Dmitri Gutov
The Deep Blue Colour Of His Skin Shows Just How Self-Absorbed He Is
10 March - 9 April, 2005
Gutov's art ranges from exotic large-scale installations (25 tons of earth dumped in the Ridzhina Gallery, Moscow; 3000 shuttlecocks launched above a pioneer camp) to minimalistic painting and conceptual events. Recently he formed the Lifshitz Institute, which took the form of a seminar to discuss the ideas of Mikhail Lifshitz, a hardline Marxist critic of the Soviet era.
The Deep Blue Colour Of His Skin Shows Just How Self-Absorbed He Is
10 March - 9 April, 2005
Gutov's art ranges from exotic large-scale installations (25 tons of earth dumped in the Ridzhina Gallery, Moscow; 3000 shuttlecocks launched above a pioneer camp) to minimalistic painting and conceptual events. Recently he formed the Lifshitz Institute, which took the form of a seminar to discuss the ideas of Mikhail Lifshitz, a hardline Marxist critic of the Soviet era.
Naked
14 April - 14 May, 2005
Arnis Balcus is a young Latvian photographer whose off-kilter images of extreme intimacy illuminate, in touching and sometimes whimsical detail, the social and sexual life of pan-European youth.
Casually posed (if posed is not too ambitious a word) portraits, still-lifes, and above all images of sex, are shot as it were 'from the hip'. They explore, analyse and celebrate the "snapshot culture" which, as the critic Hanno Soans has pointed out, is now a part of urban communications.
Ilya Tabenkin
Paintings
19 May - 18 Jun, 2005
In the early 1970s Tabenkin found his unique voice and created the series of numinous still-lifes that have become famous: images of enigmatic hand-shaped figures (clay, plaster and papier-mache) set in abstract 'landscapes' constructed from paper and cloth.
Paintings
19 May - 18 Jun, 2005
In the early 1970s Tabenkin found his unique voice and created the series of numinous still-lifes that have become famous: images of enigmatic hand-shaped figures (clay, plaster and papier-mache) set in abstract 'landscapes' constructed from paper and cloth.
Jersey City paintings
20 Jun - 15 Jul, 2005
In one sense, Katya Arnold's Jersey City paintings are very much of their era: compelling essays in the neo-Expressionism that defined cutting-edge art in the early eighties. Yet in their acute sense of mutability and decay, in their intimate knowledge of transience, they adumbrate a consciousness that increasingly shapes our shared culture: the deracinated and transplanted nostalgia of the emigre.
Three-Day Week & Retrospectivism
11 Aug - Sep 10, 2005
Vitaly Komar's show bridges the artist’s career, from rare early works, shown originally in Moscow in the sixties, to his most recent series, Three-Day Weekend. These apparently disparate works, separated by nearly forty years, veil a striking consistency of outlook.
Paintings on metal
21 - 23 December 2005
Zatulovskaya's paintings are not simply images revealed on an anonymous surface. Their utilitarian supports - sheet-iron panels ripped from roofs, reclaimed wood, stone – make of them three-dimensional bodies with a specific sense of gravity, presence in space and relationship to the wall. They are thoroughly at home in the white cube. In this sense they acknowledge and work - or rather, have fun – with the principles of painterly Modernism. Yet these obdurate supports also embody a kind of archaism or historicism. Their resistance to the laconic strokes of the artist's brush invokes ancient techniques of pictorial art, from before the age of canvas: as Zatulovskaya has put it, they stand for her lack of opportunity to paint on walls.
