Featuring 12 artists, The Last Day of Disco includes works by Giovanni Leonardo Bassan, Jimmy Beauquesne, Matthew Tully Dugan, Claire Fontaine, Nick Hoecker, Will Sheridan Jr., Alexander Shchurenkov, Marlon Kroll, Borys Mykhailov, Kayode Ojo, Madeleine Ray, and Gaby Sahhar.
Hypermnesia II selected by Tim Schneider for Editors' Picks on Artnet: "In her inaugural US solo show, Martina Grlic alchemizes themes of personal memory, post-socialist politics, and gender norms into a series of absorbing paintings that oscillate between the real and the surreal."
Fragment Gallery booth at NADA New York 2022 has been featured in Artsy’s “The Best Booths at New York Art Week 2022“ selection. "At the fair, Fragment presents a dynamic solo booth featuring artist Tim Brawner, whose acrylic paintings evoke the fantasy landscapes of both Alice in Wonderland and the Brothers Grimm." —Ayanna Dozier
On February 24 we have stopped all programming in our Moscow space in protest of the war. Today we are announcing that the gallery in Moscow is permanently closed and we do not have plans to reopen it. We would like to express enormous gratitude to all of our collectors and supporters, you all know who you are. We will continue our program in New York, we will continue to support all of our artists, and we will continue to stand with Ukraine.
Platform is a new online initiative that brings together galleries in different cities. At the beginning of each month, Platform publishes a new limited-time selection of artworks, chosen in partnership with world-renowned gallery David Zwirner.
The April selection features works by our gallery artists Jimmy Beauquesne and Pacifico Silano.
We have decided that at this time we have a responsibility to make space for and give visibility to Ukrainian artists and galleries. We have given up our physical booth at Liste Art Fair in Basel to The Naked Room gallery from Kyiv.
"The show’s title, “Hypermnesia,” refers to a psychological condition characterized by abnormally vivid memories or recall of the past. In Grlić’s case, what’s recollected is not only fleeting as an unavoidable casualty of time’s passing but is inherently contested as a remainder of Yugoslavia’s transformation from the socialist state in which she was born to a network of European-style capitalist democracies, with the attendant self-imposed erasure and reconstruction of the national past." — Valerie Mindlin
In light of the Russian invasion of Ukraine, Fragment held a community meeting on February 27 in New York to discuss our personal experiences and actionable steps to protect the futures of artists from Ukraine, Belarus, and Russia. The meeting was moderated by Anton Svyatsky (partner, Fragment) and Jeanette Bisschops (curator). It was attended by artists, curators, writers, gallerists, and art workers from Ukraine, Belarus, Russia, Eastern Europe, and the United States.
Titled "In the field of the Other", the group show features Morehshin Allahyari, Ilya Fedotov-Fedorov, Polina Kanis, Tabita Rezaire, Rachel Rossin, Jacolby Satterwhite, Jura Shust, and Igor Simić. Each artist's work will be screened one week at a time.
Moscow: Morehshin Allahyari: January 28-February 3; Tabita Rezaire: February 4-10; Rachel Rossin: February 11-17; Jacolby Satterwhite: February 18-24.
New York: Ilya Fedotov-Fedorov, January 28-February 3; Polina Kanis, February 4-10; Jura Shust, February 11-17; Igor Simić, February 18-24.
On the last day, February 25, all the artists' works will be screened consecutively throughout the day.
I Wish I Never Saw The Sunshine conveys Silano’s study on LGBT identity and print culture that is presented in an accordion-folded format that can be shown as one continuous collage or as a sequence of individual images. It was published in collaboration with Loose Joint Publishing and supported by Fragment.
At this moment the association has 170 member galleries from all over the world, including mega-galleries (Gagosian, Pace, etc.) and the most forward-thinking galleries (Carlos/Ishikawa, Emalin, JTT, Peres Projects, Anton Kern Gallery, etc). There are two galleries from Russia – Fragment and Osnova.
This year, MoMA, who actively supports the photobook phenomenon, has launched a new yearly celebration of the photobook and made the list of 10 favorite photobooks of 2021, dating between July 2020 and August 2021. Pacifico Silano’s photobook, I Wish I Never Saw the Sunshine, has made it to the list and is now a part of the MoMA Library collection. It is also available for anyone to purchase in the Design Store.
I Wish I Never Saw the Sunshine was published in collaboration with Loose Joints Publishing and supported by Fragment. It represents the artist’s research on LGBT identity and print culture with imagery taken from a vintage archive of 1970s gay porn magazines folded inside a hardcover casing. It is a 4-meter long book based on Silano’s installations that can be read as a long continuous art object or a sequence of individual images.
Center Stage continues the exhibition series of the 2020 international open call winners. The two exhibitions have simultaneously opened at Fragment space in Moscow.
Dew Kim presents Apocalyptic Kiss, whose timeframe is both the moment of birth and death. The exhibition talks about a queer practice trying to make or coordinate changes and conflicts into a new form and erase normative boundaries.
PASHA, an anonymous project, presents Cvetik-semicvetik, reflecting on personal past experience, bullying, discrimination, stereotypes and xenophobia, identity, and self-identification.
Age limit 18+
On October 8th, Fragment opened its new permanent space in New York. The debut exhibition in the new location is MAJLIS AL-JINN by Morehshin Allahyari featuring new video works, 3D-printed sculptures, and a site-specific installation of drawings from archival materials. The artist reflects on fearsome female/non-binary Jinn figures found in ancient Asian and Islamic mythology.
39 East Broadway, #404
Tuesday—Saturday, 12–6 pm
We will show Jeffrey Meris’ solo booth. Jeffrey Meris (b. Haiti, 1991) is an artist who works across sculpture, installation, performance and drawing to consider ecology, embodiment, and various lived experiences while healing deeply personal and historical wounds.
This year’s fair will take place on December 1–4 at Ice Palace Studios and will feature over 100 exhibitors. Fragment has been a member of NADA (The New Art Dealers Alliance) since 2020.
I Wish I Never Saw The Sunshine published in collaboration with Loose Joints Publishing and supported by Fragment was shortlisted for the Paris Photo–Aperture Foundation award in the First PhotoBook Prize category.
This year, more than 800 applications were submitted for the Prize. The jury for the shortlist included Emilie Boone (art historian), Sonel Breslav (director of fairs and editions, Printed Matter), Darius Himes (international head of photographs, Christie’s), Lesley A. Martin (creative director, Aperture Foundation), and Jody Quon (director of photography, New York Magazine). The final selection will take place this November.
Fragment participates in the Liste Art Fair in Basel presenting works of New-York based artist Patricia Ayres at booth 72.
Ayres’ inspiration lies in topics such as external and internal constraints, mechanisms of control, and confinement. Ayres is well known for her sculptures that reference pain, torture and control of the female body.
Dates: 20 – 26 September
Address: Messe Basel Hall 1.1. Maulbeerstrasse / corner Riehenring 113
It is second exhibition of the initiative. This year’s concept is Small World, reflecting the modern processes of globalization. Despite those who oppose this phenomenon, the project organizers suggest perceiving the Small World tendency in a positive way, where art is becoming more accessible. We often notice common themes among artists living and working in different parts of the world, and this is just one of the inevitable manifestations of contemporary art. But the world is not becoming homogenized, instead, we witness the birth of a new community where everyone is somehow connected by five handshakes. Participating galleries and artists:
Misako & Rosen (Tokyo) | COBRA & Ken Kagami
Peres Projects (Berlin) | Rebecca Ackroyd
Lubov (New York) | Kevin Tobin
Raster (Warsaw) | Przemek Matecki
Temnikova & Kasela (Tallinn) | Sigrid Viir
Capsule (Shanghai) | Wang Haiyang
Fragment (Moscow) | Kian McKeown
The exhibition is supported by Center Stage and Arts Council Korea. Center Stage is a non-profit project fully dedicated to support LGBTQIA+ artists. The project stands for diversity, equality, respect of LGBTQIA+ rights, and act against any types of discrimination, including homo- and transphobia, and oppression of any kind.
Wish You a Lovely Sunday is Young-jun Tak’s first solo exhibition, and it is the premiere of his video of the same title. The video combines and juxtaposes two distinctive spatial settings — a church and a queer club. The participants were paired up to create new choreography for a church and a queer club, and then on the day of filming, their venues were swapped to see how they would adapt.
This September, Fragment opens its new permanent space in New York. Now Fragment will operate in two cities at once – in Moscow and in New York. Anton Svyatsky has become a partner of the gallery and will lead the New York location.
Opening of a space in New York is a very important step for the gallery and it opens many new opportunities for new projects. Within the new location, Fragment plans to show international art, as well as works of Russian artists.
For almost 5 years of the gallery’s existence, more than 30 projects have been implemented with the participation of Russian and foreign artists. Last year, Fragment Gallery became a member of NADA, and in September 2021 it will participate in the Liste Art Fair in Basel, where it will present the works of Patricia Ayres.
Click here to read the article where the author dives into Pacifico Silano’s art and creative process.
The feature is an exploration of the journey of an image, guided by the artist, from vintage magazines up to the wall at the exhibition. For Silano this journey is always about transformation or reinterpretation of a source material, finding new ways of connection between these images and the viewer:
“I take these really quiet moments you’re not supposed to be thinking about, blow them up and infuse them with metaphor and meaning”.
Dagnini and Alexander Shchurenkov present a project entitled Date with America devoted to the post-Soviet interpretation of the American Dream. The site-specific installation created by the artists reflects, on the one hand, how the American Dream has been reduced to a collection of things after their metamorphosis into unremarkable everyday objects or even household trash and, on the other, it prompts us to ponder on the image of that dream, which can be bound up with loss and tragedy.
Neophyte II is presented in the framework of Every Day. Art, Solidarity, Resistance, a group exhibition at Mystetskyi Arsenal (Kyiv, Ukraine).
At the time when Belarus is shaken by a major political crisis accompanied by mass protests and unprecedented repressions, while the whole world is gripped by a pandemic, Jura Shust films how a group of Belarusian millennials finds themselves in a parallel world. Accompanied by an artist who is both a mediator and a cameraman, young people go through a series of mysterious rituals that refer to both ethnic myths and the aimless pastime of modern youth: they make drawings on the ground, burn a tree stump with fire, sing, beat each other with nettles and decode the emerging burns. The forest becomes a place of protection, a shelter for magical and partisan forces, a space of non-linearity and freedom.
As the artist himself writes, «It is a looking-glass world – time here moves in a loop, the past and the future are united, and each sound echoes over the tree crowns to get back to the throat that produced it. A sacred forest surrounds a constellation of eye-like lakes, no one counts days or nights here, and every morning the light is born».
It is the third edition of NADA House, a collaborative, public exhibition in New York organised by The New Art Dealers Alliance. The event will take place May 8—August 1, 2021 in an expanded format, with gallery presentations in over 50 rooms in three neighboring turn-of-the-century colonial revival buildings on Governors Island.
Fragment is among 66 participants including galleries, non-profits, artist-run spaces, and curators from around the world. We are going to present a special project on the American dream in the house where Gorbachev met Reagan in December 1988.
Assuming Distance: Speculations, Fakes, and Predictions in the Age of the Coronacene show presents works by Alexander Shchurenkov from the Stone-cold series. The series grew out of Shchurenkov’s long-term interest in crystals, combined with his current research focus on popular alternative healing methods. He is curious about the mechanisms that such practices are based on, in particular the controversial placebo effect. The image of the crystal in Shchurenkov’s works is ambiguous: studying the “good”, therapeutic image of the crystal from a distance, he picks up on its connection with the “other side”, linking the shape of the crystals with the tombstones and coffins.
Ilya Fedotov-Fedorov won a grant from Swiss arts council Pro Helvetia which promotes cultural exchange, develops and nurtures long-term partnerships, initiates co-productions and supports residencies.
Now, within the framework of the grant, Ilya is participating in the Atelier Mondial residency in Basel, Switzerland where he works on his project Poisons Museum, for which he studies the history of toxic substances and analyzes problems of information credibility and differences between truth, falsehood, and fantasy.
It is published in collaboration with Loose Joints Publishing and supported by Fragment. It represents the artist’s research on LGBT identity and print culture with imagery taken from vintage gay pornography magazines folded inside a hardcover casing. It is a 4-metre long book based on Silano’s installations that can be read as a long continuous art object or a sequence of individual images.
You can read the article about the book in the Financial Times here.
The solo show is called Cowboys Don’t Shoot Straight (Like They Used To). Ashlyn Davis Burns curated the exhibition.
The exhibit is a series of large-scale photographic installations in which Silano explores the images of vintage gay porn magazines published after the 1969 Stonewall riots, as well as print culture, image dissemination and LGBTQ identity.
The Queer And Now 2021 festival is curated by E-J Scott (Museum of Transology). The main goal of the festival is to celebrate the powerful role of LGBTQIA+ arts and culture in today’s society and to unite queer artists and activists from all over the world.
As part of the LGBTIQA+ History Month, the Queerate Tate initiative was announced. Each participant can choose a work from the Tate collection that reflects his / her experiences as a member of the LGBTQIA+ community and rewrite traditional interpretations.
Center Stage begins its exhibition series of the 2020 international open call winners. The first of these is Disidentification, an exhibition by the London-based artist and filmmaker Antonia Luxem at Fragment gallery space (Moscow, Russia).
Four film works are shown at Luxem’s exhibition, the centerpiece of the which is an aesthetic video installation: Dearest Degenerate is a polemic, poetic and passionate letter that guides us through layers of visual metaphors, and addresses the close and homophobic person. The work was developed from material found in personal notebooks and diaries and inspired by books such as Didier Eribon’s Insult and the Making of the Gay Self (who also organized the first conference in France dedicated to gays and lesbians in 1997), and Cruising Utopia, written by one of the most influential queer theorists, José Esteban Muñoz.
Antonia Luxem’s experimental and abstract films are inspired by her interests in neurology, philosophy, human perception, thought processes and dream spaces. Luxem in her artistic practice also explores questions of queer identity, for the artist it’s an opportunity not only to rethink personal experiences but also to contribute to the expansion of LGBTQIA+ culture. «We need to have a voice and it needs to be an inspiring and powerful one», says the artist.
Fragment Gallery presents two artists: Patricia Ayres and Lisa Ivory.
All works are presented at NADA’s Online Viewing Room at newartdealers.org
Lisa Ivory’s works will be also shown offline at the Raster gallery in Warsaw. Due to the COVID-19 pandemic, the exhibition will be open by appointment only: email@example.com
Fragment will show two artist: Patricia Ayres from the USA and a British artist Lisa Ivory.
The fair will feature a total of 96 international galleries from 44 cities. This year the event will be held both offline and online. NADA Miami will simultaneously occur at venues in different cities – in New York, Los Angeles, Tokyo, Warsaw, and Riga.
Fragment has been a member of NADA (The New Art Dealers Alliance) since 2020.
There were two categories: a nomination for artists in the early career stage (with no age limit) and a Zine category.
For the category Artists in the early career stage, Center Stage received 75 applications from artists from 21 countries, including Pakistan, South Africa, Mexico, Singapore, South Korea, China, Russia, the United States, and others.
The winners of the Artists in early career stage category: Dew Kim (South Korea), Man Ting Vanessa Lam (Hong Kong, China), David Leal (Portugal / Great Britain), Antonia Luxem (Great Britain), Matteo Rosa (Italy / Sweden), Pasha (Russia).
The winners of Zine category were selected by the team of a Russian queer magazine, O-zine. A total of 10 applications from four different countries — Russia, Great Britain, Singapore, and Mexico — entered this category.
The winners of the Zine category: Nelson Morales (Mexico), Tanya Pioniker and и Ilya Danishevsky (Russia).
She will present her artwork called Summit. Summit is a meeting of performative characters invented by Dagnini: a four-legged stripper without a head, a comical gopnik with gargoyle wings made of rubber gloves, a Venetian lion made from fake Versace fabric, a ridiculous rainbow growing from baby pots. These characters exist between the digital and the real world, sometimes funny, sometimes frightening, they demonstrate problematic moments of society, and violate the usual scenarios of everyday life. The artwork is a part of the curatorial project I Don’t Know if the Earth is Spinning or Not … by Lizaveta Matveeva (Russia) and Francesca Altamura (USA).
The project takes place in an online format. The notspinning.world platform was specially developed for it. The presented works reveal actual fears and anxieties in an absurdist form using black humor, satire and irony. An important component of the digital platform is also the text component, which includes specially texts, essays and poetry written by artists.
The theme of the first collaborative exhibition, which occupies a whole Fragment space, is The New (Sur)Realism. It reflects, in the best possible way, times we all live in and shows different angles of contemporary artists practice, and strikes a balance between illusory, fictional and real life.
Each participating gallery was invited to become a co-curator of the month-long exhibition and show works by one of its artists. Capsule Shanghai presents a video work by Alice Wang, Lubov — an installation by new media artist Theodore Darst, Raster from Warsaw brings prints by significant Polish artist Aneta Grzeszykowska, Temnikova & Kasela (Tallinn) — works by Jaanus Samma, who presented Estonia at the 56th Venice Biennale, and Fragment gallery shows paintings by Canadian artist of South Korean origin Sun Woo.
This year it is one of the very few art fairs to take place offline. We present the works by three artists: Russian artist Ilya Fedotov-Fedorov, Belarusian artist living and working in Berlin Jura Shust and American artist Pacifico Silano.
In addition, you can see Alexey Martins’ series of works based on Scandinavian and Evenki mythology at Created in Moscow section (booth Z36).
The American non-profit organization The New Art Dealers Alliance (NADA) dedicated to supporting the global arts community and developing a dialogue between various points in the contemporary art industry.
For more information, please click here.
Center Stage is a new non-profit project conducting international open calls, funding and organising exhibitions, publishing zines, and helping artists in early career stages to visit important artistic residencies.
We share the same values and stand for diversity, equality, respect of LGBTQIA+ rights, and act against any types of discrimination, including homo- and transphobia, and oppression of any kind. We think it’s crucially important to show people in Russia a diverse range of art especially in times when new anti-human laws are intended to be applied by the Russian government.
More information on the first international open call can be found here: www.centerstage.family (or on Instagram: centerstage.family).
Among confirmed jurors: Antonio Sergio Bessa (chief curator of The Bronx Museum of the Arts), Lee Pivnik (co-founder of The Institute of Queer Ecology), Anastasiia Fedorova (curator and writer, founder of Russian.Queer.Revolution project), Alexander Burenkov (curator of the Cosmoscow Foundation), Slava Mogutin (artist and writer), Chris Bogia (artist and executive director of Fire Island Artist Residency), Sergey Guschin (Fragment gallery founder).
The participants of the fair are NADA gallery members and specially invited galleries from all over the world, including Fragment. We will present our gallery’s two artists: Pacifico Silano and Alexander Shchurenkov.
The fair’s title — FAIR — isn’t coincidental. 20% of each sale will go into a special pool for participating galleries and 20% — into a cooperative pool for artists represented at the fair. These funds will be fairly shared between all participants. Plus 50% of each sale is split evenly between artist and gallery. Fragment will give this amount of money to the artists.
In her project, dedicated to nostalgia for the age of mass distribution of ОS Windows 95/98 and to the political turmoil in Russia in the ’90s, Dagnini refers to the emotional experience and, mixing digital and real, offers her own view of that time.
Shust’s project, blending the archaic with the post-industrial while reviving the sacred concept of humankind’s inclusion in the global system, is an effort to shed light upon the intimate ties that bind together technology and society.
In Jura Shust’s project, “Slavic mythology meets a globalized illicit industry and sacral rituals move to digital platforms”. NEOPHYTE project, blending the archaic with the post-industrial, is an effort to shed light upon the intimate ties that bind together technology and society. Working with a wide range of forms and media, Shust constructs the exposition from several mediums — video, graphics and sculptural composition.
Pro Helvetia is the Swiss Arts Council which promotes cultural exchange between Swiss and Russian institutions, artists, curators, and art managers working in the field of contemporary art and culture.
More detailed information is available on MMOMA’s website.
To see full information about the MOMMA 99/19 exhibition, please click here.
To see the full video, please click here.
In his works, he raises questions of the connection between post-industrial and archaic: technology, science, bio-politics with religion, rituals, and myths. Working with a wide range of forms and media, Shust constructs the exposition from several mediums — video, graphics, and sculptural composition. In the shape of an absurd dystopian fairy tale, the NEOPHYTE explores the role of mystery in today’s life of young people living in the post-Soviet space, revealing the omnipresent and comprehensive strategies of control, articulating the reviving struggle for escapism and decentralization.
The article is about our gallery’s participation in the NADA Miami art fair and the cancellation of After Silence exhibition in Miami due to the city officials' prohibitions.
You can read the full article by clicking here.
We show the works by American artist Pacifico Silano, who was at the center of censorship raw last year in Miami. We are waiting for you on December 5-8 at Ice Palace Studios (1400 North Miami Avenue) at our booth 7.02.
From this material you’ll know about the scandal of the previous attempt to show Pacifico Silano’s works in Miami and why it is so important for us to present this artist at NADA. While in Moscow, don’t miss your last chance to see Silano’s solo exhibition at our gallery at Krasnoselskaya. The exhibition runs till December, 5.
You can find the full article by clicking here.
Constructed Situations exhibition addresses the question of our place in the global ecosystem and explores the process of human alienation from nature. Ilya presents a site-specific installation and constructs the “inanimate corner”, trying to divide a coherent system into parts, saving each one individually.
7 Russian artists participate in this project: Ilya Fedotov-Fedorov, Tatyana Akhmetgalieva, Aljoscha, Margo Trushina, Kirill Garshin, Alexandra Paperno, Vadim de Grainville (Grigoryan). Curator — Masha Sergeeva.
Till Nature Us Part is a project based on the idea of a non-organic renaissance, where digital methods of data storing create a digital version of Noah’s ark. Ilya poses the question of whether digital images of animals and plants continue nature or manifest its death. The artist looks for connections in the chain nature-human-technology, where each subsequent link emerges from the previous one, gains autonomy, and then subjugates and destroys its antecedent.
He raises issues of the connection of rituals and myths with technology, science, and bio-politics.
Created from hi-tech and everyday materials, Shust’s projects draw attention to the contradictions of modernity: a passion for rational knowledge and fetishism, inclusion in contemporary communicative networks, and archaic worldview.
Since 2012 he was exhibited at the Museum of Contemporary Art GFZK (Leipzig, DE), Contemporary Art Museum S.M.A.K. (Ghent, BE), Museum de Domijnen (Sittard, NL), Calvert 22 Foundation (London, UK), Blaffer Art Museum (Houston, Texas, US) and many other galleries.
She told the magazine how to be a street tough, a bohemian diva, a four-legged performer as well as about the Windows series and nostalgia.
”It’s clear that the aesthetics of the 90s and 2000s resonates with many of us because this is our common immediate past. I am a person with the same past, I work with what is close to me, without any calculation. Memes are a great source of sharing information with a lot of energy. Memes spread like cells, very quickly, actively, and fall or don’t fall directly into your perception. And after all, they are free from authorship. I love doing something that might look like a meme”.
He will show his works from the Museum of Poisons project. The exhibition is a paean to curiosity and inquisitiveness which served to build a didactic approach to the world in the past and become a tool for understanding a world struggling for survival nowadays.
We present Pacifico Silano‘s works from the project devoted to the relationship between loss and desire, death and ambition.
Our booth will feature Pacifico Silano’s large works, some of which were exhibited at the Block gallery of the Bronx Museum (New York) in summer 2019.
Fragment has moved to a new space, Red Arrow – a public environment surrounded by loft apartments.
Central to Silano’s project How to Disappear is the relationship between loss and desire, death and ambition. The artist employs photographic fragmentation, layering, a variety of repeated cut-outs from erotic magazines in order to re-evaluate gay-eroticism specifically in the context that commences with the Stonewall riots up until the mid-1980s AIDS/HIV crisis. The images selected by the artist and found mostly in disco-era magazines are saturated in innocence, almost naivety. However, the vibrancy and euphoria of Silano’s color palette suggest a possibility of complete freedom.
It is just as impossible to recollect the names and faces of all the smiling models found in the magazines of the period, as it is to name all those who became victims of the AIDS/HIV crisis. The LGBT community, represented and disseminated through cheap magazine culture, is now a symbol of the era’s immeasurable loss. Our relationship with the past is constantly in flux and the interpretation of these images must not be regarded as permanent or regular. The artist is interested in the power of the photographic image, the relationship between people and the mass-produced image, as well as their role in shaping the modern LGBT identity.
It will be held in Yekaterinburg from September 12 to December 1, 2019. Curator: Xiaoyu Weng (Solomon R. Guggenheim Museum, NY).
Dagnini will stage a performance from the Peep Show series, demonstrating one of her key methods, such as working with images that deconstruct the body and its interpretation.
Performance starts at 19:30 and 21:00.
Exhibition participants: Alexander Kompaniets, Andrey Novikov, Artem Novoselov, and Andrey Petranin.
The specificity of the open call is its platform — the Instagram account of the gallerist Sergey Gushchin, who introduced the competition to his followers.
Resembling the format of popular social media, the exhibition incorporates work that deals with questions of the every day, images that are familiar to every viewer. Despite this, each artist employs traditional art materials and genres, which are presented as topical and contemporary even in the context of the digital age.
We congratulate the winners and thank everybody who took part in the open call.
In Cube.Moscow space, you can see the new work, Notebook, by Dagnini presented at the experimental group exhibition Infography. The exposition includes ”side notes”, momentary images which are not committed to any particular idea but provide a glance into the artist’s unconscious. The project is attended by 30 artists, including Anatoliy Osmolovskiy, Olya Kroytor, Ivan Novikov, Anton Kushaev, Irina Petrakova, Valeriy Chtak, and others.
Crafting Present and Future workshop is devoted to sharing skills of any traditional crafts which people know from their relatives or obtained during any tough time of their life. Thus, emphasis will be placed on those that helped participants to cope with various crises — from psychological to economic ones. All participants are encouraged to share their experiences and stories, show techniques, teach some practical tips and tricks, and learn from others. Alexander Shchurenkov will teach basic macramé knots, which he now actively uses in his own practice.
This year we present the works of three artists: Dagnini, Alexander Shchurenkov, and Darya Barybina.
Visit us at the Gostiny Dvor, on September 6-8, booth B10.
Running until 8 September in the BOZAR Centre for Fine Arts in Brussels, the exhibition The 12th Time Zone. A contemporary Art Report from Russia includes Martins' installation made in conjunction with the Nemoskva project. It consists largely of old wood and weighs almost 3 tonnes. The work addresses such themes as ecology, memory, and Siberian myth-making. Last year, the artist presented his works from the same series at the Cosmoscow International Fair, winning the Ruinart Art Patronat grant.
Residency Unlimited (RU) is a non-profit art organization, which is located in the former Congregational Church in 19, New York. The program strives to support the creation, dissemination, and presentation of contemporary art.
Sergey Gushchin is the first-ever gallerist to be selected for the program by a panel of experts put together by the Moscow Museum of Modern Art.
It takes place from 30th of June until 2nd of September.
The 12th Time Zone: A Contemporary Art Report from Russia exhibition takes place in The Centre for Fine Arts BOZAR in Brussels from the 28th of June till the 8th of September 2019. The project is implemented by the platform of Interregional Cooperation in the Field of Contemporary Art NEMOSKVA.
Within the exhibition, Martins presents an abstract sculpture from an industrial bar. This work is a part of the artist’s project dedicated to the problem of interaction between civilization and the environment.
The jury consists of four members invited by the Culture Department of Porto which choose 16 curators. Fedotov-Fedorov was nominated by independent curator Clémentine Deliss. Deliss is a Professor at the Karlsruhe University of Arts and Design, between 2010 and 2015 was the director of the Weltkulturen Museum in Frankfurt-am-Main.
Her installation An error has occurred! is included in the show. The artist uses her favorite technique of mixing digital and real. Concrete fences are painted with facade paint and installed one after another, similarly to Windows errors on the screen. Massive objects become virtual windows, and visible space turns into a screen. Dagnini emphasizes that mistakes in public space organizations are as common as violations of rights, laws, and borders in our reality.
The project includes artworks from the Windows series. Canvas, murals, and hand-embroidered tapestries are gathered by the artist in a total installation. The exhibition opening included a surprise performance Therapeutical Catering — a cake in the shape of Moscow White House with lighted candles was installed in the middle of the gallery space. When spectators realized that no one was going to say anything or cut the cake, they started destructing it by themselves and putting it on their plates.
In his works, Ilya raises questions of human interaction with the world. The artist focuses particularly on the issue of human domination of plants and animals and also on the modern relationship to nature.
The starting point for the works presented within the exhibition was the artist’s reflections on the body’s temporality in the era of circulation and the continuous production of information, and also on the new perception of identity in conditions of technogenic culture, nature’s crisis, and approaching point of no return of environmental instability of the Anthropocene era. The project’s curator is Alexander Burenkov. He is an independent exhibitions curator and art director.
It was created for the Russian Pavilion at the 57th Venice Biennale of Art.
She addresses the eternal questions of the universe — the story of life and death turns into the concept of light and darkness, where there is no opposition to them. Darkness is the lack of light, in other words, its lack.
Since a human being is a source of light he has the potential as a result of which light appears. Where a human being appears, life always emerges. In the work Garden, we are witnesses to this process. The title of the work – Garden – is a garden that blooms forever, from darkness to light. The journey made by the viewer is a process where love, which is the basis of life, triumphs. “The Garden” is a symbol of hope, eternal triumph of life, and unconditioned blooming.
The exhibition’s curator is Olga Remneva.
The peculiarity of the project is the integration of the artist’s works into the Museum’s permanent exhibition.
Installations, sculptural objects, collages created by Fedotov-Fedorov are hidden in the exhibition space. The halls with the species listed in the Red Book, are imbued with the species which make up the collection of the Pink Book. Strange creatures inhabiting the isolated world of the author, enter into a dialogue with natural science objects.
Everyone who comes to the exhibition will be involved in the search for works placed in the halls of the main exhibition, and at the end of the road will get into the hall, fully occupied by the artist.
The installation consists of two parts, visually identical, but separated from each other — Black Forest and Black Sky. In this work, the artist not only addresses environmental issues but also tries to find out how the picture of the world is transformed during the environmental changes.
The fair takes place from the 7th to the 9th of September at Gostiny Dvor.
This year we present the works by Alexey Martins and Ilya Fedotov-Fedorov (booth D10).
Click here to see the list.
This time, the proceeds of the fifth-anniversary auction amounted to €172,000. All proceeds went to the Cosmoscow Foundation for Contemporary Art, established in 2017.
One of the favorites of the auction was the work from the Polar Explorers series by Alexey Martins. It went under the hammer eight times higher than its lower estimate. In 2018, the auction took place on the eve of the Cosmoscow International Contemporary Art Fair and in partnership with Phillips auction house. The curators of the auction were Leopold Thun and Alexey Maslyaev.
The prize was awarded by the Institute of France and the Embassy of France in the Russian Federation.
The rating includes the names of prominent contemporary Russian artists under the age of 50 years whose creation has been highly appreciated by experts from different fields of culture and art.
Full ratings can be found here.
Fragment participates in a Solo section (booth SL-13), presenting the works of one of the most promising young Russian artists, Ilya Fedotov-Fedorov.
The artist signed up for dating sites such as Mamba and Tinder and mentioned in her status that she invites men to the museum for an exhibition of contemporary art. Ilmira refused to meet outside of the institutions of contemporary art. Only 12 men agreed to meet with her! According to the project frameworks visit to the museum represents an act or a metaphor for seduction. All who accepted Ilmira’s suggestion to visit a museum had a strong desire to continue their relationship. They became participants without any glimpse of understanding the idea of the project. The goal of the project is to switch the attention of its participants from the female objectification to the exposition, to turn a date with a female artist into a meeting that provides an opportunity to get in touch with art. The moment of acquaintance with art is akin to flirting and discussions about exposition become dramatical interactions. Invitation to the institution sometimes gets interpreted as an insult. So all the participants get involved in a peculiar relationship they never expected to.
Click here to read the full article. Special thanks to Nadia Mindlin and Buro 24/7.
The artist says, the idea was born at the interface of the wooden sculptures from the Mental Firewood series and Polar Explorers graphics.
At the same time, this work is the first anthropomorphic sculpture in Alexey Martins’ practice. The artist invites the audience to embrace the light that connects us and gives warmth.
He spoke about the determination of national identification through contemporary art, the popularity of the regional context, and the upcoming solo exhibition in February.
It was established by the Cosmoscow Foundation for Contemporary Art and the House of Ruinart.
Alexey Martins, who was a nominee of the 2015 Kandinsky Prize (Young Artist – Project of the Year) was selected from a total of 22 artist applications to win the Ruinart Art Patronat grant.
The project Nonatu is telling us about the relationship between people from different cultural patterns and nature. Living in cities all over the world, people transform urban flora and fauna. Ilya spent some time in the city exploring what people «left» after themselves. The process was much similar to archaeological study based on pottery and ceramic findings, tree roots, stones, houseplants abandoned on the streets, or thrown flowers. The “archaeological record” included all these artifacts giving the opportunity to study human history and to create its alternative version. The artist trying to dissociate modern humanity from the projection of studied alternative civilization by material culture analysis.
The prize was established by InStyle Russia magazine and Cosmoscow international art fair. Fragment Gallery’s founder received the crystal statuette from Margarita Pushkina, founding director of Cosmoscow, and Yurate Gurauskaite, InStyle chief editor at Baccarat Crystal Room restaurant.
The jury included Irina Gorlova (State Tretyakov Gallery), Alisa Prudnikova (National Center for Contemporary Art), Ekaterina Kibovskaya (Moscow International Biennale for Young Art), Alexey Novoselov (Moscow Museum of Modern Art).
In May 2017, Fragment Gallery announced an open call, receiving applications from more than 300 artists from 11 countries. There were no limitations on the theme, age, education, experience, or location of the participants – the only condition was to submit projects that haven’t been previously exhibited and created between 2016 and 2017.
In the summer of 2017, Fragment Gallery opened the exhibition "Cemetery Dialogue," featuring works by 21 open call winners. The expert jury of artists along with Ilya Fedotov-Fedorov, Alexey Martins, Ilmira Bolotyan, Dmitry Lukyanov, Lisokot (Varya Pavlova), Farhad Farzaliyev, Zina Isupova, Pasmur Rachuyko selected the shortlist of artists. The final exhibition "Cemetery Dialogue" was curated by gallery artist and jury member Ilya Fedotov-Fedorov.
Six artists — Kirill Basalaev, Ilmira Bolotyan, Zina Isupova, Dmitry Lookianov, Andrey Syaylev, Ilya Fedotov-Fedorov — will share with the viewer their reflections on the modern city, based on their inner experiences.
Each of the project participants operates his own theoretical tools and artistic approach, which differ sharply from what their colleagues use.
At the same time, all the artists take a keen interest in the current transformation of the urban environment and the consequences that these changes have for individuals and society as a whole.