HERBARIUM


16 young Russian artists working with photography and capturing modernity — here and now
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ILYA BATRAKOV
DARIA NAZAROVA
MARINA ISTOMINA
ALEXANDER VERYOVKIN
OLGA MATVEEVA
ANYA MIROSHNICHENKO
IRA ROKKA
MARIYA KOZHANOVA
ALEXANDER NIKOLSKI
MAX ROMANENKO
IGOR ELUKOV
NIKITA PIROGOV
FYODOR KONUKHOV
DASHA TROFIMOVA
NASTYA BEZRUKOVA
OLGA VOROBYOVA
GALLERY PENNLAB
Curators
Elena Anosova
Elena is an award-winning visual artist, curator, and educator, she is currently based in Moscow, Irkutsk, and the Baltic Sea. The most important part of her professional activities is devoted to personal, long-term projects that are centered around lives in closed institutions, small communities, and isolation. She is a recipient of Garage Museum's Grant, The Aaron Siskind Foundation, and others.
Anastasia Tsayder
Anastasia Tsayder is a documentary photographer, visual artist and curator based in Moscow. She works with photography, video, archives and installations. Her artistic studies focus on the cultural and visual transformations of the post-Soviet society.
Petr Antonov
Petr Antonov is a visual artist, educator and curator working in Moscow, Russia. In his work he uses photography to explore visible traces of history and culture, as well as the capabilities of photography as an artistic tool.
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RU | EN
Bumazhny Drive, 14 building 2, central entrance, Moscow Russia, 125040
18+
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Назад
ILYA BATRAKOV
Ilya Batrakov, 1985.
Lives and works in Moscow and the Moscow region. Graduated from the Moscow State University of Geodesy and Cartography. In his final years at the university, he became interested in photography, and his first pictures show pastoral landscapes, animals, and skateboarding.
He graduated from the Rodchenko School of Photography in the direction of documentary photography.
Member of the residence of the Dusseldorf Academy of Arts.
Participant of group and personal exhibitions in Moscow, St. Petersburg, Paris, Dusseldorf, Amsterdam, Riga.
Selected works are kept in the Moscow Multimedia Art Museum, the Kunst im tunnel Museum in Dusseldorf and private collections.
He is engaged in publishing photo books and Zines

Mountain, 2010−2017

These photos are taken from a point that locals call "The Mountain".
For many of them, this hill on the river bank, where people have settled since ancient times, has a sacred value. Leaving and arriving people come to the Mountain, their joys and troubles are the first to believe him.
The first time I got to the "Mountain" when I was 6 years old. My parents decided to move to live outside the city, they were looking for a plot in remote places for a long time, and in the spring we went to "see the place". After a long, seemingly endless road, we arrived in a small village surrounded by forests and swamps, a hundred kilometers from Moscow. As soon as I jumped out of the car and looked around, I saw that three hundred meters away from us the road seemed to end and decided to run along it and see what was at the end.
The road ended at a precipice strewn with potsherds and turned into an overgrown path that ran along the river, along fields where cows grazed in a free pasture, and went into the forest, which hid what was beyond the horizon. At the junction of the road to the path, an electric transformer stood and rustled softly, as if guarding the exit from the territory known to man.
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DARIA NAZAROVA
Daria Nazarova (b. 1991, Russia) is a visual artist working with documentary and post-documentary photography, archive. In 2015 she graduated from the Faculty of Architecture in Ivanovo University. She is a member of the Union of photographers of Russia. In 2019 she graduated from the Academy of Documentary and Artistic Photography "Fotografika" in St. Petersburg. She is currently based in St. Petersburg. Daria is interested in the memory of generations, intergenerational connections, connections to the place, identity and self-identification, horizontal communities. Her photo and photo-books has been exhibited in national and international group shows.

Aloe, 2018−2020

"Aloe" is a group of 21st Century Punk Intelligentsia from St. Petersburg, Russia — a new subculture community inspired by pop-culture of the 90-s and 00-s.
Yana Perovskaya founded "Aloe" in 2011. Its first incarnation was a vintage shop. Today it has grown into an imaginative space where anything is possible, a territory of total freedom of expression, a landscape for living a daily fairy tale.
Over the years, the group has evolved, and now spans a brand of designer clothes and a costume rental. "Aloe" is perhaps best known as the host of the renowned "Dikoe Disco" parties. These are regularly attended by as many as 2000 — 3000 people of all ages.
Aloe's slogan is "Who is normal? ". For me it mirrors their ideology: the concept of normality is absurd. People have the right to be who they want to be.
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MARINA ISTOMINA
Marina Istomina (born 1993) is a young visual artist working with studies of memory, trauma and particularly with traumatic experience. Her practice often based on interviews and archives, embodied through visual images. Originally hailing from Ust-Kut, the region of Irkutsk (Russia, Siberia), she is currently based in Moscow. In 2015 she graduated from the faculty of Cultural Studies and the School of Modern Photography "Docdocdoc" (Saint-Petersburg, Russia) in 2020. She is a winner of New East Photo Prize 2020, a finalist of Blurring the Lines in 2020 and The Calvert Journal's Makers of Siberia Special Jury Prize 2019. Istomina's projects were shown at various cities of Russia — Omsk, Krasnoyarsk, Saint-Petersburg, Kaluga, Tula.

Suffocation, 2019−2020

Be fertile, be laughing, train a good hunter for God, take care of your husband (originally: 'hold him in your arms'), bring up your child well, let him have plenty of fire.
A Tungusic shaman incantation, XVIII century


We would wake up and not see a thing. The smell of burning filled my nose. Helicopters were hovering in the air like wagtails, I was gathering dead insects. It seemed to me that the city was like them — struggling to breathe, yet somehow still alive.
In 2019 more than 14,000 wildfires occurred in Russia. By the end of the season, 277 criminal investigations had been initiated. One-fifth of the fires spread through Siberia and Irkutsk region where the forest that belonged to nobody was turned into a political game board. The photos in the news depict green wood burst by red flames, but they almost never show particular individuals responsible for setting the forest on fire, supporting illegal deforestation and seizing the seemingly untouched area. Media photography, being in charge of representing the problem worldwide, becomes the evidence of concealed incidents where the key figures are men: legislators, ministers, hunters, foresters, firefighters and criminal groups leaders.
Turning conventional masculine roles upside-down, imparting the strength, that is normally stays unseen, into feminine, I am confronting rational with emotional, religious with scientific, real and imaginary. Three women — a scientist, a shaman and a wildfires witness — are playing out a common situation as masterful tricksters. A situation where one can find archetypes of potential malefactors who have something to do with bureaucracy, politics and mythology. Connecting a number of time periods and historical contexts, three heroines explore on different levels the issue of intentional burning, taking the attention back not only to the problem and consequences of wildfires, but also to the hidden reasons of their emergence.
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ALEXANDER NIKOLSKI
Aleksander Nikolski, was born in 1984.
Education:
 — Kemerovo State University, socio-psychological faculty
 — "FotoDepartament. Institute"

Exhibitions:
 — Young photographers of Russia 2019;
 — XIII Krasnoyarsk Museum Biennale;
 — Makers of Siberia Photo Prize;
 — 48 hours Nsk;
 — Presence 2019;
 — Withdrawn everyday life (CK19);
 — Nemoskva;
 — Event Horizon

Since 2013 he has been teaching courses in project photography. Works with photography, video, objects. Area of interest — physical space as an active participant in interaction; visual in the space of flat ontologies.

Refraction, 2015-ongoing

The term "refraction" means a change in the direction of motion of the wave at the boundary of two media, refraction. Something similar can also be found in the transition landscape between the natural and the human, the Soviet and the post-Soviet. Undefined, mixed areas are similar to each other. They have a certain common element that turns the transition zones into a separate extended, scattered, fragmented, huge territory.
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MAX ROMANENKO
Max Romanenko, b. 1987 in Khabarovsk, is an photographer based in St. Petersburg, Russia. His work mainly concentrates on exploration of the human body and landscape. He works with plasticity and body movement, its sculptural character. He practices yoga and movement, working with his body. There is a direct connection, which is realized as work on oneself, with one self and through other people, visualizing and connecting the inner and outer world.

Volta, 2016-ongoing

Photographs of fragments of nature, both living and silent.
Photographs of fragments of the human body, both old and insanely young.
There is no focus on the faces. Lines. Graphics, like art, are wildly natural.
Dry branch of the brush and peel of the back.
Birch and foam on a river wave.
All of them are transformed from each other.
People and nature are interconnected.
They influence each other and this impact changes the environment.
Today it is so obvious that it is necessary to talk about it.
It is important to show how people are one with the environment.
We believe that the elements are separated in nature, but this is not so.
The human body coexists with the body of nature.
They are "trans": translucent, transformed, trans-figurative… a big wheel of dramatic transmutations.
It is high time to take care of all living things.
You can predict where the line will appear, while following the turn of events.
You can pause before its appearance.
Lines show the direction of change, but the speed of these changes does not allow us to be part of alteration.
Some lines break instantly, it is impossible to touch them.
Some point to the future, but who will remain there to observe this future change?
I find myself in a situation of premonition of the shift when it is impossible to join the present.
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MARIYA KOZHANOVA
Mariya Kozhanova is a visual artist who works with documentary and art photography, sculpture and installation. Born in Kaliningrad in 1986, she currently lives and works in Berlin.
Mariya's work has been shown at numerous exhibitions, including: FotoFest Houston, Kiyosato Museum of Photographic Arts, Tokyo Metropolitan Museum of Photography, Seoul Photo Festival, Paraty em Foco Festival, Festival de la Luz, Singapore International Photography Festival, Kaunas Photo, International Festival of Photography Photovisa, Les Boutographies, Tokyo Photographic Art Museum, Hellerau Photography Award, Backlight Photo Festival, Art Museum Brandts13, Galerie Alles Mögliche Berlin, Museo Histórico Buenos Aires, Fotomuseum Winterthur, and many others.
In 2016, Mariya Kozhanova was selected as one of the participants of the international master class Joop Swart, organized by World Press Photo. Since 2012, her work has been published in such publications as Le Monde Magazine, New York Times International, Vision Magazine China, Foto Magazine Czech Republic, Emerge Magazine Germany, fotoMagazin Germany, SHOTS magazines, as well as in many other print and online publications. Her works are in private and museum collections in Russia, Germany, Japan and the United States.

Distant Thunder, 2014−2017

Kaliningrad region is a small enclave with long and ambivalent history, separated by all sides from the Russian mainland. Before World War II, it was German territory, the heart of East Prussia. After the end of the war, it became part of the Soviet Union. When the last German citizens were forced to leave this land, many people from other soviet countries were sent "by distribution" for building up a new history of this place. Three generations were building their lives on this land which somehow still remains "foreign". This forgotten piece of land had faced two great powers of the world that once held both supreme ideals and sovereign ambitions which now became a shameful part of the human timeline. It becomes an allegory — those silent reminders of epochs that took place not so long time ago. Times of great ideals were giving people guidance in their life, while working towards the highest principle of the Common Good, letting them aim for eternity. But greatness that has been owed back to people for their hard work and dedication was never returned. It was lost on the pages of history as the Greatness of Regime or Greatness of God. Now we got stuck in constant transitions, having no beliefs anymore, but times filled with doubts and unreliability.
It's like a face with a mark from the terrible sublime of the past, a Generation Memory. This feeling of uncertainty is not only coming from the fact that once there have been national ideals that brought us for instance to holocaust and concentration camps but also because remembering the suffers from persecutions, nobody could be sure that it would not happen again. It teaches kind people to live a life of "small actions", cultivating peace inside of them, believing that nothing great and dangerous could happen like this. Meanwhile, time-spirals spin and it comes the moment when it is time to get the courage to look into the future by dealing with the past.
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IRA ROKKA
Ira Rokka — a visual artist working with photography and video media, teacher. She was born in Moscow, 1987, graduated from the Music and Theatre College of Galina Vishnevskaya and the Moscow Government Institute of Culture and Art. Currently Ira lives and works in Moscow and Paris.
Ira's education and professional experience became the foundation for an original system called "Director's methods of working with a model", based on using director and actor skills during the process of performance. She is an author of many educational programs dedicated to art direction and direction of performer, 10 years of teaching experience. Workshops and art laboratories had a place in Russia (SHVI school of visual art, Photoplay, Institute of sound design-Moscow, Moscow center of photography, Clipmaker), France (Gobelins, Icart-photo- Paris), Italy (Photosynthesys — Milano, TPW workshops- Toscany, Spacio Chromatico - Catania), Switzerland (Cern- Geneva).

#Me, 2017-ongoing

A hashtag is a symbol designed to separate and classify information, making it easier to search for a topic or content on the Internet.
#Me is one of the most eloquent manifestations of our century.
From a symbol that performs a separating function, the hashtag becomes a unifying symbol. Currently, more than 438 million posts on Instagram are marked with the hashtag #me.
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ANYA MIROSHNICHENKO
Lives and works in Moscow, graduated from RATI-GITIS, faculty of theater arts, candidate of art history. She was engaged in theater and reportage shooting. From 2016 to 2019, she studied at the Dokdokdok school. Winner and finalist of international competitions Gomma Grant, Picture of the Year (POYi), lens Culture Portrait Award, PDN Annual, Canada Blanche PhotOn, Hellerau Photography Award, Kolga Award, Life Press Photo, Vilnius Photo Circle, Portrait of Humanity, College Photographer of the Year, participant of many international festivals — Riga Photomonth, Helsinki Photo Festival, Pierrevert Nuits Photographie, Rovinj photodays 2019, ph21 Gallery and others.

Room, 2019−2020

For a whole year I shoot in the room where my grandmother used to live. Last summer, she passed away and I had to sort out all her things. I made portraits of old tea sets, rusty nails, hammers, shabby coats, dried flowers, and eggshells. At first, I wanted to capture my interest and understand why a person needs so many things, why he covers himself with them, as if more of them makes him safer. Many people who survived the war acquired deficit disorder. Things seemed to give confidence and security.
Making portraits, I realized why I needed all this. I fixed myself in my memory. So that no one will forget me when my room becomes empty.
Ba lived for things, and I transform these things into memory. I want to cry out that I am, even when I disappear without a trace, like Ba…
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ALEXANDER VERYOVKIN
Alexander Veryovkin was born in 1987 in Leningrad, USSR. Сurrently lives in St. Petersburg, Russia. In 2009 graduated from the Faculty of Mathematics and Mechanics of St. Petersburg State University with a Master of Science degree in astronomy. Studied at the Faculty of Photojournalism by J.A.Galperin, "Fotodepartament" and "School for Young Artists" of the "Pro Arte" foundation. Took part in group exhibitions in St. Petersburg, Moscow, Norilsk, Kaliningrad, Syktyvkar, Krasnoyarsk, Minsk, Amsterdam. In 2013 he took part in the "New Saint Petersburg" exhibition in Amsterdam, which displayed the works of young visual artists and photographers from Saint Petersburg. In 2015 was a participant in AiR Barents art residency in Norway. In 2017 took part in the main project of the 4th Ural Industrial Biennale of contemporary art in Yekaterinburg. Solo exhibitions were held in St. Petersburg (Fotodepartament gallery) and Moscow (Multimedia Art Museum).

Gazing at the Post-Soviet, 2019

The collapse of socialism was characterized by the transition from collectivism to individualism. For a generation formed over the past 30 years, the experience of the Soviet person is not directly available, but the traces of the past in the present continue to exist in the form of monuments, historical narratives, and other cultural codes. In a certain sense, young people in modern Russia have found themselves on the ruins of a reality that they are not aware of, but cannot ignore. The presented series of portraits is establishing the relationships between the everyday space, which still retains the features of the past, and the agents of the modern time, whose agency was formed after the end of the USSR. By using a camera, I'm interested in constructing a gaze that captures the signs of change and the sudden gap between the two eras.
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OLGA MATVEEVA
Olga Matveeva was born in 1986 in Moscow.
Visual artist, works with photography, installation, artist`s book and analogue printing processes. Graduated from the State Academic University for the Humanitarian Sciences, Political science (2008) and Rodchenko Art School, workshop "Project photography" by Vladimir Kupriyanov and Anastasia Khoroshilova (2013).
Participant of national and international festivals and exhibitions of contemporary art.
Since 2010 member of the Russian Photo Union.
Since 2012 teaches photography at the Rodchenko Art school, Moscow.
Olga's artistic projects are related to the study of the experiences and ways of adaptation of the individual in a changing socio-political context, interpretations of the current "world order" through immersion in mythology and mysticism, and also touch on the topic of conflict, both personal, intimate and social.

Self-portrait #1, 2020

Mirror toning is a method of processing black-and-white photo paper, as a result of which metallic silver is restored on the surface of the print. Thanks to a special chemical reducing agent and an aggressive alkaline environment, the silver layer acquires a high reflectivity and is visually perceived as a mirror or metal surface. Rare references to this technology can be found in the specialized literature of the mid-XX century, in our time, the process was restored by the author almost from scratch.
Each print in the print run is unique, because the technology and environmental influences in the printing process do not allow you to create an identical copy.
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IGOR ELUKOV
Igor Elukov (b. 1991) is a visual artist, working with photography, filmmaker, who comes from a small village along the Peza River in the country's northern Arkhangelsk region, and is currently based in Saint Petersburg. Igor studied painting and started doing photography in 2012. From 2012 to 2016 he worked on a series "Severe", documenting the life of the Russian far North. Since 2016 Igor shifted his focus to staged photography. His method is close to pre-CGI cinema, employing models and props, in situ shooting and con- structed sets.

THE BOOK OF MIRACLES, 2018−2019

The series is titled after the Augsburg Book of Miracles, a 16th century German illustrated manuscript listing the supernatural phenomena from the Flood to the time of the book's completion. The events described in the manuscript reveal the involvement of God in the human world. In contrast, I read "The Book of Miracles" from the position of cosmocentrism. It is a story about forces and elements that are indifferent to us and capable of destroying us; and about the need to seek harmony with these forces. About good and unkind premonitions and fragility of life. This is a view at an ecosystem in which it is impossible to separate a man from nature and nature from space. My goal was to find technology that allows only partial control of the result, so that each picture was taken in collaboration with the elements, landscape, fauna. Creating images in reality, rather than using computer technology, gave the necessary restrictions on the artist's "all-powerful", helping to compress the essence of the vision into a concentrated form, as in the art of Japanese haiku. Production was based on staged photographs of real objects and locations, the use of pyrotechnic effects, the creation of light installations, large-scale physical layouts integrated into the natural environment, and work with animals.
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NIKITA PIROGOV
Nikita Pirogov is a photographer, artist and a poet who was born in Leningrad, USSR, in 1989. His works were exhibited in Russia, Italy, France, The Netherlands, Denmark, Latvia, Slovakia, Portugal, USA, Brazil, China, Cambodia, Fiji and South Korea. His works are in the collections of State Russian Museum in Saint-Petersburg, Russia, Galleri Image in Aarhus, Denmark, Fesival Images in Vevey, Switzerland and in Indian Photography Archive, as well as in private collections. He is a winner of portfolio reviews in Bratislava, Slovakia, Vienna, Austria and Moscow, Russia. He got several prizes and awards, including 1st place at Kurekhin's Award, 1st place at the festival of video poetry "Fifth leg" as well as prize at the festival of photography in Dali, Yunnan, China and a scholarship for his MFA in Madrid, Spain. His works were published in books, magazines and catalogues in Russia, USA, South Korea, Spain, Switzerland, Germany, Israel, Brazil, China, UK, Greece, Slovakia, Italy, Austria, Hungary and Ukraine. He is currently lives and works in Siem Reap, Cambodia.

I and Thou, 2014−2015

"God is a Spirit, a light for the world", "God is a word", "and God is human"
Doukhobors

"I and Thou" series was created in 2014−2015 in Russia. It was made as a reaction on the segregation and split of society caused by political changes happening at that time in Russia and the world. I wanted to show Russia of my dream: free, open, without prejudices, out of ideologies, politics and stereotypes. For this project i was taking images of my close friends, uncovering their individualities and inner light through additional photograph of a stained glass that i was combining with portraits. Light exists within each human and photography as a medium working with light is used as a tool that uncovers light through the attitude. Metaphor of a stained glass shows individuality of my heroes, their unique inner light. I wanted to show compassion and uncover perception free from imposed outer frames. I wanted to show something very simple and natural, relevant to all people, something we lose in modern society because of the segregation policy.
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DASHA TROFIMOVA
Born in 1991 in Pavlodar, Kazakhstan. Lives and works in Moscow. Graduated from The Rodchenko Art School (Moscow) in 2017. Dasha is a multidisciplinary artist working with photography, installation, sound and video. In her work, she focuses on subjects of violence, memory, migration and search for an identity in post-soviet space.

Limbo, 2019−2020

In her "Limbo" series Dasha Trofimova follows up on the subject of interactions between collective and personal memories. An artist, descendant of Russians relocated during the Virgin Lands campaign, was born and raised in Kazakhstan. She now lives as a migrant in Russia. Coming back after the long absence to the apartment in Pavlodar, where she grew up in, Dasha takes notice of all the things that piled up there for decades. Things like those are present in countless other apartments anywhere in post-soviet states. She transforms the objects found in the apartment into new, self-contained sculptures, relieving them of functionality and emotional attachments. Then she extrapolates this practice onto other collective and personal spaces like derelict research institutes and sanatoriums, where things are stuck in sort of a "limbo" — already abandoned but not yet turned into rubbish.
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FYODOR KONUKHOV
Fyodor Konukhov (Фёдор Конюхов, b. 1987) is a photographic artist based in Moscow, Russia. He's interested in studying contemporary landscape and its relationship to social, culture, economy, and politics.

Awards
2020 IPG Talent Of The Year 2020 (nominated)
2020 Palm* Photo Prize 2020 (shortlisted)

Exhibitions
2020 "Quarantine" online group exhibition, curated by Xavi Ceerre

Publications
2020 Calvert Journal (Russia Z feature)

Books / zines
2019 "You start to realize…" zine in collaboration with Nastya Mleko and Nastya Pozhidaeva, edition of 20, self-published

POST-MOSCOW, 2019-ongoing

The term "post-city" is described by Russian geographer Dmitry Zamyatin as a global city that is "stitched together with communications but lacks integrity," where "a united space is split into fragments" and "communication is replaced by alienation."
"POST-MOSCOW" examines the notion of "post-city" in contemporary Moscow, the largest post-socialist metropolis with a population of more than 12.5M people (as of 2020). In this project, I'm searching for signs and traces of what constitutes a post-city by depicting the landscape, architecture, infrastructure elements, and empty spaces and territories that for some (either economic, political, or spatial) reason remain unused: wild river valleys, wastelands, ravines, abandoned construction sites, etc.
While my main goal is to represent the landscape, whose evolution is now dictated mostly by market laws and the local version of neoliberalism, I'm also observing how individuals interact with this landscape, thus investigating the social and cultural implications of living in a post-city.
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OLGA VOROBYOVA
1991 Born in Crimea.
2014 Igor Sikorsky Kyiv Polytechnic Institute: Metallurgy, Kyiv
2017 The Rodchenko Art School: Documentary Photography, MoscowWork with the theme of memory and identity.

Member of group exhibitions:
2019 "Not all who wander are lost. Paths into China", Jigongshan ART MUSEUM, China
2019 "Bursa Fotofest", International Photography Festival of Bursa, Turkiye
2019 Vantage Point Sharjah 7, Sharjah Art Foundation Gallery, United Arab Emirates
2019 "Palm* Photo Prize", Theprintspace gallery, London
2019 "Regarder le corps des femmes", Immixgalerie, Paris
2018 "About me, please, about me", 25Kadr Gallery, Moscow, Russia ("Girl who used to be")
2018 The Circulation (s) festival, CENQUATRE-PARIS, France ("Girl who used to be")
2017 Western curator compelled to show critical art in Mainland China, Shanghai, China (Take me to the heartown)
2017 Young people in the XXI century, Kaunas, Lithuania ("Lo-fi youth")
2017 "Eight Level" at Center of Contemporary Art Winzavod, Moscow, Russia ("Girl who used to be")
2016 Student exhibition Another Moscow at The Rodchenko Art School ("Letters from neighbors")
2016 f/Stop Festival, Leipzig, Germany ("Lo-fi youth")

Awards
2017 "Young people in the XXI century — 2017", Kaunas, Lithuania, / 2nd place
2019 "Palm* Photo Prize", London,/shortlisted

Publications
Single Stories — WÜL MAGAZINE, 2020
Picture essay, The Calvert Journal, 2020
"How We See: Photobooks by Women", New York: 10×10 Photobooks, 2018
"Spent: Recklessness and youth", Bird in flight online magazine, 2018

Residences
2019 Jigongshan ART MUSEUM, China
2017−2018 The Swatch Art Peace Hotel artist residency, Shanghai, China

Girl who used to be, 2017

In this series I take pictures of femininity trying not to be an objective researcher, but to pass all these images through myself, compare them with my personal experience. The pictures were taken in a small Crimean province, town of Primorskiy where I was born. As many people of my age I spent my childhood and adolescence surrounded by women. When I left my hometown and acquired some independence I started comparing myself with all these local women and thinking which one of them I would have been like if I have stayed there. I think about women who grew up among the freedom of beautiful nature contrasting that much with conservative and well-established people's ideas about the world and themselves. I shoot women of different ages, those who live in my memories and my past, those who echo inside of me. I think about whether they manage to save themselves and not to integrate into the monotonous song of an average post-Soviet village. I think about how much this closed provincial world shapes dreams and desires of girls and women who live there, about how ambivalently they combine femininity and ambitions. I think about myself as a little girl who just begins to learn to be a woman and doesn't know what kind of future is waiting for her in such a big country but such a small village. I shoot these women and I see reflections of myself, my mother and my grandmother. I feel like an integral part of this world where the infinite sea-line touches dozens of people's horizons of hopes, fears, nostalgia and expectations.
Назад
NASTYA BEZRUKOVA
An interdisciplinary artist, he bases his practice on the study of the sensory perception of objects and space. Works in the borderland of art, fashion and poetry. The central theme for himself is the image of "micro-utopia" — immersion in spatial situations and a complex contemplative experience. The artist works with various media, mainly with installation, video and sculpture.

Sanatorium, 2019

Sanatorium is a conditional space intended for leisure, where characters are freed from labor, routine and social pressure — an utopian model of the unattainable world of the future, created in the past and still attractive in the present.
Contrariwise, the conditions in which the characters exist are isolating. Creating a space for self-observation, they retain from efforts to affect what is happening. Characters of the piece realise their "non-inclusion", but they are not "take themselves out" of social relations, remaining visible and not visible at the same time. The space of the sanatorium becomes a dream about past and present, referring both to the ghosts of the Soviet and current reality. Artists and performers are processing their state of being outside the world of real influence, real politics. They are raising questions on the necessity of overcoming this sensation which is familiar to many of us and trying to understand where it is "localized". Is it Inside us, or is it circulating between our bodies, saturating the space that we define as "society"?
Which timid interactions, rituals make us visible, real? How do we get our physicality (in a collective body, or one to one, or in a small supporting group)?
We have been shooting the video during the last year in two sanatoriums and a leisure center. A large team of our friends took part in creating the video as performers. It started with a song by Kirill Smirnov and Olya Shirokostup (forming the group "Olya and the Secret Plant") called "Санаторий". We all liked the song and we decided to create separate artwork on its basis and Санаторий became Sanatorium.