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:

• 2025 — Oberton Graphics Fair, a—s—t—r—a gallery, Moscow
• 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

1975 — 2022

Member of the Moscow Union of Artists, Sculpture Department.

• 1998 — Graduated from Moscow State University, Faculty of Art and Graphics
• 1996-2002 - Worked in the creative workshop sculpture V.V. Sidorenko
• 2011 — Member of the Sculpture section of the Moscow Union of Artists and the Association of Moscow Sculptors
• 2018 — Is included in the top 100 Russian artists, according to InArt
• 2020 — Finalist of the XIV International Arte Laguna Award

Valentin Korzhov's sculptural practice can be characterized as absolute spatiality, striving for a dynamic aesthetics of space. Influenced by Heidegger's phenomenology and his unusual concept of insignificance as the fundamental basis of existence, Korzhov placed his sculptural interventions - mysterious narratives about matter and the self - at the ontological point zero, in the void. Through the juxtaposition of sinister sculptural compositions and physical voids of barren fields and empty surfaces, a third space of unlimited spatiality arises.

Korzhov was born in Moscow, received a degree in sculpture at the Art Academy and began his professional career in the workshop of the sculptor-master Viktor Sidorenko. In his works, neoclassical images of the body merge with postmodern ideas about materiality, origin and relics, creating objects that are both present and simulacra archaeological fragments from uncertain, distant times, whether in the past or the future. In multidisciplinary installations that manipulate space as a medium, the artist created immersive experiences that draw inspiration not only from the resources of art, but also from modern philosophy and science.

The temporality in Korzhov's works is shifted; he reads the palimpsest of civilization as a complex tapestry of intertwined texts, images, and archetypes, moving away from the historicism of sculpture to the primordial mythographic space that encompasses the distant future. In his spatial constructions, different temporalities merge, opening up new ways to interpret the history of images through text, theory, visual culture and sensory perception. As a research-based practitioner, the artist was constantly involved in dialogues with thinkers of the past and present, retelling the discourse of modern culture in a unique way.

In the artist's practice, it is difficult to single out one direction - each of his works is a combination of sculpture and artistic composition, arranged with theatrical precision and captured on a photographic lens. Korzhov transforms each of his projects into a large-scale collaboration involving internationally recognized photographers, filmmakers, actors, and professional technicians. The end result for the viewer is a multifaceted installation with the effect of deep immersion, with a combination of sculpture, video and photographic art.

Valentin Korzhov was a member of the sculpture section of the Moscow Union of Artists, and his personal exhibitions were held at the Ekaterina Cultural Foundation and the State Museum of Fine Arts. Darwin, the Vinzavod Center for Contemporary Art, the Voronezh Academy of Arts, and others. The Archeology of Memory exhibition was shown as a parallel program during the V International Moscow Biennale of Contemporary Art. In 2018, the BEING & TIME project was included in the main projects of the VIII Tashkent International Biennale of Contemporary Art, and in 2020, Valentin became a finalist for the XIV Arte Laguna International Prize and in March presented his installation "THE BRAIN THAT PASSED AWAY" in Venice.

Korzhov lived and worked in Moscow. Tragically died in 2022 as a result of a car accident.

ABOUT «DARVIN VS DARVIN» PROJECT:

The «Darwin vs Darwin» project is an original attempt to synchronize the laws of human biological and spiritual development. Valentine's fantastic multimedia project not only collides the beginning and the end of the evolution of all living things, but also forces us to live this drama as an instant evolution of consciousness, vision, and art itself. Within the framework of the project, hyper-realistic animalistic and humanoid sculptural objects made of silicone, made in FX technology, were created, which gives the impression of absolute authenticity of what is happening, as well as works of photographic and video art.

ABOUT «BREAKFAST AT CRONUS» PROJECT:

The «Breakfast at Cronus» project is focusing on the foundational narratives of Ancient Greece, examines the ancient myth of Cronus, the progenitor of time, and a number of other archetypal characters in order to reveal the expanded basis of reality; the appearance contained in pure reality. Korzhov starts from Heidegger's concept of poetry – the act of creation or creation, identical to metaphysics and poetry, as well as the immediate reality of the material world, ready for transformation by us. This discovery leads to the truth or essence that underlies our technological imagination and helps something to arise.

ABOUT «VIA SACRA» AND «THUS SPOKE HEAVEN» PROJECTS:

If his early projects emphasize the animal nature of the human being (Darwin vs Darwin), then over time, the spiritual principle is increasingly reflected in his works. Valentin has been searching for a very long time, groping for a way to depict feelings, emotions, subtle, intangible substances in sculpture and at the same time avoid direct quoting. And if in the first projects the straightforwardness of statements is characteristic of the artist, then in recent works he has come to a compromise of allegory and figurativeness. He takes casts from Greek statues as a form for casting sculptures and uses this form as a cell, shell — it symbolizes our body. It is a vessel for the immaterial contents, which leads us to the superman (according to Nietzsche), the soul.

ABOUT «BEING AND TIME» PROJECT:

The «Being and Time» project presented variants of the earthly embodiment of the geometry of cosmic bodies. Valentin uses photographs of galaxy clusters, nebulae, and asteroid belts as a prototype for his works. To model objects, the artist has developed a special method for connecting points of light sources in photographs of space. The works are like "cosmic casts", in which it is barely possible to guess man-made, they tell the viewer about the forms of existence in the Galaxy. Korzhov materializes cosmic voids in objects. Manifesting the primacy of the "ideal law" of being over time, he gives a substantive idea of the connection of civilization with the cosmos. The artist's work appeals to archaic knowledge about the universe. Back then, the idea of the "scope of life" depended on imagination. This approach may be relevant today as an experience of cognition of being and time.

ABOUT «ANIZOTROPIA» PROJECT:

The «ANIZOTROPIA» project consisting of sculptures and objects, explores the theme of space and form in the context of non-existence as a legacy of Heidegger's metaphysics of form. The very name of the project is associated with the idea of the ancient Greeks about the unique, invisible and unpredictable growth trajectory of various objects in nature. This term is widely used in solid state physics, chemistry, and crystallography to determine the dependence of an object's characteristics on its anisotropic state. To put it more simply, a material is considered isotropic when its properties are the same in all directions. If the properties of the material change with a change in direction, the material is considered anisotropic. Similarly, a sculpture made of metal pipes and everyday objects takes on an internally unpredictable form during the creative process, and the final result is unknown until the last moment. Following the artist's inner natural logic, the readymades used in installations lose their clarity and functionality, turning into a pure form.

SELECTED 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
• 2025 — The way to Cronus, a—s—t—r—a Gallery, Moscow
• 2023 — Darwin vs Darwin. Zimova Art Buro, Moscow
• 2022 — Breakfast at Cronus. Nadya Kotova Gallery, Antwerp, Belgium
• 2021 — Observer of Immense Space. Public Art. Zaryadye, Moscow
• 2020 — Anizotropia. Artcatch Art Center, the Netherlands 
• 2020 — Round around. Gridchinhall Gallery, Cube Moscow, Moscow
• 2020 — ROUND AROUND Together with Oleg Khvostov, Gridchinhall Moscow, Cube Art Center, Moscow. 
• 2019 — Being and Time. Asia Contemporary Art Show, Gallery Bruno Massa. Hong Kong.
• 2019 — Being and Time. Bahrain International Exhibition and Convention Center. Manama, Bahrain.
• 2019 — Across Borders, Bahrain
• 2019 — Being and Time, Ekaterina Cultural Foundation, Moscow
• 2018 — International Biennale of Contemporary Art, Tashkent
• 2018 — The Last Job, Mikhail Shemyakin Foundation, St. Petersburg
• 2018 — Flesh And Sky, Gallery 11.12, curated by Attila Fattori Francini, Vinzavod, Moscow
• 2017 — Natural History Lessons History, State The Museum named after Darwin, Moscow
• 2017 — "Actual Russia: a game of classics", jointly with the State Center for Contemporary Art. Saratov State Art Museum named after A.N. Radishchev
• 2016 — "Actual Russia: Habitat", The State Museum of Modern History of Russia, Moscow
• 2014 — Bely Kurgan, Academy of Arts, Voronezh
• 2013 — "Archeology of Memory", A parallel program of the V Moscow Biennale of Contemporary Art, curated by Vladimir Potapov. Gogol Center, Moscow. 
• 2013 — Project of the V Moscow Biennale of Contemporary Art, Moscow 
• 2012 — Zeta Flood, Gogol Center, Moscow
• 2009 — Grey Screens, Central House of the Artist, Moscow

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|

Oksana Mas was born in 1969 in Ukraine.
Currently lives and works in Figueiras, Spain.

Oksana Mas is an artist, philosopher, humanist, urbanist, theorist and popularizer of contemporary art.
She participated in the 54th Venice Biennale (with a solo project, represented Ukraine), in the 55th Venice Biennale, in the 65th Film Festival in Locarno, at the Biennale "Women and Art" in Sharjah, UAE, and in numerous international exhibitions: Art Basel Miami (Miami, USA), Frieze (London, UK), FIAC (Paris), ARCOmadrid (Madrid, Spain), The Armory Show (New York, USA), Art Dubai (Dubai, UAE).

Oksana's works are sold at Sotheby's, Christie's and Phillips and are in museum and private collections such as the Moscow Museum of Modern Art, Stella Art Foundation, BREUS Foundation, Joerg Bongartz Collection, Sorelouzos Family Art Museum, Capital Group Art Foundation, Ekaterina Foundation , collections of Victor Pinchuk and Viktor Bondarenko.

EDUCATION:

• 2019 — Master of Fine Arts, decorative art and restoration at Poltava National Technical University
• 2014 — Master's degree in philosophy at Odessa State University named after Mechnikov
• 2003 — Bachelor of Philosophy at Odessa State University named after Mechnikov
• 1992 — Odessa State School of Arts named after M.B. Grekov
• 1986 — Illichivsk School of Arts (Illichivsk, Odessa region, Ukraine)

PERSONAL EXHIBITIONS:

• 2019 — AMBIT. Galeria d’Art, Barcelona, ​​Spain
• 2018 — Oksana Mas. Spiritual cities. Sotheby’s, Milan, Italy
• 2017 — Oksana Mas. Spiritual cities. Art Ukraine Gallery, Kiev, Ukraine
• 2017 — Oksana Mas. Spiritual cities. MA*GA Museum, Galarate, Italy
• 2017 — Oksana Mas. Spiritual Cities. Malpensa Airport, Milano, Italy
• 2017 — Gravity and glass. NK Gallery, Antwerp, Belgium
• 2015 — Oksana Mas. Get together. ArtFactory Istambul, Istanbul, Turkey
• 2014 — Oksana Mas. Kasteyev State Museum of Arts, Kazakhstan, Almaty
• 2013 — Renewal of the Sacred. House of the Nobleman, London, UK
• 2013-2011 — Biomorphic realism. Mironova Gallery, Kiev, Ukraine
• 2012, 2018 — Die Gestalt. TRIUMPH Gallery, Moscow, Russia
• 2012 — Black & White. Bengelsträter Gallery, Dusseldorf, Germany
• 2012 — River Gallery, Bratislava, Slovakia
• 2012 — Helium-3 and other Works. Barbarian gallery, Zurich, Switzerland
• 2012 — Barclays Bank, Zurich, Switzerland
• 2011 — Post-vs-Proto-Renaissance. Ukrainian Pavilion. 54th Venice Biennale, Italy
• 2010 — Helium-3. Aidan Gallery, Moscow, Russia
• 2010 — Retrospective. Casamor’s Foundation, Museo Dali de Figueras, Figeyras, Spain
• 2009 — When Stars Align. Zorya Fine Art Gallery, New York, USA
• 2009, 2008 — Mimesis Gallery, Geneva, Switzerland
• 2008 — MAS. Moscow Museum of Modern Art, Moscow, Russia
• 2007 — Hired to Dream. Aidan Gallery, Moscow, Russia
• 2006 — Assembly point. Gallery T. Ladyzhinsky, Odessa, Ukraine
• 2005 — Photo exhibition "The phenomenon of epidermism." Gallery "Karas", Kiev, Ukraine
• 2005 — Black and white reverse. RIS Gallery, Barcelona, ​​Spain
• 2004 — Oksana Mas. Odessa State Art Museum, Odessa, Ukraine
• 2003 — Oksana Mas. Museum of Western-Eastern Art, Odessa, Ukraine
• 2003 — Everyday Originality. Exhibition Hall of the Ministry of Foreign Affairs of Ukraine, Kiev, Ukraine
• 2002 — Oksana Mas. Center for Contemporary Art "Soviart", Kiev, Ukraine
• 2002 — The project "365". Central exhibition complex "Morvokzal", Odessa, Ukraine
• 2001 — Oksana Mas. Odessa State Art Museum, Odessa, Ukraine
• 1997 — Oksana Mas. Picture Gallery Valkenburg, Netherlands
• 1997 — Oksana Mas. M-Gallery, Prague, Czech Republic
• 1997 — Oksana Mas. Museum of Fine Arts, Illichivsk, Ukraine
• 1995 — Oksana Mas. Museum of Fine Arts, Illichivsk, Ukraine
• 1995 — Oksana Mas. Central Exhibition Hall of the Union of Artists, Kiev, Ukraine
• 1995 — Oksana Mas. UN Exhibition Hall in Ukraine, Kiev, Ukraine

GROUP EXHIBITIONS:

• 2020 — Cosmoscow Art Fair, Москва, Россия
• 2019 — AMBIT. Galeria d’Art, Barcelona, ​​Spain
• 2018 — Oksana Mas Monostand at Shanghai Design Exhibition
• 2017 — Contemporary Istanbul. Monostand NK Gallery, Istanbul, Turkey
• 2016 — COSMOSCOW 2016. Monostand of the International Heritage Art Gallery
• 2014 — 5th Biennale of female art "Women and Art". Museum of Modern Art, Sharjah, UAE
• 2013 — Project "Glasstress" at the 55th Venice Biennale. Venice, Italy
• 2013 — Art India. Mumbai, India
• 2013 — White Light / White Heat. Glasstress project for the 55th Venice Biennale. London, Great Britain
• 2013 — Pre-auction exhibition. Munich, Germany
• 2013, 2009 - Sotheby's pre-auction exhibition. London, Great Britain
• 2013 — Christie's Pre-auction Exhibition. London, Great Britain
• 2012 — MAS & PICASSO. Monte Carlo, Monaco
• 2012 — ViennaFair. Vienna, Austria
• 2013-2011 — Art Karlsruhe. Karlsruhe, Germany
• 2011 — 54 Venetian Biennale. Venice, Italy
• 2011 — The Glory of Ukraine. International Meridian Center, Washington, USA
• 2010-2006 — ART Moscow. Moscow, Russia
• 2010 — ART Chicago. Chicago, USA
• 2010-2007 — Fiac. Paris, France
• 2010 — ARCO. Madrid, Spain
• 2010-2008, 2006 — Art Dubai. Dubai, UAE
• 2009 — The Armory Show. New York, USA
• 2013, 2011-2009 — ART Kiev. Kiev, Ukraine
• 2007 — The Movement. Evolution. Art. Cultural Foundation "Ekaterina", Moscow, Russia
• 2007, 2006 — Art Basel Miami. Miami, USA
• 2010, 2009, 2005 — Group exhibitions at the Aidan Gallery. Moscow, Russia
• 2005 — Moscow International Fair of Fine Arts. Manege, Moscow, Russia
• 1999 — Foundation of Russian Artists. Paris, France
• 1999 — Golden-Art-Gallery. Cologne, Germany
• 2000, 1998 — "Marine-2000" Biennale. Odessa, Ukraine
• 1997 — Hall Gallery, Amsterdam, Netherlands
• 1997 — Municipal Exhibition Hall, Maastricht, Netherlands
• 1996 — French Cultural Center, Kiev, Ukraine

SPECIAL PROJECTS:

• 2012 — Oksana Mas's project “The Phenomenon of Epidermism” won an independent critics prize at the 65th Locarno Film Festival
• 2011 — The unique mosaic group “Look Into Eternity”, consisting of 15,000 hand-painted Easter eggs, was donated and installed at the Hagia Sophia of Kiev Museum (XI century)
• 2011 — On the central avenue of Monte Carlo Henri Dunant, the works of the “Sphere of Good and Spiritual Renaissance” by Oksana Mas were installed. Prince Albert II of Monaco chose Oksana Mas's “Spheres of Good and Spiritual Revival” and Anish Kapoor mirrors for installation in Monte Carlo, Monaco

THEY ARE AMOUNG US

The biblical subtext is nearly omnipresent in contemporary art. It's the inertia of Christian civilization, which rules the sphere of sublime and symbolic. Attempts to link images to the Good Book are natural in cases where a dimension of timelessness is needed. Oksana Mas is also interested in the tension between mythology and image, and so she infuses her series "They are among Us" with biblical subtexts. The heroes of the series are common both for her work and the recreational urban spaces she scans to find the subjects for her paintings. Starting from the Renaissance the artist looks for a model to feature in his take on the biblical theme. Mas goes the other way round: her beloved scenes of rest and bliss are inscribed with biblical allusions. The series bear a stylistic resemblance to the base layer of paintings in the "Hired to Dream" series. Full-color paintings become more abstract, however, the contours wander, appear and disappear, and the forms tend to sphere in the style of Hans Arp or early Archile Gorky. Sometimes the paintings give an air of gothic glass-stained windows; the use of lacquer enforces that impression. The people and the space in paintings tend to be close in form and color intensity. The colors feel saturated, much like in decoratively rich paintings of Pierre Bonnard or Eduard Vuillard. One of the most memorable images of the series is called "God's Fool". It is an ageless person seated near a couple of young(ish) women. His facial features are erased in a manner of 1920s Malevich. In his depictions of kolkhoz workers, he searched for a formula to paint the body after abstraction. It seems that there has been a sacral subtext at work also: Malevich wanted to find an ideal type. This type was not to be depicted with the help of individualization and other realistic techniques. Mas has other reasons to "forget" the facial features. Biblical heroes emerge anonymously; they converge with the fabric of the outside world. Otherwise Mas' narrative would come too close to be particular, and the images would fall prey to endless references to iconography of the past. Plus, Mas is not a witness to a miracle, but simply arranges the constellations of matter "by the Book", according to an overused mythology. It's not surprising then, that some compositions are taken whale from other series by Mas. Acouple reclining on the grass is, of course, "Hired to Dream". Pigeons, as always, make reappearance, but Mas is reluctant to let them play roles from the Bible. As ever, the space of Mas' paintings is more readily associated with the subject of "Rest on the Flight to Egypt", and if the depicted people are close to revealing their biblical selves, their actions are bound to be as peaceful as the atmosphere that surrounds them.

Text Valentine Djakonov

SELECTED PUBLICATIONS:

• mmoma.ru/exhibitions/petrovka25/oksana_mas/
• www.interior.ru/art/2817-oksana-mas-transfiguratsiya.html
• www.heritage-gallery.ru/kopiya-art-lanskoj
• moskvichmag.ru/lyudi/eto-moj-gorod-hudozhnitsa-oksana-mas/
• viola.bz/egg-mosaics-by-oksana-mas/
• vsemart.com/painted-egg-mosaics-oksana-mas/
• www.meridian.org/thegloryofukraine/oksanagallery.html
• estetmag.ru/365-zhizn-na-vsyu-ostavshuyusya-zhizn-personalnaya-vystavka-oksany-mas-v-cube-moscow
• snob.ru/entry/157604/