The artists of the gallery were asked to rethink the exhibition projects implemented in the Fragment Gallery, using the items and materials left after the dismantling and production of works.
Ilmira Bolotyan, having used such materials as postcards from past exhibitions, creates the project #цитатывеликихлюдей. She assumes that postcards have value only in two cases: if they have an important message for us and if they have value in terms of preserving historical memory. Therefore, following the instructions on the envelope the viewer should ask a question, take the envelope and read what is written on the postcard, take it with him.
Alexander Shchrenkov’s site-specific installation reveals the nature of memory. With an increase of number of spectators around the installation and a change in its physical properties (temperature, direction of air movement, etc.), the green "petals" respond to the indirect impact and gradually change their position, fixing a new state of the system. It demonstrates how mechanisms filtering information work. Artist used lattices for mounting oracalfrom the exhibition of personal exhibition "Zugzwang".
"Past" is either the primary or the dithering void for "present", which merges with the "last" in one indivisible fabric shutters, turning on and off memories, presenting a "filter of memory". Having taken as a basis photos from the vernissage of past exhibitions and as a material fabric from Sofa Skidan’sexhibition micro art group Gorod Ustinov reflected upon the "past", "present"and memory in their work.
Ilya Fedotov-Fedorov in his installation offers an analytical analysis of such an important event in the life of any gallery, as the opening of the exhibition. Artist created a space which includes all requirements of the vernissages – music, drinks, food, pleasant atmosphere and people. Used materials: photos from the opening of exhibitions (2016-2018).
Alexey Martins’ project "Garden must grow" is an analysis of the relationship between two series of sculptures, which may well exist separately, but together they create a special piece of the world — the artistic ecosystem. Maneuvering between different techniques — figurative and abstract, tactile and visual, whole and broken — allows you to find the hidden possibilities of such a traditional medium as sculpture. The garden in this case is a symbol of a combination of many objects, namely flat wooden plates of different shapes and sizes and arranged on them equally white figures of different animals. The plastic image of the installation is built on a combination of abstract and concrete, fractional and integral, tangible and observable. The garden of Alexey Martins unfolds in a horizontal plane and, as is typical of contemporary art, continues to grow in the minds of the viewer. Artist used veneer from his and Ilya Fedotov-Fedorov’s exhibitions.
Ilmira Bolotyan (Born in Chuvashia in 1980)
She studied at Anatoly Osmolovsky’s "BAZA" Institute for Contemporary Art and "Free Work-shops" School of Contemporary Art at the Moscow Museum of Modern Art. She is a co-founder of artist-run-space Centre Red.
Bolotyan’s paintings and graphic works include figurative anthropomorphic images, studies of the representation of gender and "femininity" in contemporary visual culture, and painterly marginalia. In her participatory projects, Ilmira creates different social situations: from inviting the audience to determine the nationality of an unknown woman to asking men out on a date in the museum.
In 2018 Ilmira Bolotyan’s project "Date in the Museum" was nominated for the Sergey Kuryokhin Contemporary Art Award in the category "The Best Visual Art Project".
She currently lives and works in Moscow.
Group members prefer to remain anonymous. They were born in 1986 and have been working together since 2010. The main aim of their activity — to learn to feel and appreciate the space, starting with the smallest particles.
The participants of the 1st Triennale of contemporary Russian art (Museum of contemporary art "Garage", Moscow, 2017), 5th Moscow Biennale of contemporary art (2013), the Pro Helvetia resi-dency at Gleis 70 (Zurich, Switzerland, 2018) and the exhibitions: "Art against geography" (Muse-um of modern art PERMM, Perm, 2013), "Current Udmurtiya" (the Volgo-Vyatskiy branch of the NCCA, Nizhny Novgorod, 2016), "Dance of the death" (Verein Totentanz, Basel, Switzerland, 2016), "Manufactories of caring space-time" (Museum of fine arts (MSK), Ghent, Belgium, 2017), "Big country – big ideas" (NEMOSKVA project, 12 cities of Russia, 2018), "Museum delivery" (Switzerland, 2018) etc.
Live and work in Izhevsk.
Alexey Martins (Born in Krasnoyarsk in 1989)
He graduated from the Faculty of Painting of the Krasnoyarsk Art School and the Free Workshops Contemporary Art School at the Moscow Museum of Modern Art.
In his practice, Martins engages with a distinctive set of materials, techniques and subjects that re-veal thedynamic tension between civilization and nature. Out of old, reclaimed wooden planks, which still preserve the memory of wild forest and the warmth of a dwelling, he assembles striking and enigmatic zoomorphic sculptures. Using acrylic and graphite pencil, he creates concise mono-chromatic compositions, wherein the traces of anthropocentric landscape dissolve into the "snowy" whiteness of unfilled background. Martins considers all of his works in different media, including the ones produced for public spaces, as inherently connected parts of a single social and aesthetic project – a meditation on ecologic cataclysms, the ambivalent status of a human being in the system of organic life, regional identity and the unifying potential of art.
In 2015, Martins got onto the short list of the Kandinsky Prize in the nomination "Young Artist. Project of the Year" for his joint performance with the artist Igor Lazarev How to Talk about Art to the Siberian City. In 2017, Alexey Martins became the winner of the annual Ruinart Art Patronat Award Contest in the field of contemporary art.
Martins’ portfolio includes over 20 group exhibitions and five solo shows. He has participated in the 3rd Moscow Biennale of Young Art, the Main Project of the 7th Moscow International Biennale of Contemporary Art, and the 12th International Festival of Landscape Objects. His works are found at the State Tretyakov Gallery, Krasnoyarsk Museum Centre and in private collections.
He currently lives and works in Moscow.
Ilya Fedotov-Fedorov (Born in Moscow in 1988)
Ilya Fedotov-Fedorov studied genetics (bioengineering) and philology in Moscow. After finishing his academic studies, Ilya took an interest in art, actively sketching and creating ideas for his future works. He graduated from the Free Workshops Contemporary Art School at the Moscow Museum of Modern Art.
The main motif of Fedotov-Fedorov’s art is the use of natural scientific knowledge. The artist adopts its main characteristics: the depiction of biological processes and forms from the cell to the habitat, linguistic features and ways of presenting knowledge (formulas, drawings, and so on), methodological principles and types of representation (entomological collections, card catalogues). With their help, he reveals the subjective nature of the acquisition of knowledge and its dependence on individual experience. He shows that we perceive and describe the surrounding world in accord-ance with the language we use.
The artist’s portfolio includes a large number of solo and group exhibitions in museums and galleries in Russia and Europe. The artist was nominee for the State Prize in Contemporary Art "Innovation-2018" in the category "New Generation" (Russia). Ilya participated in the Main Project and Parallel Programme of the 7th Moscow International Biennale of Contemporary Art and in residencies in Spain and Switzerland. In 2018 Ilya Fedotov-Fedorov will take a part in a residency at the Jan van Eyck Academy (Maastricht, Netherlands). The artist had been selected by the Vroman Foundation as its first Fellow.
His works are found at the State Tretyakov Gallery, Moscow Museum of Modern Art and private collections.
He currently lives and works in the Netherlands.
Alexander Shchurenkov (Born in 1984 in Moscow)
He attended Michael Bitler’s three-week course "What the work tells about the tools" (Salzburg International Summer Academy of Fine Arts). Since 2016, he has been studying at the Institute of Contemporary Art (Moscow, Russia). Alexander received a bachelor’s degree in mathematics in 2004 from Moscow State University. Since November 2017, he has been a member of the artist-run space Center Red (Moscow).
The main theme of Schurenkov’s work is investigating the nature of basic psychological notions such as self- consciousness, self-determination, and self-sufficiency and extrapolating the results to society as a whole. The artist is interested in understanding how everyday objects become totems, as well as drawing the line between the sacralization and the desacralization of things that people see and use every day, experiencing self-identification with these objects, and investigating the chang-ing meanings of garbage and abandoned and re-appropriated objects. His artistic techniques include working with everyday objects, from which he creates installations and sculptures, and exploring spatial limits in site-specific works.
He currently lives and works in Moscow.