Biographies of Rossini composers

Hydrangea Semen Agrooskin. The photo was provided by INGALLIRY AUTENTION OLEGIA OLGA Popova opened the betrayal exhibition "Cave of Beautiful Eyapers". The second auction of the house is aimed at supporting young artists and attracting attention to their work. The name “Cave of beautiful eyebrows” refers to the series of the same name by Ivan Gorshkov - this is a hidden mystical space where a new vision, new meanings and unexpected prospects are born.

This is a metaphor for future art, which only makes its way to the surface, but is already revealed by interesting faces. At a betrayal exhibition, 88 works of more than 50 promising original young artists were collected. Among them there are already recognized participants in the Moscow and St. Petersburg art scenes, artists from various regions of Russia-Voronezh, Nizhny Novgorod, Ufa and other cities, as well as representatives of international art from Armenia and Kazakhstan.

In focus - authors under 40 years old, which create bright, daring and intellectual works that meet the spirit of the times. The project aims to support artists working in a variety of mediums - from painting and graphics to sculpture, installation and digital art. The exhibition is open for free visits to the photo provided by the press service of the gallery.

Photo: Denis Lapshin in the Museum of Nonconformism opened an exhibition "Awakening". This is the first part of the multi-part exhibition project, which will allow the development of the work of the work of non-conformists from the second half of the X to the X. The exhibition "Awakening" talks about the period of the formation of leading masters of the generation of sixties.

Having grown up in deep cultural isolation, which did not have the opportunity to study the work of their foreign colleagues, they intuitively created a new artistic language, distinguished by vivid individualism. The exhibition is dedicated to the memory of Leonid Bazhanov. The exhibition works before the photograph of Olga Seregina Natalia Turnova for the first time loudly declared herself at the Youth Exhibition of the year.

Thanks to the most powerful energy and a bright, original visual language in the years, it has become one of the key figures of Russian contemporary art. At the exhibition, along with the chosen series of Turnova, a new cycle of paintings, which she worked on in recent years, was presented for the first time. Natalia Turnova was born in the year in Kabul, the capital of Afghanistan.

From five to seven years old, she lived with her parents in Burma now - Myanmar surrounded by "people in colorful clothes and fiery trees." Children's impressions of rich colors were deeply cut into her memory: in the future, it was the color that became the basis of the artist’s visual system. Interest in the capabilities of Kolorit was reflected in her passion for Fovism, in particular the work of his founders Henri Matisse and Andre Deren.

Having released the color, they turned it into an independent artistic language. However, the tragic perception of life, already manifested in the early works of Tournova, bring its artistic practice closer to German expressionism, which arose in years as a premonition of the impending disasters of the 20th century. In the focus of Tournova’s attention - human passions and complexes - feelings that could hardly manage the reason became through the themes of her painting and the portrait genre, as the most accurate tool for their plastic embodiment.

This is a very plastic material, ”Turbnova notes. The artist goes far beyond the traditional portrait. Directly external, “portrait” in its works is necessary only to transmit the inner essence of a person or phenomenon. Turnova uses the entire potential of color to reflect emotional experiences. This is both a generalized image, accumulating collective emotions and injuries, and a self -portrait, in which the artist’s close attention to her own inner life is manifested.

Speaking about one of the most important portrait series “Diagnosis”, published in the year of the Kandinsky Award in the “Project of the Year” nomination, Turnov emphasizes that this is “and the mirror that reflects us, and the screen showing the face of the neighbor”.

Throughout all the work of Turnov, the nerve of the changing reality, the spiritual fluctuations and cramps of man and society subtly captures. Turnova’s works are located in the largest museums, including the State Tretyakov Gallery, the State Russian Museum, the Moscow Museum of Modern Art and other curators: Anna Zaitseva, Maria Lavrova. Photos are provided by Alina Pinsky Gallery Contemporary Art from the Anton Kozlova collection.

” The collection of contemporary art Anton Kozlova began to form in the year, and it was built, according to the collector, on the "symbiosis of love and analytics." This is a systematic collection of work of the museum level, behind which there is serious scientific work. On social networks, the collection is published weekly a video of the collector’s conversations with artists, art critics and curators.

The collection website with digitized works, accompanied by scientific annotations, is prepared for launch.To date, the Anton Kozlova collection has more than a thousand works and makes it possible to create various exhibition projects based on it. An exhibition in MAMM is an attempt to create a dotted map of the development of modern Russian art with a focus of attention in such important directions as post -war abstraction and Moscow conceptualism.

The name of the exhibition was given by the picture of the same name by Sergey Volkov, one of the leaders of young -conceptual art, who worked in the X -year in the famous squat in Furmann Lane. At the same time, the exposition demonstrates how the artistic methods developed and transformed in the years in the works of the authors of younger generations are developing and transformed, including the Mishmash group, Anna Acorn, Roman Sakin, Alina Glazun, Irina Korina, Pyotr Kiryusha and other artists, whose widespread, largely determines the current state of contemporary art in Russia.

With the help of a photograph, the artist explores desert landscapes - territories on which only some traces of his traces, artifacts resemble about human life. Photography for the artist is a tool for long -term visual research, fixing continuous environmental changes. The project “Space of Silence” included pictures created during 10 years of observation of the Volga coastline in Chuvashia.

The objects left by people contrast with the snow -white void and gain special poetry in it. Working with the usual eye and lackless, Mikhailov continues a long -standing tradition in the history of photography, presented primarily by the authors of the Dusseldorf school of photography by Bernom and Hill Bekhami. Stephen Shor opened Sassens in the ordinary, discovered the attractiveness that for everyone else it was a “blind spot”.

In different years, Mamm represented personal exhibitions of these artists to the Russian viewer. But if Shora is interested in a place or object as a “thing in yourself”, then for Ivan Mikhailov it is important how the same object can acquire different semantic connotations depending on environmental changes. The photographer’s gaze is concentrated on beach umbrellas, rescuers' towers, and children's slides - objects on which we rarely fix attention in a lively crowd of vacationers.

In the winter season, on deserted beaches and embankments, these objects become dominants of space. Deprived of their "summer" functionality, they look piercing - as if abandoned forever. But behind this lies a very accurate picture of time in all respects. Of course, the rejection of color as a sign of documentary is a well -established technique, but Andrei thinks more complicated: for him, “callous air” first appears as a regressive change of optics about a hundred years ago.

It would seem that at the end of the 19th century the technological revolution opened new horizons, including in art, the impressionists were able to see and show the air: delightful, color, alive. But as soon as it became clear, the optics has changed, but human nature has no. The air thickened, the meanings were lost and the words ceased to mean. Development went in the opposite direction.

It is impossible to fix this in color. In addition, the surface of many paintings is covered with rigid craquelure, a crust through which both the artist and the viewer are widened, the texture indicates the struggle of the plane with the desire of space. The exhibition of the exhibition includes more than 10 new picturesque works. Each of the paintings for Logvin has a diary in nature, the condition in which this is done is fixed hard and can be accurately restored when looking at the picture.

The viewer does not need to read it as a text, but he will understand this energy as a contemporary who breathes with the same callous air, ”Diana Machulina. The Moscow Museum of Contemporary Art and the Futuro Gallery represented the personal exhibition of the interdisciplinary artist Evgenia here “Slow shores”, revealing the collective image of the inner world of the artist-traveler.

Evgenia’s works are metaphorical and create not literal paintings of landscapes, but mental spaces full of emotions and visual impressions. The exposition is based on the multimedia works of Eugene - video, installations, photographs and graphics. Six sections smoothly pass into each other, creating a single fabric of memories and sensations. The section opens the section on the topic of the interdisciplinary interest of the artist in the pair “Space-Written”, talking about the methods of studying spaces and territories.

The artist writes his feelings from life with strokes of the pen in the so -called “diaries” and fixes in a series of photographs taken on the smartphone on the way. The trajectory of the trip is formed by a series of graphic works “Way” where many points line up in unique lines, forming the buzzing clouds of mental fullness. The final section of the exhibition "Sunrise over the Sea" refers to the most desired place of the sacred meeting.

Futuro in Nizhny Novgorod is a gallery where contemporary art lives in an exposition space with a special character and its history.For the gallery, work is important, where the author’s plan is combined with a high level of performance, it is implemented in whole artistic statements through various mediums. Working with invited curators, the Futuro gallery presents exhibition projects, including in cooperation with other cultural institutions.

Eugene here from the series "Cards". He gained fame as the inventor of the Pare-Form method. Soviet art criticism put it on a par with artists of the Western European and American avant -garde. Yurlov was the only formalist in the Soviet Union. Not being an emigrant, he became a real participant in the international art process and already at the time of the USSR received recognition in the West.

Retrospective "Valery Yurlov. Experiences of speculation ”, uniting from the collection of the Tretyakov Gallery, the author himself and private collections, demonstrates the versatility of the method of Valery Yurlov and the integrity of his artistic thinking. Painting, collages, photographs and objects reveal the philosophical system of the artist, where each element builds a picture of the world.

Valery Yurlov is one of the pioneers in the field of abstract art in the Soviet Union. In his works, he seeks to express philosophical concepts through a visual. His work is not just experiments with color and shape, but also attempts to understand the nature of the world, to see its hidden structures. Toratically, the exposition is divided into several blocks - “buttons”, “pair of forms” and “trinity”.

The works of different periods are united by the desire for a deep analysis of being, where figurative images give way to abstract formulas filled with philosophical meaning. The artist’s new works are not a repetition of the stages, but further steps in creative research. The artist’s work for more than 70 years has been a laboratory for the study and analysis of structures that underlie the surrounding reality.

The name of the exhibition contains a paradox. As you know, speculation is a philosophical system in which the picture of the world is built on the basis of logical conclusions or intuitive conclusions about phenomena and events and does not imply a test experimentally.