2022 year
Curator - Pavel Pepperstein
Exhibition "Mythogenic love of casts"
April 29 - June 30
Pavel Pepperstein is one of the key artists and writers of Moscow conceptualism, the creator of mythological worlds in which politics, fantasy and personal visions form a single poetic language. His practice combines painting, literature, comics, music and performance, and he himself has long been a mediator figure between art, philosophy and cultural myth-making.
The project, curated by Pavel Pepperstein, is a large-scale series of visual interpretations of the eponymous postmodern novel written in the spirit of Moscow conceptualism. The central event was the limited edition of the book in comic book format, a rare reinterpretation of the text and design, in which each chapter became an independent artistic statement.More than thirty contemporary artists were involved in the creation of the comic, including Artyom Bezmenov, Ekaterina Volzhina, Rinat Voligamsi, Ruslan Gonchar, Evgeny Mitta, Arkady Nasonov, Tanya Peniker, Vladimir Perkin, Viktor Pivovarov, Assol Sas, U. Tsvirkun, Kirill Chelushkin, as well as the authors of the novel themselves — Sergey Anufriev and Pavel Pepperstein, who acted as comic book artists.Each participant received one chapter of the work for independent visual reading.
As a result, the chapters of the comic are strikingly different from each other in style, technique and intonation: from graphic minimalistic structures to expressive pictorial fragments, from surreal fantasies to subtle conceptual irony. Such diversity creates the effect of a "mythological kaleidoscope", where the novel's plot manifests itself as a chain of autonomous worlds connected by a common idea, but not subordinated to uniformity.
The exhibition reveals the novel as a living organism existing at the intersection of literature, visual art and collective imagination. She turns reading into a journey through a multitude of artistic languages, where myth, love, castes and alternative realities take on new forms, expanding the boundaries of perception and emphasizing the multilayeredness of the original text.
April 29 - June 30
Pavel Pepperstein is one of the key artists and writers of Moscow conceptualism, the creator of mythological worlds in which politics, fantasy and personal visions form a single poetic language. His practice combines painting, literature, comics, music and performance, and he himself has long been a mediator figure between art, philosophy and cultural myth-making.
The project, curated by Pavel Pepperstein, is a large-scale series of visual interpretations of the eponymous postmodern novel written in the spirit of Moscow conceptualism. The central event was the limited edition of the book in comic book format, a rare reinterpretation of the text and design, in which each chapter became an independent artistic statement.More than thirty contemporary artists were involved in the creation of the comic, including Artyom Bezmenov, Ekaterina Volzhina, Rinat Voligamsi, Ruslan Gonchar, Evgeny Mitta, Arkady Nasonov, Tanya Peniker, Vladimir Perkin, Viktor Pivovarov, Assol Sas, U. Tsvirkun, Kirill Chelushkin, as well as the authors of the novel themselves — Sergey Anufriev and Pavel Pepperstein, who acted as comic book artists.Each participant received one chapter of the work for independent visual reading.
As a result, the chapters of the comic are strikingly different from each other in style, technique and intonation: from graphic minimalistic structures to expressive pictorial fragments, from surreal fantasies to subtle conceptual irony. Such diversity creates the effect of a "mythological kaleidoscope", where the novel's plot manifests itself as a chain of autonomous worlds connected by a common idea, but not subordinated to uniformity.
The exhibition reveals the novel as a living organism existing at the intersection of literature, visual art and collective imagination. She turns reading into a journey through a multitude of artistic languages, where myth, love, castes and alternative realities take on new forms, expanding the boundaries of perception and emphasizing the multilayeredness of the original text.
Curator - Vlada Zaks
Alexander Krylov's exhibition "S I L A"
July 15 - August 31
Alexander Krylov is a bright new figure on the map of Russian contemporary art. The large—scale solo exhibition "S I L A" is a project that asks fundamental questions about the nature of human energy.
The idea of the exhibition was born from the word "Śīla" in Sanskrit, which is consonant with the word "power" in Russian. In the ancient language, one of the meanings of this word is "morality," but most of the other meanings are now lost: we can only guess and remain in an eternal individual and collective search for an answer to the question of what the real meaning is.What is power? What is its source and what are its manifestations? And most importantly, how does a modern person understand it?
The answers are formed inside a carefully constructed artistic space, resembling a multi-layered optical system. The exhibition unfolds like a kaleidoscope, in which paintings, monumental installations, metalwork, ceramic objects and author's animation are juxtaposed. Each job is an independent model of power: sometimes material, sometimes metaphorical, sometimes disruptive, sometimes hidden in unstable states.
Alexander is only 23 years old. Born and raised in Moscow, he received an education in the field of design, which he considers an ideal base for a modern artist — a discipline that allows combining precision of form and freedom of expression. Despite his young age, his work has already been shown in galleries in Moscow, St. Petersburg and New York, and his name is increasingly heard in the professional environment.
Krylov's creative method is based on a combination of applied crafts and digital technologies. He does not seek to follow fashion and distances himself from superficial trends — for example, from the hyperproduction of NFT — preferring tangible materials.: painting, wood carving, manual labor as a form of meditation. At the same time, the artist actively works with the visual culture of video games: he is not only inspired by their aesthetics, but also participated in the development of games, and now teaches game concept art.
"S I L A" is an exhibition about the inner impulse that drives a person, a creator, a player, an observer. About how power can transform, concentrate, and disperse, becoming both personal and universal.Alexander Krylov's project transforms the gallery space into a field of tension and energy, where the viewer feels power as an experience — direct, sensual, multidimensional.
July 15 - August 31
Alexander Krylov is a bright new figure on the map of Russian contemporary art. The large—scale solo exhibition "S I L A" is a project that asks fundamental questions about the nature of human energy.
The idea of the exhibition was born from the word "Śīla" in Sanskrit, which is consonant with the word "power" in Russian. In the ancient language, one of the meanings of this word is "morality," but most of the other meanings are now lost: we can only guess and remain in an eternal individual and collective search for an answer to the question of what the real meaning is.What is power? What is its source and what are its manifestations? And most importantly, how does a modern person understand it?
The answers are formed inside a carefully constructed artistic space, resembling a multi-layered optical system. The exhibition unfolds like a kaleidoscope, in which paintings, monumental installations, metalwork, ceramic objects and author's animation are juxtaposed. Each job is an independent model of power: sometimes material, sometimes metaphorical, sometimes disruptive, sometimes hidden in unstable states.
Alexander is only 23 years old. Born and raised in Moscow, he received an education in the field of design, which he considers an ideal base for a modern artist — a discipline that allows combining precision of form and freedom of expression. Despite his young age, his work has already been shown in galleries in Moscow, St. Petersburg and New York, and his name is increasingly heard in the professional environment.
Krylov's creative method is based on a combination of applied crafts and digital technologies. He does not seek to follow fashion and distances himself from superficial trends — for example, from the hyperproduction of NFT — preferring tangible materials.: painting, wood carving, manual labor as a form of meditation. At the same time, the artist actively works with the visual culture of video games: he is not only inspired by their aesthetics, but also participated in the development of games, and now teaches game concept art.
"S I L A" is an exhibition about the inner impulse that drives a person, a creator, a player, an observer. About how power can transform, concentrate, and disperse, becoming both personal and universal.Alexander Krylov's project transforms the gallery space into a field of tension and energy, where the viewer feels power as an experience — direct, sensual, multidimensional.
Curator - Vlada Zaks
Vitaly Barabanov's exhibition "Gardens of Daffodils"
September 9 - October 15
Vitaly Barabanov is a Russian artist of fine visual hearing and inner observation. He was born in Zagorsk in 1986 and graduated from the Moscow State Agricultural Academy. Stroganov (2006-2011), then the BAZA Institute (2014-2016). Today he lives and works in Moscow, developing his own artistic method based on the study of the relationship between the inner state of a person and the changeable, dynamic environment in which he exists.
The history of art knows many masters who turned to the image of the garden: Monet, Matisse, Kandinsky, Klee — everyone saw in it their own space for contemplation and experiment. There is a textbook story about how Monet, working on autumn trees, attached the fallen leaves back to preserve the desired composition. His garden is an attempt to control nature.
Vitaly Barabanov's method works differently. His "gardens" are a space where the impermanence of nature and the fragmentariness of the human imagination are not suppressed, but accepted as the natural state of the world. The artist does not capture the landscape, but collects it from memory, intuition and personal feelings, turning it into a kind of self-portrait. The landscape ceases to be an external scene — it becomes a mirror of the psyche, an internal cluster of images that flash, disappear and reassemble into a whole.
The exhibition will feature landscapes, a classic medium that takes on unexpected depth in Barabanov. For the artist, this is a way to express the "inner nature of man," and for the viewer, it is an opportunity to enter into a dialogue with the author and at the same time with their own sensory experience.
"The Garden is a kind of construct of different fragments of landscapes combined into an ideal nature that conveys my state in the process of creation," says Barabanov.
"Gardens of Daffodils" is not a botanical plot or a landscape in the usual sense. This is a journey inside the artistic consciousness, which through nature tells about a person who is fragile, changeable and beautiful in his quest for self—knowledge.
September 9 - October 15
Vitaly Barabanov is a Russian artist of fine visual hearing and inner observation. He was born in Zagorsk in 1986 and graduated from the Moscow State Agricultural Academy. Stroganov (2006-2011), then the BAZA Institute (2014-2016). Today he lives and works in Moscow, developing his own artistic method based on the study of the relationship between the inner state of a person and the changeable, dynamic environment in which he exists.
The history of art knows many masters who turned to the image of the garden: Monet, Matisse, Kandinsky, Klee — everyone saw in it their own space for contemplation and experiment. There is a textbook story about how Monet, working on autumn trees, attached the fallen leaves back to preserve the desired composition. His garden is an attempt to control nature.
Vitaly Barabanov's method works differently. His "gardens" are a space where the impermanence of nature and the fragmentariness of the human imagination are not suppressed, but accepted as the natural state of the world. The artist does not capture the landscape, but collects it from memory, intuition and personal feelings, turning it into a kind of self-portrait. The landscape ceases to be an external scene — it becomes a mirror of the psyche, an internal cluster of images that flash, disappear and reassemble into a whole.
The exhibition will feature landscapes, a classic medium that takes on unexpected depth in Barabanov. For the artist, this is a way to express the "inner nature of man," and for the viewer, it is an opportunity to enter into a dialogue with the author and at the same time with their own sensory experience.
"The Garden is a kind of construct of different fragments of landscapes combined into an ideal nature that conveys my state in the process of creation," says Barabanov.
"Gardens of Daffodils" is not a botanical plot or a landscape in the usual sense. This is a journey inside the artistic consciousness, which through nature tells about a person who is fragile, changeable and beautiful in his quest for self—knowledge.
Curator - Vlada Zaks
Rinat Mustafin's Zenith Exhibition
October 28 - November 20
Rinat Mustafin's personal exhibition Zenit is the first major solo project of the artist, whose name is already known for his collaborations with music festivals and the gallery in the WIP mansion. Mustafin is a representative of Moscow underground art, an experimenter who works at the intersection of painting, graphics, digital and video art, as well as performance art, including using mapping technology for projection onto real objects, taking into account their geometry.
The works at the exhibition are collected in thematic series, united by a single idea: the viewer rises above the picturesque field in the same way as the artist — perceiving the image from above, from the zenith point.
Mustafin refers to images of the earth's surface seen from a great height. His references are images of Google maps: planets, large cities, individual streets, courtyards, and sports grounds. There is a whole life in these random fragments: routes, footprints, movements, conflicts, architectural logic and human randomness. This variability of urban plots is becoming a powerful breeding ground for artistic solutions.
The contrast between abstract form and precise detail, between strict geometry and constant dynamics, is a key element of his visual language. What the impartial robot captures, Mustafin turns into picturesque and graphic material: cold "casts" of Google maps acquire human intonation, emotion, and energy from him. This is the transformation of post-futuristic, mechanistic views into sensual, multi-layered images.
The Zenit exhibition is an attempt to see the world as if you were observing it from a satellite. A unique visual experiment in which distance turns into a way of understanding, and looking from above into a new form of intimate perception of space.
October 28 - November 20
Rinat Mustafin's personal exhibition Zenit is the first major solo project of the artist, whose name is already known for his collaborations with music festivals and the gallery in the WIP mansion. Mustafin is a representative of Moscow underground art, an experimenter who works at the intersection of painting, graphics, digital and video art, as well as performance art, including using mapping technology for projection onto real objects, taking into account their geometry.
The works at the exhibition are collected in thematic series, united by a single idea: the viewer rises above the picturesque field in the same way as the artist — perceiving the image from above, from the zenith point.
Mustafin refers to images of the earth's surface seen from a great height. His references are images of Google maps: planets, large cities, individual streets, courtyards, and sports grounds. There is a whole life in these random fragments: routes, footprints, movements, conflicts, architectural logic and human randomness. This variability of urban plots is becoming a powerful breeding ground for artistic solutions.
The contrast between abstract form and precise detail, between strict geometry and constant dynamics, is a key element of his visual language. What the impartial robot captures, Mustafin turns into picturesque and graphic material: cold "casts" of Google maps acquire human intonation, emotion, and energy from him. This is the transformation of post-futuristic, mechanistic views into sensual, multi-layered images.
The Zenit exhibition is an attempt to see the world as if you were observing it from a satellite. A unique visual experiment in which distance turns into a way of understanding, and looking from above into a new form of intimate perception of space.
Universal University Alumni Exhibition
Pop-up exhibition "How I became Chaos" in collaboration with Universal University
November 24 - December 7
The result of the fall open call among students and graduates of Universal University was the exhibition "How I became Chaos", where more than fifteen young authors will present their work in a wide range of mediums — from painting and graphics to installations and AR practices.
At first glance, many of the works seem bright, playful, and even ironic, but behind this visual lightness lies anxiety and a sense of loss of support. The world is rapidly changing and destroying habitual social strategies, leaving a person alone with a formless, unstable space of chaos. It is to this feeling that artists turn, trying to capture the impermanence of reality and their own state within it.
Some participants look for answers in their memories: they put recognizable childhood patterns into new patterns or recreate the canvas of family memory based on their grandmother's stories. Others work with modern technologies — they offer the viewer to find a balance between personal and social through AR, or literally climb inside a giant head, arranged like a theater stage, to sort out what does not fit in their own.
The end-to-end theme of the exhibition is the desire to formalize the formless, grab reality by the tail and develop new guidelines in a rapidly changing world. And, given the high level of young authors and the foundation provided by Universal University, we can be sure that these guidelines will be found.
"How I Became Chaos" is an exhibition about confusion and search, about attempts to rethink my own experience and find new points of support. The young artists of Universal University invite the viewer to enter chaos in order to understand what it consists of and how to survive in it without losing oneself.
Universal University is Russia's largest educational ecosystem in the field of creative industries. The University unites the schools of design, fashion, cinema, music, media, urban studies and contemporary art, forming a space where learning becomes practice and practice becomes a way of professional growth. Here, students work with real-world tasks, develop their author's language, constantly participate in open calls, exhibitions and interdisciplinary projects, and form their own creative careers at the learning stage.
November 24 - December 7
The result of the fall open call among students and graduates of Universal University was the exhibition "How I became Chaos", where more than fifteen young authors will present their work in a wide range of mediums — from painting and graphics to installations and AR practices.
At first glance, many of the works seem bright, playful, and even ironic, but behind this visual lightness lies anxiety and a sense of loss of support. The world is rapidly changing and destroying habitual social strategies, leaving a person alone with a formless, unstable space of chaos. It is to this feeling that artists turn, trying to capture the impermanence of reality and their own state within it.
Some participants look for answers in their memories: they put recognizable childhood patterns into new patterns or recreate the canvas of family memory based on their grandmother's stories. Others work with modern technologies — they offer the viewer to find a balance between personal and social through AR, or literally climb inside a giant head, arranged like a theater stage, to sort out what does not fit in their own.
The end-to-end theme of the exhibition is the desire to formalize the formless, grab reality by the tail and develop new guidelines in a rapidly changing world. And, given the high level of young authors and the foundation provided by Universal University, we can be sure that these guidelines will be found.
"How I Became Chaos" is an exhibition about confusion and search, about attempts to rethink my own experience and find new points of support. The young artists of Universal University invite the viewer to enter chaos in order to understand what it consists of and how to survive in it without losing oneself.
Universal University is Russia's largest educational ecosystem in the field of creative industries. The University unites the schools of design, fashion, cinema, music, media, urban studies and contemporary art, forming a space where learning becomes practice and practice becomes a way of professional growth. Here, students work with real-world tasks, develop their author's language, constantly participate in open calls, exhibitions and interdisciplinary projects, and form their own creative careers at the learning stage.
Curators - Vova Perkin and Dima Makonda
The exhibition "Day of the Utopian" by the collective "Our Utopia"
December 28 - February 5
The Nasha Utopia collective, founded by the young artist Vova Perkin, has established a new annual tradition — the Utopian Day holiday. The exhibition in the walls of the Anvil Gallery, under the motto "EVENING IN THE MORNING IS WORSE!" presents more than 40 works by eight artists: paintings, graphics and ceramics.
Vova Perkin was born in Maykop in 1995. He is a key figure of the Perkinism movement, the leader and inspirer of the Our Utopia group. He started with graffiti, and then moved on to painting, soft sculpture, performance art, and many other forms.
His world is bright, grotesque, naive, filled with fantastic characters and surreal plots.
The collective "Our Utopia" (Notre Utopia) was founded by Perkin together with Dima Maconda and over the years has grown into a large creative community of islands of fantasy and optimism.
The works on Utopian Day are devoted to the cyclical nature of time and everyday rituals — sleeping, drinking tea, shopping, walking, studying, singing, and self-portraits. But all this does not happen in the usual reality, but in a psychedelic dimension: here a teapot dances with mugs, goats in shirts march to the choir, "Tents of Fumes" organize purchases, and the Glaznoy Znoy manufactory produces students-plants, animals, robots and sometimes people.
In this world, nature itself changes its "outfits" under the infinitely gentle gaze of the eternal sun — day turns into night, morning turns into evening again, and rituals are repeated, but they never remain exactly the same.
The authors of the exhibition are not just artists, but Perkin's associates: Andrey Bartenev, Yura Zabse, Dima Makonda, Vova Perkin himself, Dima Rae, Archiliki, Lisa Plaksa and Seryozha Fili.
"Utopian Day" is not just an exhibition, but a celebration that sums up the results and at the same time launches a new chapter in the band's work. This is a chance to immerse yourself in the world of Perkinism, to see how naivety and the grotesque, humor and philosophy combine. As Perkin himself says: vivid stories, grotesque, madness, but all this gives rise to a feeling of happiness.
December 28 - February 5
The Nasha Utopia collective, founded by the young artist Vova Perkin, has established a new annual tradition — the Utopian Day holiday. The exhibition in the walls of the Anvil Gallery, under the motto "EVENING IN THE MORNING IS WORSE!" presents more than 40 works by eight artists: paintings, graphics and ceramics.
Vova Perkin was born in Maykop in 1995. He is a key figure of the Perkinism movement, the leader and inspirer of the Our Utopia group. He started with graffiti, and then moved on to painting, soft sculpture, performance art, and many other forms.
His world is bright, grotesque, naive, filled with fantastic characters and surreal plots.
The collective "Our Utopia" (Notre Utopia) was founded by Perkin together with Dima Maconda and over the years has grown into a large creative community of islands of fantasy and optimism.
The works on Utopian Day are devoted to the cyclical nature of time and everyday rituals — sleeping, drinking tea, shopping, walking, studying, singing, and self-portraits. But all this does not happen in the usual reality, but in a psychedelic dimension: here a teapot dances with mugs, goats in shirts march to the choir, "Tents of Fumes" organize purchases, and the Glaznoy Znoy manufactory produces students-plants, animals, robots and sometimes people.
In this world, nature itself changes its "outfits" under the infinitely gentle gaze of the eternal sun — day turns into night, morning turns into evening again, and rituals are repeated, but they never remain exactly the same.
The authors of the exhibition are not just artists, but Perkin's associates: Andrey Bartenev, Yura Zabse, Dima Makonda, Vova Perkin himself, Dima Rae, Archiliki, Lisa Plaksa and Seryozha Fili.
"Utopian Day" is not just an exhibition, but a celebration that sums up the results and at the same time launches a new chapter in the band's work. This is a chance to immerse yourself in the world of Perkinism, to see how naivety and the grotesque, humor and philosophy combine. As Perkin himself says: vivid stories, grotesque, madness, but all this gives rise to a feeling of happiness.
2023 year
Curators - Nadia Oktyabr and Maria Stepecheva
Group exhibition "This night"
February 15 – April 6
The exhibition "this night" is built as a series of fragments from different stories, where reality smoothly mixes with dreams. These are stories about dreams, mystical experiences, late-night hangouts, inner excitement, and unspoken experiences.
At night, feelings become more acute, memories flood consciousness — it is at the darkest time of the day that the most vivid images appear. We break the norm, we allow ourselves more, and things happen to us that only friends tell us about later.
What happens after midnight is uncertain:
dancing until dawn, kissing on the dance floor, injections of vulnerability, "crying on techno", sudden confessions, nakedness — both physical and emotional — bold decisions, impulsive stories. The night contains everything and seems limitless, but in the morning its events are remembered fragmentally, almost unreal, as if they were a dream.
It is these conditions that become the basis of the exhibition. Each artist creates his own "night story", and together they add up to a multi-act play about your-my—our-life - about what happens when the city plunges into darkness and we are left alone with ourselves (or with each other).
The exhibition intertwines different artistic worlds and sensations.:
Lyudmila Baronina, Daria Yemelyanova, Olesya Lavrinenko, Sasha Nesterkina create dreamlike, fragile spaces where memory and fantasy are inseparable from each other.
Kirill Burygin, Mikhail Dobrovolsky, Sasha Kokacheva turn to the whirlwind of the night city — stormy, shimmering, unpredictable.
• Polina Mayer, Nastya Antipova, and Maresiy Ivashchenko explore the feeling of loneliness and vulnerability that engulfs us after midnight and makes the night especially honest.
For more than a month, the gallery space will turn into a stage where the viewer goes through his own night route — from sleep to reality, from reality to vision.
February 15 – April 6
The exhibition "this night" is built as a series of fragments from different stories, where reality smoothly mixes with dreams. These are stories about dreams, mystical experiences, late-night hangouts, inner excitement, and unspoken experiences.
At night, feelings become more acute, memories flood consciousness — it is at the darkest time of the day that the most vivid images appear. We break the norm, we allow ourselves more, and things happen to us that only friends tell us about later.
What happens after midnight is uncertain:
dancing until dawn, kissing on the dance floor, injections of vulnerability, "crying on techno", sudden confessions, nakedness — both physical and emotional — bold decisions, impulsive stories. The night contains everything and seems limitless, but in the morning its events are remembered fragmentally, almost unreal, as if they were a dream.
It is these conditions that become the basis of the exhibition. Each artist creates his own "night story", and together they add up to a multi-act play about your-my—our-life - about what happens when the city plunges into darkness and we are left alone with ourselves (or with each other).
The exhibition intertwines different artistic worlds and sensations.:
Lyudmila Baronina, Daria Yemelyanova, Olesya Lavrinenko, Sasha Nesterkina create dreamlike, fragile spaces where memory and fantasy are inseparable from each other.
Kirill Burygin, Mikhail Dobrovolsky, Sasha Kokacheva turn to the whirlwind of the night city — stormy, shimmering, unpredictable.
• Polina Mayer, Nastya Antipova, and Maresiy Ivashchenko explore the feeling of loneliness and vulnerability that engulfs us after midnight and makes the night especially honest.
For more than a month, the gallery space will turn into a stage where the viewer goes through his own night route — from sleep to reality, from reality to vision.
Curator - Vlada Zaks
Victor Zabuga's Odyssey Exhibition
April 14 – May 31
Viktor Zabuga is a unique phenomenon of the Russian art scene. Being a prominent representative of street art, Zabuga often appears in the art chronicle and surprises the audience with shocking reincarnations and performances.
His range of practices includes painting, sculpture, street art, tattooing, photography, and music. Zabuga works with bright colors, expressive images and large canvases. His works were shown at the Sevkabel Port and the Street Art Museum, and the artist himself gained popularity and was included in the "TOP 50" list. The most famous people of St. Petersburg " according to the version "Собака.ги ".
The exhibition will feature more than 40 paintings from the last two years, as well as two installations that together form an epic narrative — an external and an internal journey. Through thickly mixed paints, rough lines and contrasting colors, Zabuga creates a visual language in which modern and modernity, lightness of dreams and the power of emotions coexist.
The leitmotif of the exhibition is the odyssey: like a heroic voyage full of delights and challenges. The viewer, along with the artist, embarks on this journey: they will encounter wonderful animals and birds, fall under the power of the nymph Calypso, overcome monsters and finally find themselves and their love.
To emphasize the subcultural context of Zabuga's work, street art will appear on the facade of the gallery, and a real tattoo room will be open on the opening days, where everyone can visit - real tattoo art enthusiasts.
April 14 – May 31
Viktor Zabuga is a unique phenomenon of the Russian art scene. Being a prominent representative of street art, Zabuga often appears in the art chronicle and surprises the audience with shocking reincarnations and performances.
His range of practices includes painting, sculpture, street art, tattooing, photography, and music. Zabuga works with bright colors, expressive images and large canvases. His works were shown at the Sevkabel Port and the Street Art Museum, and the artist himself gained popularity and was included in the "TOP 50" list. The most famous people of St. Petersburg " according to the version "Собака.ги ".
The exhibition will feature more than 40 paintings from the last two years, as well as two installations that together form an epic narrative — an external and an internal journey. Through thickly mixed paints, rough lines and contrasting colors, Zabuga creates a visual language in which modern and modernity, lightness of dreams and the power of emotions coexist.
The leitmotif of the exhibition is the odyssey: like a heroic voyage full of delights and challenges. The viewer, along with the artist, embarks on this journey: they will encounter wonderful animals and birds, fall under the power of the nymph Calypso, overcome monsters and finally find themselves and their love.
To emphasize the subcultural context of Zabuga's work, street art will appear on the facade of the gallery, and a real tattoo room will be open on the opening days, where everyone can visit - real tattoo art enthusiasts.
Куратор - Влада Закс
Anton and Artyom Matveev's exhibition "Cartoons for Adults"
June 9 - July 31
The first solo exhibition of Anton and Artyom Matveev, Cartoons for Adults, will present paintings from two periods of experimentation with figurative utterance.
The Matveev twin brothers call themselves artists of the low Renaissance and adherents of humorous art, although sometimes comical at first glance images turn into intimate reflections on the modern world and the passing era. Turning to childhood to find the subjects of their paintings, artists often use the attributes of growing up in the nineties: pixel computer games, Lego, and, of course, television, where cartoons alternated with programs about maniacs.
Over a short period of conscious collaboration, the brothers managed to create their own recognizable universe, where each picture is a freeze frame of strange, otherworldly cartoons, and their plots manifest themselves in symbolic images and hints offering the viewer a kind of game. Cartoons, as a metaphor for children's reflection, literally break through onto the canvases themselves, forming a collage of strict oil paintings and deliberately simplified forms, and even the signature on the Matveev paintings is two cartoon crystals, as if borrowed from anime.
Anton and Artyom Matveev created a recognizable artistic universe. Each painting is like a freeze frame of strange, otherworldly cartoons, where the plots manifest themselves through symbolic images and hints that involve the viewer in the game. Cartoons become a metaphor for children's reflection, breaking through onto canvases and creating a collage of strict oil paintings and deliberately simplified forms. Even the signature on the paintings — two cartoon crystals resembling anime - becomes an element of the visual narrative.
The aesthetics of cartoons allows artists to comprehend the darkest and most ambiguous sides of the surrounding reality through the optics of childhood experiences.
A special place is occupied by the canvas "Positive": at first glance, the idyllic scene with anthropomorphic characters gradually shows the process of degradation and loss of human appearance. In front of them is a fairy—tale forest, and gray reality is creeping up behind them. The capybara, the only one who remains calm and intelligent, becomes a symbol of stability in this otherworldly world.
The cross-cutting theme of the exhibition is mass culture, refracted through children's perception and accompanying us throughout our lives in memories. The artists turn to the television experiences of the 1990s, a strange mix of entertainment shows, disturbing news and crime reports.
Recognizable images of TV series of those years, such as "Alf", "Twin Peaks", "Santa Barbara", transferred to canvases, create a sense of otherworldliness - as if we were visited by ghosts of the distant past, revived in the aesthetics of cartoons for adults.
June 9 - July 31
The first solo exhibition of Anton and Artyom Matveev, Cartoons for Adults, will present paintings from two periods of experimentation with figurative utterance.
The Matveev twin brothers call themselves artists of the low Renaissance and adherents of humorous art, although sometimes comical at first glance images turn into intimate reflections on the modern world and the passing era. Turning to childhood to find the subjects of their paintings, artists often use the attributes of growing up in the nineties: pixel computer games, Lego, and, of course, television, where cartoons alternated with programs about maniacs.
Over a short period of conscious collaboration, the brothers managed to create their own recognizable universe, where each picture is a freeze frame of strange, otherworldly cartoons, and their plots manifest themselves in symbolic images and hints offering the viewer a kind of game. Cartoons, as a metaphor for children's reflection, literally break through onto the canvases themselves, forming a collage of strict oil paintings and deliberately simplified forms, and even the signature on the Matveev paintings is two cartoon crystals, as if borrowed from anime.
Anton and Artyom Matveev created a recognizable artistic universe. Each painting is like a freeze frame of strange, otherworldly cartoons, where the plots manifest themselves through symbolic images and hints that involve the viewer in the game. Cartoons become a metaphor for children's reflection, breaking through onto canvases and creating a collage of strict oil paintings and deliberately simplified forms. Even the signature on the paintings — two cartoon crystals resembling anime - becomes an element of the visual narrative.
The aesthetics of cartoons allows artists to comprehend the darkest and most ambiguous sides of the surrounding reality through the optics of childhood experiences.
A special place is occupied by the canvas "Positive": at first glance, the idyllic scene with anthropomorphic characters gradually shows the process of degradation and loss of human appearance. In front of them is a fairy—tale forest, and gray reality is creeping up behind them. The capybara, the only one who remains calm and intelligent, becomes a symbol of stability in this otherworldly world.
The cross-cutting theme of the exhibition is mass culture, refracted through children's perception and accompanying us throughout our lives in memories. The artists turn to the television experiences of the 1990s, a strange mix of entertainment shows, disturbing news and crime reports.
Recognizable images of TV series of those years, such as "Alf", "Twin Peaks", "Santa Barbara", transferred to canvases, create a sense of otherworldliness - as if we were visited by ghosts of the distant past, revived in the aesthetics of cartoons for adults.
Curator - Stas Lomakin
Group exhibition "A waste of time"
August 11 - September 24
The exhibition is dedicated to the dialogue between visual art and video games. For several decades, video games have become a full-fledged part of culture, although some still consider them a waste of time. Nevertheless, it is already obvious that this is a powerful tool for making statements on a wide variety of topics. Individual games inspire artists today in the same way that literary plots or historical events have done for centuries.
The exhibition will feature works by contemporary Russian artists: all of them are influenced by the most technologically advanced medium, but at the same time in techniques far removed from digital art.
The interactive part of the exhibition will be the games themselves. We will introduce you to vivid examples of interactive art and allow you to experience a unique gaming experience, referring to different eras of video game development in Russian everyday life. Among them are outstanding examples of game design: Hideo Kojima's Death Stranding, Jenova Chen's Journey, David O'Reilly's Everything, as well as a number of iconic showdown games.
The "Waste of Time" project was previously partially presented at the Archstoyanie 2023 festival: a number of works from the future exhibition were exhibited in the so-called "game hayloft".
Participants of the exhibition: Dima Gorbunov, Alexander Krylov, Inna Kryzhanovskaya, Anton and Artem Matveev, Hassan Mustafin, Daria Pasechnik, Mikhail Rubankov, Anya Feldman.
August 11 - September 24
The exhibition is dedicated to the dialogue between visual art and video games. For several decades, video games have become a full-fledged part of culture, although some still consider them a waste of time. Nevertheless, it is already obvious that this is a powerful tool for making statements on a wide variety of topics. Individual games inspire artists today in the same way that literary plots or historical events have done for centuries.
The exhibition will feature works by contemporary Russian artists: all of them are influenced by the most technologically advanced medium, but at the same time in techniques far removed from digital art.
The interactive part of the exhibition will be the games themselves. We will introduce you to vivid examples of interactive art and allow you to experience a unique gaming experience, referring to different eras of video game development in Russian everyday life. Among them are outstanding examples of game design: Hideo Kojima's Death Stranding, Jenova Chen's Journey, David O'Reilly's Everything, as well as a number of iconic showdown games.
The "Waste of Time" project was previously partially presented at the Archstoyanie 2023 festival: a number of works from the future exhibition were exhibited in the so-called "game hayloft".
Participants of the exhibition: Dima Gorbunov, Alexander Krylov, Inna Kryzhanovskaya, Anton and Artem Matveev, Hassan Mustafin, Daria Pasechnik, Mikhail Rubankov, Anya Feldman.
Curator - Vlada Zaks
Exhibition of the Russia group - "THE BLINK OF AN EYE"
October 20 - November 13
The Rossiya Group was founded in the early 1990s under the roof of the famous Rossiya Insurance Company building on Sretensky Boulevard, the place where the unofficial artistic life of Moscow was formed. The artists continued the tradition of the creative space associated with Ilya Kabakov and his circle of like-minded people. Having let young conceptualists from the Inspectorate of Medical Hermeneutics and the Cloud Commission through their workshops, the Rossiya group preserved the academic style of painting, at the same time introducing the latest ideas into it and turning to the origins of Greek and world philosophy regarding the existence of art in the world.
The group includes Ivan Dmitriev, Egor Dmitriev, Lyudmila Blok and Dmitry Lukanin, artists who each develop their own language, united by a common desire to create visual worlds where classical painting is intertwined with philosophical and cosmogonic understanding of existence.
The Blink of an Eye exhibition is dedicated to one painting by the Russia group, The Thing of Things. This work creates its own cosmogony of pictorial elements, inviting the viewer to enter a world where the material and the spiritual intersect through light, shadow, and the projection of the ideal onto sensory experience.
According to Egor Dmitriev:
"The Blink of an Eye" — if there is any connection between the world of eidos and the world of phenomena, then only light can carry it out. In the myth of the cave, Plato imagined a modern cinema. Thanks to the light beam, ideas that exist as shadows on film create the illusion of a full-fledged reality. In ancient times, it was believed that the human eye was arranged in this way. The world of phenomena arises as a result of this projection of the ideal onto the screen of our sensuality. The imagination operates with shadows, occupying a transitional area between the material-bodily and the spiritual. As night moths swarm, captured by the light of a Chinese flashlight, so things gather in a huge pile, responding to our mute appeal."
The exhibition offers the viewer not just to observe the painting, but to enter into its cosmogonic world, where every element of painting becomes part of a philosophical reflection on the existence, sensory perception and interaction of the ideal with reality.
October 20 - November 13
The Rossiya Group was founded in the early 1990s under the roof of the famous Rossiya Insurance Company building on Sretensky Boulevard, the place where the unofficial artistic life of Moscow was formed. The artists continued the tradition of the creative space associated with Ilya Kabakov and his circle of like-minded people. Having let young conceptualists from the Inspectorate of Medical Hermeneutics and the Cloud Commission through their workshops, the Rossiya group preserved the academic style of painting, at the same time introducing the latest ideas into it and turning to the origins of Greek and world philosophy regarding the existence of art in the world.
The group includes Ivan Dmitriev, Egor Dmitriev, Lyudmila Blok and Dmitry Lukanin, artists who each develop their own language, united by a common desire to create visual worlds where classical painting is intertwined with philosophical and cosmogonic understanding of existence.
The Blink of an Eye exhibition is dedicated to one painting by the Russia group, The Thing of Things. This work creates its own cosmogony of pictorial elements, inviting the viewer to enter a world where the material and the spiritual intersect through light, shadow, and the projection of the ideal onto sensory experience.
According to Egor Dmitriev:
"The Blink of an Eye" — if there is any connection between the world of eidos and the world of phenomena, then only light can carry it out. In the myth of the cave, Plato imagined a modern cinema. Thanks to the light beam, ideas that exist as shadows on film create the illusion of a full-fledged reality. In ancient times, it was believed that the human eye was arranged in this way. The world of phenomena arises as a result of this projection of the ideal onto the screen of our sensuality. The imagination operates with shadows, occupying a transitional area between the material-bodily and the spiritual. As night moths swarm, captured by the light of a Chinese flashlight, so things gather in a huge pile, responding to our mute appeal."
The exhibition offers the viewer not just to observe the painting, but to enter into its cosmogonic world, where every element of painting becomes part of a philosophical reflection on the existence, sensory perception and interaction of the ideal with reality.
Curator - Vlada Zaks
Group exhibition "Paris Apartment"
December 22 - February 4
The exhibition plays up the aesthetics of small apartments, which can be found everywhere, for example, in Paris, where collectors and lovers of beauty covered the walls with works so tightly that small spaces turned into full-fledged galleries, and their owners competed in the thoughtfulness of their collections, showing them to their guests and exchanging art objects.
The decorations of a residential apartment are created in the gallery, with many rooms and rooms where art, furniture, and textiles are displayed. The entire area of the "Anvil" is twisted by various trajectories of exploration by the viewer with all possible scenarios of inspection and surprises.
Artists who participated in the exhibition: Alina Andreichishena, Katya Afonina, Sergey Anufriev, Eva Bardot, Alexey Buldakov, Dmitry Bulnygin, Boris Bragin, Kirill Burygin, Kirill Gatavan, Alexander Gorelikov, Egor Dmitriev, Daria Yemelyanova, Sveta Efremova, Alexander Krivoshapkin, Alexander Krylov, Alexey Krendel, Arseniy Krotkov, Inna Kryzhanovskaya, Daria Konovalova-Infante, Polina Mayer, Vlad Maltsev, Evgeny Mitta, Alexandra Mikhalkova, Rinat Mustafin, Arkady Nasonov, Mitya and Marusya Nesterov, Lera Nibiru, Vova Perkin, Irina Petrakova, Tanya Peniker, Ivan Razumov, Mikhail Rubankov, Serafima S., Masha Somik, Matvey Segal, Polina Serafimova, Ksusha Fedya, Svetlana Tsepkalo, Tamara Shevchuk, Anna Yudakova, Serafima Sazhina, Polina Uvarova.
The project was implemented jointly with the arch bureau of the structure.
December 22 - February 4
The exhibition plays up the aesthetics of small apartments, which can be found everywhere, for example, in Paris, where collectors and lovers of beauty covered the walls with works so tightly that small spaces turned into full-fledged galleries, and their owners competed in the thoughtfulness of their collections, showing them to their guests and exchanging art objects.
The decorations of a residential apartment are created in the gallery, with many rooms and rooms where art, furniture, and textiles are displayed. The entire area of the "Anvil" is twisted by various trajectories of exploration by the viewer with all possible scenarios of inspection and surprises.
Artists who participated in the exhibition: Alina Andreichishena, Katya Afonina, Sergey Anufriev, Eva Bardot, Alexey Buldakov, Dmitry Bulnygin, Boris Bragin, Kirill Burygin, Kirill Gatavan, Alexander Gorelikov, Egor Dmitriev, Daria Yemelyanova, Sveta Efremova, Alexander Krivoshapkin, Alexander Krylov, Alexey Krendel, Arseniy Krotkov, Inna Kryzhanovskaya, Daria Konovalova-Infante, Polina Mayer, Vlad Maltsev, Evgeny Mitta, Alexandra Mikhalkova, Rinat Mustafin, Arkady Nasonov, Mitya and Marusya Nesterov, Lera Nibiru, Vova Perkin, Irina Petrakova, Tanya Peniker, Ivan Razumov, Mikhail Rubankov, Serafima S., Masha Somik, Matvey Segal, Polina Serafimova, Ksusha Fedya, Svetlana Tsepkalo, Tamara Shevchuk, Anna Yudakova, Serafima Sazhina, Polina Uvarova.
The project was implemented jointly with the arch bureau of the structure.
