roe deer, while the "blue ox full of eyes" reclines solemnly and dignified on the ground. The birds of the sky with their incredible colours lie at ease at the feet of the Saviour. This is the story of Prodant's "love which moves the sun and the stars". The composition of this entire scene harks back to the motif of the meeting of a man and a woman which is central to the work of Dmitry Margolin and which he reveals in both painting and sculpture. His Christ and Mary resemble Adam and Eve, the beautiful and abstract kuros and bark, meeting under the paradisiacal apple bush. The sculptures of ancient Greek kuros and bark served as a prototype for the church painting, which the artist in his own way conceptualises and endows with Christian attributes. And Margolin's pictorial painting The Bridegroom and His Bride (2018), where Kuros-Adam meets the bark Eve in the garden. It is both the beginning and the end, the coming fall and the promise of salvation.
Where is "terrible modern art" with its irony and reversals of meaning, with its political conjuncture and flamboyant scandals? There is no place left for all this in the temple. Dimitri Margolin, left it all behind the threshold. However, even the insider's thoughts were enough to reject the mural as a whole. Its creation itself is a gesture of modern art, which gives its author the right to compose textbook subjects from various iconographic elements in his own way. In terms of appearance only the "Last Judgment", placed, as it is supposed to be, on the western wall, is modern with Dmitry Margolin. It represents the urban panorama, where in addition to the houses we can guess the factory chimneys, blast furnaces and countless factory cranes. This whole world blazes in the flames of hell, in contrast to the eternal calm of the Garden of Eden on the symmetrical stage. The demon is cast into the underworld, while the Saviour triumphs in the fence of the heavenly Jerusalem. Ancient iconography is read in a modern way, with added themes of ecology and machine-made hell.
Elements of modernity can also be found in other scenes if one wishes, but their appearance only testifies to the artist's ability to think beyond a given framework. If the whale in the scene with Jonah is utterly hrestomatic and comes from somewhere in the Yaroslavl painting, transferred from the Piskator Bible, the rude peasant faces of the Pskov shepherds in the Nativity scene attract attention with their "realness". They are close to modern faces, which has something in common with the entire history of the depiction of this subject in world art. Simplicity of the faces contrasts with the miracle. With Margolin behind these faces we can read the entire Russian poetic tradition of the Christmas story - from Pasternak to Brodsky, with the "knob in the snowdrift". The centurion Longinus in the Crucifixion scene is also modern. He's not wearing a helmet, and his shaved head and his uniform reinforced with protection give him away as a modern strongman. However, the inscription "SPQR" on his jacket and the canonical attire of the other characters leave no doubt as to the evangelical nature of the events.
What is important in this temple painting is its monumental unity - from the smallest detail, such as the plumage of the bird in "Noli me tangere", to the entire three-dimensional unity as a whole. There is a programme, there is a canon and there is its interpretation in colours. There is a careful and intelligent reading of the canonical text, a prayerful reflection on it and a reading of it today. There is no malice or attempt to shake the foundations here. On the contrary, there is a desire to show that Christian history is alive and more than up-to-date. And that it is precisely today that, beyond basic education and the performance of rituals, the artist and the ordinary parishioner require incredible concentration and high morals in order to continue to call themselves Christians.
Works
