The exhibition presents the results of artists “re-working” of landscape paintings from the Tretyakov gallery’s collection in the context of current issues of environmental protection and natural landscape.
The inflatable structures realized by Diana Machulina were inspired by the interpretation of shapes of churches in a 1962’s painting by Tatiana Mavrina taken from the Tretyakov collection and by the idea of mobile churches recently suggested by Russian Orthodox Church.
“Landscape re-worked”, New Tretyakov Gallery, until Sept 10th, 2017. Moscow.
On June 10th in London, Galerie Stanislas Bourgain and Hedonism Wines presented “In Vino Verit’Art”, a unique encounters between 5 works of art from a selection of the Russian and Ukrainian artists represented by the gallery and 5 different wines selected by one of the sommeliers at Hedonism.
True taste is the ability to listen to emotions that are generated by discoveries. Wine and art are both about celebrating life, enjoying beauty and give meaning. 22 guests were invited to enjoy this engaging and multisensory journey.
Masha Shubina’s series “Lost and found” is presented in the exhibition “Aéroports – ville monde” at La Gaité Lyrique in Paris until May 21st, 2017.
The work of Masha Shubina, the icon of the young Ukrainian generation, is composed exclusively of self-portraits that she has declined in all her work for more than 10 years, announcing the era of selfie, before the existence of Facebook or Instagram.
Here the self portraits are funny and provocative but are raising complex and current topics. They are also perfectly executed: we can feel the long tradition of Ukrainian painting. Masha’s oil technique on different layers of tracing paper gives depth to the subject represented. The background is a real card from airplane with safety instructions.
What is to see in the “Lost and Found” series? A feminist woman assuming her freedom through her image? Would it be to question the self-identification of people, particularly in the former republics of the Soviet Union. Or a demonstration that identity symbols and national stereotypes remain deeply in the manipulation of our consciousness: we live the free movement of goods and people and borders are open but we still indicate our place of birth on the travel documents, although we do not have a link with that country; just like a traditional ukrainian scarf identifies the young woman who wears it, even if it is made in China.
For Masha Shubina, this is also a manifest to bring back the natural colors stolen by different ideologisms: “Give us back the red, the color of bood and sun, that you have stolen for flags or Coca-Cola advertisment. Give us back the blue, the color of the sea, the sky and the eyes of the earth, taht you have stolen for police uniforms. Give us back the green, the color of the grass, that you have stolen for the banknote or to sell the nature of the earth.”
Vladimir Logutov is one of the 5 artists participating to the exhibition “Toward the Source” taking place at the Garage Museum of Contemporary Art in Moscow.
The exhibition will be part of theTriennale of Russian Contemporary Art, a new event organized by the Garage from March 10th, 2017.
The exhibition “Toward the Source” is the first initiative at Garage Museum of Contemporary Art to invite artists to conduct research in Garage Archive Collection and make a new artwork interpretating the archive materials in response to their discoveries
For Suite Russe Paris, which took place in the Ritz Hotel from Oct 18th to 20th, the Moscow-based artist Diana Machulina presented a project she wanted to realize for ten years: “The betrayal of intellectuals“.
Inspired by the eponymous book of Julien Benda, written in 1927, the installation is composed of four wall sculptures, portraits of revolutionary thinkers of the 19-20th centuries: Karl Marx, Vladimir Lenin – as most known fighters with capitalism, Henri Lefebvre as the author of Critique de la vie quotidienne and Guy Debord as the author of The Society of the Spectacle) presented on wooden boards as hunting trophies, with horns.
The theme of Julien Benda’s book is the betrayal of the vocations of intellectuals. Benda criticizes their abandonning of altruistic and philosophical ideals to immerse themselves in the practical and material world of political passions.
Writing at a moment when ethnic and nationalistic hatreds were beginning to tear Europe asunder, Benda’s diagnosis was a prophecy that continues to have deep resonance today.
As in all her artistic projects, Diana Machulina depicts a serious subject with beautifully done artwork and documents our contemporary reality: the portraits of 4 intellectuals presented as hunting trophees, with their head in white color like ghosts from a brave past, illustrates with humour the theme of changing way of thinking.
This installation resonates with the Ritz Paris: the hunting trophees connect with the decor of the Hemingway bar and somehow the Ritz has appealed to many philosophers and intellectuals.
For the first time in Paris, Galerie Stanislas Bourgain has presented the third edition of its exhibition project Suite Russe. From Oct 18 to 20th, in a suite of the Ritz Hotel, the gallery has showed a selection of contemporary artwork by Russian an Ukrainian artists to collectors, curators and journalists, by appointment only.
With Suite Russe, Galerie Stanislas Bourgain offers his guests a different and refreshing encounter with contemporary art from Russia and ex-USSR countries in a friendly and intimate environment, a peaceful rest from the urban life.
Suite Russe was launched in New York in May this year at Baccarat Hotel during Frieze New York, and then followed in Vienna at Sacher Hotel during the Wiener Festwochen.
To coincide with the participation of Fyodor Pavlov-Andreevich in the Wiener Festwochen, Galerie Stanislas Bourgain made the second edition of Suite Russe in Vienna.
On May 21st and May 22nd, the gallery organized private showings of Russian contemporary art, including new works by Fyodor Pavlov-Andreevich and Diana Machulina, in a suite of the Sacher hotel in Vienna, an hotel connected to the Ballets Russes.
Fyodor Pavlov-Andreevich ‘s performance Carousel brings together different individual artistic wills in a collective unconscious intention. It rotates with nine performance artists inside. None of the performers knows what the others will show. And since a carousel must turn, it needs – in this case – volunteers from the audience to kick-start the performance.
Carousel performance was first shown at Faena Arts Center, Buenos Aires in 2014. It will be part of the Wien Festwochen from May 14th to May 22th, 2016
Suite Russe is a new concept of private showings in a destination hotel suite launched by Galerie Stanislas Bourgain for a personal and exclusive connection to Russian art.
Simultaneously with Frieze art week, Suite Russe premiered at the Baccarat Hotel on May 5 & 6 in New-York. Baccarat, a French Maison, has a long history with Russia and welcomed warmly the project.
During this event, the gallery unveiled “Dance Macabre” the new project by the Moscow-based artist Diana Machulina: a series of etchings of dance diagrams mixing foot steps and skeleton parts.
Suite Russe also presented the “Yellow pages” cast foam book sculptures of Alina&Jeff Bliumis , figuring Trump and Clinton which makes them topical, though a 2008 project. Strong images of the “Temporary Monuments” triptychs by the performance artist Fyodor Pavlov-Andreevich received special interest.