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L'espace d'exposition de la galerie Alina Pinsky a ouvert ses portes au 11 rue Pastourelle, au cœur du quartier des Archives à Paris. Ce déménagement marque une étape importante dans le développement de la galerie, renforçant sa position sur la scène artistique internationale et favorisant le dialogue culturel entre les pays.
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La galerie Alina Pinsky,
un nouvel espace artistique,
a ouvert ses portes à Paris.
Actualités
In 2025, Alina Pinsky Gallery made its debut at Art Paris — one of Europe’s leading art fairs, bringing together contemporary art galleries from around the world.
The gallery’s booth showcased works by three key artists represented by Alina Pinsky Gallery: Igor Shelkovsky, Mikhail Chernyshov, and Evgeny Muzalevsky. Belonging to different generations, all three artists work with traditional media while continuing the modernist legacy of experimenting with form and color.
Mikhail Chernyshov and Igor Shelkovsky are representatives of Soviet nonconformist art. Though their techniques and styles vary, their works share a minimalist and concise visual language.
Shelkovsky is a versatile artist who favors working with wood — a material he has been exploring since the 1960s.
Chernyshov builds his compositions on the repetition of a single module, cell, or sector, varying its scale, shape, or color. Through this process, he explores the structural possibilities of painting.
For the youngest of the three, Evgeny Muzalevsky, painting is an intellectual pursuit in which analytical and expressive approaches converge into a unified narrative. Chaotic lines intertwine to form complex, multi-layered spaces composed of images once caught and embedded in consciousness.
The 2025 edition of Art Paris took place at the Grand Palais.
Booth: Alina Pinsky Gallery — F14
The gallery’s booth showcased works by three key artists represented by Alina Pinsky Gallery: Igor Shelkovsky, Mikhail Chernyshov, and Evgeny Muzalevsky. Belonging to different generations, all three artists work with traditional media while continuing the modernist legacy of experimenting with form and color.
Mikhail Chernyshov and Igor Shelkovsky are representatives of Soviet nonconformist art. Though their techniques and styles vary, their works share a minimalist and concise visual language.
Shelkovsky is a versatile artist who favors working with wood — a material he has been exploring since the 1960s.
Chernyshov builds his compositions on the repetition of a single module, cell, or sector, varying its scale, shape, or color. Through this process, he explores the structural possibilities of painting.
For the youngest of the three, Evgeny Muzalevsky, painting is an intellectual pursuit in which analytical and expressive approaches converge into a unified narrative. Chaotic lines intertwine to form complex, multi-layered spaces composed of images once caught and embedded in consciousness.
The 2025 edition of Art Paris took place at the Grand Palais.
Booth: Alina Pinsky Gallery — F14
Dates: April 3–6, 2025
The Alina Pinsky Gallery exhibition space has opened at 11 rue Pastourelle in the heart of Paris's Archives district. This move marks an important stage in the gallery's development, strengthening its position on the international art scene and fostering cultural dialogue between countries.
Exposition personnelle d’Evgeny Muzalevsky, couvrant les trois dernières années de création de l’artiste.
Le langage visuel reconnaissable de l’auteur, caractérisé par la liberté et l’intuition, par le sens du rythme et de l’harmonie, se renforce à travers de nouvelles recherches artistiques — un retour à la couleur, des éléments figuratifs, de nouvelles images et de nouveaux récits.
Le langage visuel reconnaissable de l’auteur, caractérisé par la liberté et l’intuition, par le sens du rythme et de l’harmonie, se renforce à travers de nouvelles recherches artistiques — un retour à la couleur, des éléments figuratifs, de nouvelles images et de nouveaux récits.
Le troisième étage du musée abrite le projet spécial « Matisse Remix » — un atelier imaginaire du chef fauviste, où des artistes contemporains dialoguent sur les maîtres « sauvages » du début du XXe siècle.
Exposition personnelle d’Igor Skaletski, dédiée au thème de la mode.
Igor Skaletski transmet, dans son style ironique caractéristique, des images inspirées par des créateurs, des marques et des icônes de style. On y reconnaît des figures légendaires de l’industrie telles que Martin Margiela, Coco Chanel et John Galliano.
Igor Skaletski transmet, dans son style ironique caractéristique, des images inspirées par des créateurs, des marques et des icônes de style. On y reconnaît des figures légendaires de l’industrie telles que Martin Margiela, Coco Chanel et John Galliano.
Le Musée d'art multimédia de Moscou présente l'exposition d'Igor Shelkovsky « Cité céleste. L'atelier de l'artiste ».
Igor Shelkovsky est un artiste contemporain de renom, sculpteur et figure emblématique de l'art russe et international. De 1979 à 1986, il a été l'éditeur et le rédacteur en chef de la revue légendaire « A-Ya ».
Igor Shelkovsky est un artiste contemporain de renom, sculpteur et figure emblématique de l'art russe et international. De 1979 à 1986, il a été l'éditeur et le rédacteur en chef de la revue légendaire « A-Ya ».
L'exposition « DU MONDE PAR LE FIL. Le tissage comme processus » s'inscrit dans une série de projets explorant l'artisanat et les industries de la région de Vladimir.
L'exposition « L'incroyable russe » a ouvert ses portes aujourd'hui au Centre Zotov de Moscou, à l'occasion du deuxième anniversaire de l'institution. Elle est consacrée au constructivisme.
Le projet « Échelle 1:10. Contextes » est conçu comme un prolongement pratique des recherches menées par LOBBY et BQ Studio sur l’art public et le marché local émergent de l’intégration des œuvres d’art dans les espaces publics.
L'exposition historique consacrée à Mark Rothko à la Fondation Louis Vuitton offre une occasion unique d'explorer l'œuvre de l'artiste – sinon en profondeur, du moins de manière exhaustive, selon l'historienne de l'art et galeriste Alina Pinsky.
L'historienne d'art et galeriste Alina Pinsky est de retour de Paris, où elle a assisté à la foire Paris+ par Art Basel, et a partagé ses impressions avec RBC Style sur la deuxième édition de cet événement dérivé de Bâle.
Tatiana a travaillé pendant de nombreuses années presque en vase clos. Aujourd'hui, elle est de nouveau active et a rejoint le cercle d'artistes représentés par la galerie. Nous vous présentons un entretien réalisé par Alina Pinsky pour Forbes Life : une brève conversation avec l'artiste sur différents aspects de sa vie et de son parcours créatif.
La galerie Alina Pinsky participe pour la septième fois à la foire d'art contemporain Cosmoscow, présentant traditionnellement tous ses artistes et intégrant harmonieusement différentes périodes et orientations dans l'exposition « Moderne et Contemporain ».
Le numéro de septembre d'Interior + Design propose un article sur la peinture d'Evgeny Muzalevsky et la magie des couleurs expressionnistes dans l'œuvre d'Igor Skalecki. L'exposition personnelle de Skalecki sera un événement majeur de la saison artistique hivernale.
Alina Pinskaya a partagé avec The Art Newspaper ses impressions sur la manière dont la nouvelle direction de la foire Art Basel a influencé la sélection des artistes et bien d'autres choses.
Depuis le printemps 2023, le magazine d'art conceptuel et de mode Black Square paraît dans un nouveau format : une édition collector qui met en lumière la culture contemporaine au-delà des centres et des frontières traditionnels. Pour le premier numéro de cette nouvelle édition, nous avons rencontré Tanya Stolyar pour parler de sa vie et de son art.
Kruzhok, en collaboration avec la galerie Alina Pinsky, a présenté une collection de vêtements à l'occasion du vernissage de l'exposition personnelle d'Evgeny Muzalevsky. Cette collaboration entre la marque et l'artiste a donné naissance à huit pièces uniques inspirées de son œuvre.
Sur notre stand, nous avons réuni des œuvres d'artistes de différentes générations : des œuvres des grands noms du non-conformisme - Igor Chelkovski (né en 1937) et Mikhail Chernishov (né en 1945), aux côtés d'aquarelles d'Evgeny Muzalevsky (né en 1995) et de gravures de deux artistes de la galerie - Natalia Turnova (née en 1957) et Natasha Khabarova (née en 1985).
Natasha Khabarova travaille dans un style expressionniste, privilégiant les thèmes liés à la physicalité. Ses portraits s'affranchissent souvent des conventions du portrait traditionnel : les visages flous sont présentés de manière suggestive. Elle emploie une palette de couleurs sourdes et des matériaux patinés, soulignant ainsi la fragilité, la vulnérabilité et la sensibilité de la condition humaine.
En 2022, la Galerie Tretiakov a présenté la première exposition personnelle de l'éminent artiste russe Alexandre Ioulikov. L'exposition réunissait plus de 50 œuvres de l'artiste, couvrant une période significative de sa production, des années 1970 aux années 2020.
En avril 2023, la galerie Alina Pinsky a présenté une exposition d'œuvres graphiques d'Evgeny Muzalevsky intitulée « Ma mouche préférée » dans l'espace LOBBY.
In May 2023, an exhibition called Vis-à-vis opened at MMCA on Petrovka Street, commemorating the 8th anniversary of the "Friends" foundation. The exhibition was curated by gallery owner Alina Pinsky.
Avec le soutien de la Galerie Tretiakov, une sculpture de 7 mètres de haut intitulée « L'Homme qui court », réalisée par Igor Tchelkovsky, a été installée dans le parc.
Le 15 février 2023, une conférence a été donnée dans l'espace de la galerie par Irina Kochergina, historienne de l'art et chercheuse principale à la Galerie Tretiakov, consacrée à la vie et à l'œuvre de l'artiste Lydia Masterkova.
Avec le soutien de la Galerie Tretiakov, une sculpture de 3,5 mètres de haut intitulée « Homme assis », réalisée par Igor Tchelkovski, a été installée dans le parc.
L'œuvre d'Evgueni Mouzalevski, intitulée « Et pardonne-nous nos dettes, comme nous pardonnons aussi à ceux qui nous ont offensés », a reçu le premier prix du prix Zverev, créé par le musée AZ au début de l'année 2021.
Sculptures d'Igor Chelkovski dans l'exposition « Art russe contemporain : le langage de l'animation », qui a ouvert ses portes le 30 juin 2021 au Palais de Marbre.
En septembre 2022, le musée Nabokov a présenté l'exposition « Comment attraper un papillon ? ». Cette exposition proposait une réflexion poétique sur l'évasion, la mémoire et la migration à travers l'œuvre littéraire de Vladimir Nabokov. Elle présentait également des œuvres graphiques d'Evgueni Mouzalevski.
Durant l'été 2021, le MMOMA a présenté sa dixième exposition thématique consacrée à ses nouvelles acquisitions. L'exposition mettait en vedette des œuvres d'Igor Chelkovski et de Natalia Turnova.
Le triptyque de 2020 d'Evgueni Muzalevsky est présenté aux côtés d'œuvres d'autres jeunes artistes contemporains de différentes générations dans le cadre de l'exposition in situ « Monstres sous le lit ouvert », présentée par la Fondation MAXART en collaboration avec l'espace culturel « Third Place » à Saint-Pétersbourg.
Le 9 juin 2021, le Musée de Moscou a inauguré l'exposition collective « Penser le paysage », présentant les artistes de la galerie Alina Pinsky : Igor Chelkovski et Dunya Zakharova. Ce projet est consacré à l'exploration artistique de l'espace environnant et à la recherche de nouvelles formes d'interaction avec celui-ci, à travers la peinture, l'architecture, la sculpture, la photographie et l'art vidéo.
« Tim Parchikov : À un cheveu de la réussite » est une sélection d'œuvres, principalement axée sur la série phare de l'artiste, « Suspense ». L'exposition personnelle du photographe, inaugurée en décembre 2021, présentait une cinquantaine d'œuvres de différentes périodes, dont les plus récentes. Une visite virtuelle en 3D accompagnait l'exposition.
Des sculptures d'Igor Chelkovski et ses peintures de la série « Fleurs » font partie de l'exposition « Jardins de l'art. Métamorphoses » préparée au musée du palais d'Arkhangelskoïe à l'occasion de l'ouverture des serres botaniques.
Le 3 septembre, dans le cadre du projet « Ici et maintenant » avec le soutien du Musée de Moscou, une sculpture urbaine de sept mètres de haut d'Igor Chelkovski, intitulée « Vase aux fleurs », a été installée dans le parc Zaryadye.
Le 20 novembre, la cérémonie de remise des prix du Prix des arts de Moscou s'est déroulée au parc Zaryadye. Le sculpteur Igor Chelkovski a reçu le premier prix dans la catégorie « Arts visuels et architecture » pour sa série « Les Gens ».
Le 7 octobre 2019, dans la cour intérieure de la Nouvelle Galerie Tretiakov, trois sculptures d'Igor Chelkovski représentant des personnages – « Debout », « Marchant » et « Courant » – ont trouvé leur emplacement définitif. Le rêve de longue date d'Igor Chelkovski d'offrir une exposition de sculpture contemporaine à Londres s'est réalisé grâce au généreux don des collectionneurs Alina et Dmitry Pinsky.
Le 29 novembre 2018, à la galerie « Palisandr », Artem Dezhurko a donné une conférence sur le design moderniste et l’aménagement intérieur en Italie des années 1930 aux années 1950. La conférence a abordé les projets de designers tels que Gio Ponti, Franco Albini, Giuseppe Pagano, Piero Portaluppi, Carlo Mollino, Marco Zanuso, Osvaldo Borsani, Ico Parisi, et plusieurs autres.
Le 27 mars 2019, à la galerie « Palisandr », s'est déroulé un événement organisé par le club « Tabou » d'Alexander Dobrovinsky : une conférence sur l'intérieur masculin, donnée par Alexander Rymkevich, expert en mode et rédacteur en chef du magazine The Rake Russia.
Le 30 janvier 2019, Artem Dezhurko a donné une nouvelle conférence sur l'histoire du design à la galerie. Cette fois-ci, le sujet était le design suédois du milieu du XXe siècle. La conférence a abordé le rôle déterminant de la Suède dans l'introduction du mouvement moderne en Scandinavie et l'importance de l'exposition d'arts décoratifs de 1930 à Stockholm.
Le 4 avril 2019, Artem Dezhurko, employé de la galerie « Palisandr », a donné une conférence sur les provocateurs et les contestataires qui œuvraient à la croisée de l’architecture, du design et de l’art « contemporain » à la fin des années 1960 et au début des années 1970. La conférence a abordé des figures telles qu’Ettore Sottsass, Alessandro Mendini, Gaetano Pesce, Andrea Branzi, ainsi que des groupes artistiques comme Archizoom, Superstudio, Gruppo UFO, Gruppo 9999, Gruppo Strum et Studio 65.
Le 23 octobre 2018, à la galerie Palisandr, Artem Dezhurko et Alina Pinsky ont animé une conférence-débat sur le design de collection et la valeur des objets chargés d'histoire. Ils ont présenté des pièces vintage et contemporaines de designers tels que Eames, Mies van der Rohe, Jean Prouvé et Poul Kjaerholm, abordant la question du vieillissement des matériaux et le plaisir que procure l'étude des poinçons.
Le 19 février 2018, la galerie Palisandr a clôturé un projet d'exposition consacré aux années 1980 par une conférence intitulée « Contre-design : nouvelles lois de l'attraction ». L'historien de la mode Andrei Abolenkin et Alina Pinsky, de la galerie Palisandr, ont discuté du lien entre le design radical et l'industrie de la mode.
ROTHKO. Alina Pinsky on the Exhibition at Fondation Louis Vuitton
November 2023
November 2023
«Rothko's Genius Lies in Creating a Language of Feelings» - Robert Motherwell
Art historian and gallery owner Alina Pinsky on the epochal Mark Rothko exhibition at Fondation Louis Vuitton. A condensed version of the material is available on the Blueprint magazine's website.
Such a large retrospective of Mark Rothko has never been seen before. One hundred and fifteen works by the artist arrived from different continents, coming together under the guidance of the great and formidable Suzanne Page and with the involvement of the artist's son, Christopher Rothko, to form a unique, harmonious and impactful exhibition.
No one expected that difficult-to-access works would come from MoMA New York and Tate. Moreover, the artist's family wanted not only well-known pieces to be included. One of the goals achieved was to assemble unfamiliar canvases for the public, including those from regional American museums. Thirteen paintings come from private collections.
The event was prepared over five years. Ten rooms on four floors of the Fondation Louis Vuitton showcase all periods of the master's creative career.
The name Rothko is well known to the public, even those distant from art. The clichés are as follows: incomprehensible genius, best walls of permanent museum exhibitions, auction records.
A personal encounter with Rothko's works immediately clarifies many things. It is hard to find another artist whose works are so misjudged through photos alone. Standing in front of them, you feel the impact of something big and important but can't quite describe it. Attempts to verbalize the sensations only simplify them. The artist himself said, “I am only interested in human emotions.” The world of emotions was his path to the viewer. Applied to Rothko's painting, one can aptly describe the infamous Stendhal Syndrome.
Rothko's works need to be examined closely. Benches in the galleries are tools for meditation, not places for tired students to rest. Of course, the highly popular Fondation Louis Vuitton does not imply silence and tranquility in the rooms. All their projects are very visited, not just during the openings. This impedes the perception of Rothko.
The curators meticulously handled the presentation of the works, doing everything as the artist himself had wished. He had a clear vision and specific requirements for the exhibition: diffused dim light, a specific wall color, and fairly frequent, low-hung displays. All of this contributes to the unity of the canvas and the viewer, who feels as though they are inside. The imperfections of the surface are visible, and the brushstrokes feel more alive. The main goal is to create a sensory experience. Rothko feared that his works, which were colorful and frameless on large white walls, would be perceived as decorative elements. He was also against being called a “colorist” and insisted on the importance of “light” in his works. He described them as “personal” and “intense,” the exact opposite of decoration.
Rothko used different techniques: tempera, oil. The layers of paint are so thin that even the slightest scratch can severely damage the canvas. This method was inspired by the proto-Renaissance, particularly Giotto. Rothko was fascinated by frescoes. He visited Europe three times, traveling by sea as he was afraid to fly. According to the artist’s son, Rothko used the opportunity to visit every museum and church in Italy. Besides frescoes, he was captivated by Venetian painting, which had a unique drama that was important to Rothko. As the artist said, “To those who think of my paintings as serene... I will say that I have put in every inch of them sheer frenzy.”
Rothko disliked discussing and theorizing about his own work, although he loved conversations about art. But not about his own.
Mark Rothkovich was born on September 25, 1903, in Dvinsk (Russian Empire, now Daugavpils, Latvia), in a pharmacist's family. After finishing a Talmudic school, at the age of 10, he moved with his family to the USA, to Portland, Oregon. In 1918, having graduated early from elementary school, Mark entered Lincoln High School, where he was interested in literature and theater. He also began to draw. After graduating in 1921 and receiving a scholarship to Yale University, he became a student and studied philosophy, European history, foreign languages, and introductory psychology for two years. Abandoning his studies, he moved to New York in 1923. There, he first studied at Parsons School of Design, where one of his teachers was Arshile Gorky. That same fall, he enrolled in drawing courses at the Art Students League. Thus began his professional education as an artist. After a brief return to Portland and an interest in theater, Rothkovich studied still life under Max Weber, a student of Matisse, at the Arts Students League from 1925 to 1926. Actively interested in museums and galleries, Rothkovich joined the League in 1926, where he remained until 1930. A significant moment was his meeting with Milton Avery and his circle in 1928. Rothkovich's first exhibition was a joint one with Avery in 1928 at the New York Opportunity Gallery. His first solo exhibition took place in 1933 at the Contemporary Arts Gallery in New York. During this period, Rothkovich focused on drawing, and watercolor, teaching drawing, and playing the piano. The glorious history of his exhibitions in galleries began. In 1938, Mark Rothkovich became an American citizen and, in 1940, became Mark Rothko. He was not drafted into the army due to poor vision. In 1943, Rothko, now a well-known artist, along with Adolf Gottlieb, published a manifesto on “The Artist’s Aspirations,” declaring that art is a journey into an unknown world.
Returning to the exhibition. The first fifteen years of the artist's professional work are surprising. It is figurative, often with a narrative. Interiors, nudes, portraits, and urban scenes. The series known as Subway Paintings deserves separate attention. Rothko was fascinated by the visual effect of the blurriness of an image from a passing train. In these works, figures align into parallel and perpendicular lines, as if prefiguring future compositions of the classic period canvases.
In the early 1940s, the representation of the human figure ceased to be sufficient for Rothko's expression. During this period, he created fantastic anthropomorphic images. The artist wanted to convey physical states. He reinterpreted mythological heroes, depicting them as monsters with hybrid traits. Oedipus, monsters, fantastic animals—these are universal symbols reflecting fears and instincts. Researchers link this period to childhood memories of Jewish pogroms and news of the Holocaust. The visuality of these works is associated with surrealism. Naturally, Rothko saw surrealist exhibitions in the late 1930s and, since many of them had moved to America, was well-acquainted with their ideas.
The transformation of Rothko's painting style and the maturation of his "classic" style is interesting. The years 1945 to1949 saw a period of transition to abstraction. Mid-1940s works consist of blurred, thinly layered multicolored patches, known as “Multiforms.” Sometimes joyful, they appear as if created by a young Californian artist today. The creation of vibrant canvases during this transitional period coincided with changes in the artist's personal life: in 1944 he divorced his first wife, Edith Sachar, and meets his second, Mary Alice Beale, who, unlike Edith, fully supported Rothko's creative pursuits.
From 1946, Rothko began numbering his works instead of giving them titles. This was one way to avoid unnecessary distractions in the viewer's mind.
By the late 1940s and early 1950s, blocks of color gradually evolved into the floating rectangular "color fields" with blurred edges that became the hallmark of Rothko's classic style. The space of the painting became organized, and a recognizable palette emerged. Rothko's work acquired its classic manner.
The works became even larger. Rothko said, “I paint big pictures because I want to create a state of closeness… A big work pulls you in.” Suzanne Page writes in the preface to the catalog that these conclusions were the result of his admiration for Matisse's “Red Studio,” where a space filled with objects is unified by a red palette and seemingly leveled by the plane of the canvas to such an extent that the viewer dissolves into the color. Rothko uses blurring to create an effect of transparency between layers of paint. This is the very search for light.
The classic period is represented at the exhibition by seventy works, including pieces from Duncan Phillips’s collection and an unfinished commission for the Four Seasons restaurant in the Seagram Building.
Rothko always dreamed of creating a space for his works where he would build a precisely curated exhibition and where the space would be fully interactive with the canvases. The idea came from his impression of Michelangelo's Laurentian Library in Florence.
In June 1958, the artist received a commission to create paintings for the interior of a restaurant designed by architect Philip Johnson in a new skyscraper by Mies van der Rohe. The artist specifically rented a studio, a former gym, which he equipped with enormous scaffolding, and created about thirty canvases. The palette was reduced to two colors and the composition changed—verticals and horizontals appeared, forming a kind of portal.
However, in December 1959, realizing that the proposed space was completely unsuitable for the spirit of the created works, Rothko decided to withdraw from the commission and, returning the large advance, kept the paintings. Nine of the Seagram Murals were sent to the Tate. The fact that his canvases would hang next to works by William Turner convinced him of his decision. (The works were brought to the museum on the day of the artist's death and became the Tate Rothko Room).
The opportunity to fulfill Rothko's dream of creating a space where his paintings and architecture interact came with a commission from collectors John and Dominique de Menil. Impressed by the canvases for Seagram Building, the de Menils commissioned Rothko to design the Rothko Chapel in Houston. The octagonal structure, with natural light from the ceiling, where Rothko’s art and architecture become a single entity. Unfortunately, these works are not included in the Fondation Louis Vuitton exhibition, but the Houston chapel is still addressed: a model of it stands in a separate room. It has been announced that LVMH will restore the monument and even expand it, adding additional space for temporary exhibitions and discussion rooms.
The final gallery is dedicated to the commission for the UNESCO building in Paris. Two-color compositions, where the light part of the canvas sharply contrasts with black and gray, are displayed alongside sculptures by Giacometti. Some experts believe these works foreshadowed minimalism, however, they lack Rothko's characteristic feeling of dissolving into "light clouds." Instead, there is a contemplative aspect. A sense of depression is palpable.
In contrast to this grand project, Rothko's later works from 1967-70 do not allow one to interpret his complex emotional state: bright, light, simply glowing combinations of pink and red, yellow and brown.
In 1968, the artist was diagnosed with aortic aneurysm. He could no longer create large-scale canvases. The deterioration in his physical condition was compounded by chronic depression, and on February 25, 1970, Mark Rothko took his own life, leaving no message behind.
"I became a painter to bring painting to the level of intensity of music and poetry," - perhaps no one could say it better than Rothko himself. Mark Rothko's work is about the eternal. In his case, this banality is a succinct and generalized truth.
Art historian and gallery owner Alina Pinsky on the epochal Mark Rothko exhibition at Fondation Louis Vuitton. A condensed version of the material is available on the Blueprint magazine's website.
Such a large retrospective of Mark Rothko has never been seen before. One hundred and fifteen works by the artist arrived from different continents, coming together under the guidance of the great and formidable Suzanne Page and with the involvement of the artist's son, Christopher Rothko, to form a unique, harmonious and impactful exhibition.
No one expected that difficult-to-access works would come from MoMA New York and Tate. Moreover, the artist's family wanted not only well-known pieces to be included. One of the goals achieved was to assemble unfamiliar canvases for the public, including those from regional American museums. Thirteen paintings come from private collections.
The event was prepared over five years. Ten rooms on four floors of the Fondation Louis Vuitton showcase all periods of the master's creative career.
The name Rothko is well known to the public, even those distant from art. The clichés are as follows: incomprehensible genius, best walls of permanent museum exhibitions, auction records.
A personal encounter with Rothko's works immediately clarifies many things. It is hard to find another artist whose works are so misjudged through photos alone. Standing in front of them, you feel the impact of something big and important but can't quite describe it. Attempts to verbalize the sensations only simplify them. The artist himself said, “I am only interested in human emotions.” The world of emotions was his path to the viewer. Applied to Rothko's painting, one can aptly describe the infamous Stendhal Syndrome.
Rothko's works need to be examined closely. Benches in the galleries are tools for meditation, not places for tired students to rest. Of course, the highly popular Fondation Louis Vuitton does not imply silence and tranquility in the rooms. All their projects are very visited, not just during the openings. This impedes the perception of Rothko.
The curators meticulously handled the presentation of the works, doing everything as the artist himself had wished. He had a clear vision and specific requirements for the exhibition: diffused dim light, a specific wall color, and fairly frequent, low-hung displays. All of this contributes to the unity of the canvas and the viewer, who feels as though they are inside. The imperfections of the surface are visible, and the brushstrokes feel more alive. The main goal is to create a sensory experience. Rothko feared that his works, which were colorful and frameless on large white walls, would be perceived as decorative elements. He was also against being called a “colorist” and insisted on the importance of “light” in his works. He described them as “personal” and “intense,” the exact opposite of decoration.
Rothko used different techniques: tempera, oil. The layers of paint are so thin that even the slightest scratch can severely damage the canvas. This method was inspired by the proto-Renaissance, particularly Giotto. Rothko was fascinated by frescoes. He visited Europe three times, traveling by sea as he was afraid to fly. According to the artist’s son, Rothko used the opportunity to visit every museum and church in Italy. Besides frescoes, he was captivated by Venetian painting, which had a unique drama that was important to Rothko. As the artist said, “To those who think of my paintings as serene... I will say that I have put in every inch of them sheer frenzy.”
Rothko disliked discussing and theorizing about his own work, although he loved conversations about art. But not about his own.
Mark Rothkovich was born on September 25, 1903, in Dvinsk (Russian Empire, now Daugavpils, Latvia), in a pharmacist's family. After finishing a Talmudic school, at the age of 10, he moved with his family to the USA, to Portland, Oregon. In 1918, having graduated early from elementary school, Mark entered Lincoln High School, where he was interested in literature and theater. He also began to draw. After graduating in 1921 and receiving a scholarship to Yale University, he became a student and studied philosophy, European history, foreign languages, and introductory psychology for two years. Abandoning his studies, he moved to New York in 1923. There, he first studied at Parsons School of Design, where one of his teachers was Arshile Gorky. That same fall, he enrolled in drawing courses at the Art Students League. Thus began his professional education as an artist. After a brief return to Portland and an interest in theater, Rothkovich studied still life under Max Weber, a student of Matisse, at the Arts Students League from 1925 to 1926. Actively interested in museums and galleries, Rothkovich joined the League in 1926, where he remained until 1930. A significant moment was his meeting with Milton Avery and his circle in 1928. Rothkovich's first exhibition was a joint one with Avery in 1928 at the New York Opportunity Gallery. His first solo exhibition took place in 1933 at the Contemporary Arts Gallery in New York. During this period, Rothkovich focused on drawing, and watercolor, teaching drawing, and playing the piano. The glorious history of his exhibitions in galleries began. In 1938, Mark Rothkovich became an American citizen and, in 1940, became Mark Rothko. He was not drafted into the army due to poor vision. In 1943, Rothko, now a well-known artist, along with Adolf Gottlieb, published a manifesto on “The Artist’s Aspirations,” declaring that art is a journey into an unknown world.
Returning to the exhibition. The first fifteen years of the artist's professional work are surprising. It is figurative, often with a narrative. Interiors, nudes, portraits, and urban scenes. The series known as Subway Paintings deserves separate attention. Rothko was fascinated by the visual effect of the blurriness of an image from a passing train. In these works, figures align into parallel and perpendicular lines, as if prefiguring future compositions of the classic period canvases.
In the early 1940s, the representation of the human figure ceased to be sufficient for Rothko's expression. During this period, he created fantastic anthropomorphic images. The artist wanted to convey physical states. He reinterpreted mythological heroes, depicting them as monsters with hybrid traits. Oedipus, monsters, fantastic animals—these are universal symbols reflecting fears and instincts. Researchers link this period to childhood memories of Jewish pogroms and news of the Holocaust. The visuality of these works is associated with surrealism. Naturally, Rothko saw surrealist exhibitions in the late 1930s and, since many of them had moved to America, was well-acquainted with their ideas.
The transformation of Rothko's painting style and the maturation of his "classic" style is interesting. The years 1945 to1949 saw a period of transition to abstraction. Mid-1940s works consist of blurred, thinly layered multicolored patches, known as “Multiforms.” Sometimes joyful, they appear as if created by a young Californian artist today. The creation of vibrant canvases during this transitional period coincided with changes in the artist's personal life: in 1944 he divorced his first wife, Edith Sachar, and meets his second, Mary Alice Beale, who, unlike Edith, fully supported Rothko's creative pursuits.
From 1946, Rothko began numbering his works instead of giving them titles. This was one way to avoid unnecessary distractions in the viewer's mind.
By the late 1940s and early 1950s, blocks of color gradually evolved into the floating rectangular "color fields" with blurred edges that became the hallmark of Rothko's classic style. The space of the painting became organized, and a recognizable palette emerged. Rothko's work acquired its classic manner.
The works became even larger. Rothko said, “I paint big pictures because I want to create a state of closeness… A big work pulls you in.” Suzanne Page writes in the preface to the catalog that these conclusions were the result of his admiration for Matisse's “Red Studio,” where a space filled with objects is unified by a red palette and seemingly leveled by the plane of the canvas to such an extent that the viewer dissolves into the color. Rothko uses blurring to create an effect of transparency between layers of paint. This is the very search for light.
The classic period is represented at the exhibition by seventy works, including pieces from Duncan Phillips’s collection and an unfinished commission for the Four Seasons restaurant in the Seagram Building.
Rothko always dreamed of creating a space for his works where he would build a precisely curated exhibition and where the space would be fully interactive with the canvases. The idea came from his impression of Michelangelo's Laurentian Library in Florence.
In June 1958, the artist received a commission to create paintings for the interior of a restaurant designed by architect Philip Johnson in a new skyscraper by Mies van der Rohe. The artist specifically rented a studio, a former gym, which he equipped with enormous scaffolding, and created about thirty canvases. The palette was reduced to two colors and the composition changed—verticals and horizontals appeared, forming a kind of portal.
However, in December 1959, realizing that the proposed space was completely unsuitable for the spirit of the created works, Rothko decided to withdraw from the commission and, returning the large advance, kept the paintings. Nine of the Seagram Murals were sent to the Tate. The fact that his canvases would hang next to works by William Turner convinced him of his decision. (The works were brought to the museum on the day of the artist's death and became the Tate Rothko Room).
The opportunity to fulfill Rothko's dream of creating a space where his paintings and architecture interact came with a commission from collectors John and Dominique de Menil. Impressed by the canvases for Seagram Building, the de Menils commissioned Rothko to design the Rothko Chapel in Houston. The octagonal structure, with natural light from the ceiling, where Rothko’s art and architecture become a single entity. Unfortunately, these works are not included in the Fondation Louis Vuitton exhibition, but the Houston chapel is still addressed: a model of it stands in a separate room. It has been announced that LVMH will restore the monument and even expand it, adding additional space for temporary exhibitions and discussion rooms.
The final gallery is dedicated to the commission for the UNESCO building in Paris. Two-color compositions, where the light part of the canvas sharply contrasts with black and gray, are displayed alongside sculptures by Giacometti. Some experts believe these works foreshadowed minimalism, however, they lack Rothko's characteristic feeling of dissolving into "light clouds." Instead, there is a contemplative aspect. A sense of depression is palpable.
In contrast to this grand project, Rothko's later works from 1967-70 do not allow one to interpret his complex emotional state: bright, light, simply glowing combinations of pink and red, yellow and brown.
In 1968, the artist was diagnosed with aortic aneurysm. He could no longer create large-scale canvases. The deterioration in his physical condition was compounded by chronic depression, and on February 25, 1970, Mark Rothko took his own life, leaving no message behind.
"I became a painter to bring painting to the level of intensity of music and poetry," - perhaps no one could say it better than Rothko himself. Mark Rothko's work is about the eternal. In his case, this banality is a succinct and generalized truth.
Alina Pinsky Gallery presents Tatiana Andreeva
September 2023
September 2023
Forbes Life: "The Pursuit of Thoughts: How Optical Art Originated in the USSR."
Gallery owner Alina Pinsky spoke with the artist about love, beauty, profession, artistic thinking, and gratitude for fate.
Tatiana Andreeva — the daughter of Anna Andreeva, an outstanding artist of the Thaw era who led the Decorative Art section of the Moscow Union of Artists and boldly fused contemporary Western art movements with the legacy of Russian avant-garde.
Tatiana began as a designer and worked in the style of Op Art in the 1970s (Op Art, or optical art, is an art movement from the second half of the 20th century where artists used illusions, geometric patterns, contrasts, and color play to create effects of movement in their paintings. — Forbes Life). In 1974, Tatiana Andreeva created the project "Four Rooms" in the style of total design at the Tourist House, where dynamic patterns extended from wallpaper to linoleum, deck chairs, and vinyl raincoat patterns, creating the effect of a human figure dissolving into space. This powerful artistic debut did not bring the younger Andreeva worldwide fame. The history has turned out such that today Tatiana Andreeva's name is known only to a narrow circle of professionals.
"My works of the 1970s are an ode to paper. I really like the texture of paper. Rough and smooth, expensive and cheap, newspaper, wrapping paper, thick drawing paper, transparent glossy vellum, and matte parchment. I like how paper absorbs and repels paint. It is probably the most intimate medium for me. The first ideas are put down on paper. Only now am I beginning to work with canvas, and everything is different here. The starting point for creating each series is a completely new thought as a new formula. In this sense, I am a hunter. I hunt for the goal until I achieve the full manifestation of the idea. I like to work in series. As a professional, I was certainly well-prepared by the textile institute. For example, I was selected for the 'Four Rooms' project based on my diploma. Plus, I had another school: my mother often asked me to help with her works. And I worked hard, and she corrected, guided, and explained the specifics of fabric, proportions relative to the human figure. Textiles, I must say, dictate strict laws similar to those of Op Art: laws of scale, repetition, rapport. Furthermore, despite the closed borders, the USSR had brilliant libraries. I used to spend time there until they kicked me out. Days, nights, months. I tried to understand, to absorb the line of world art from Egypt to the contemporary. In other words, I was not fixated on the USSR. Now, thanks to the possibilities of the internet, I discover that in completely different corners of the Earth, we were indeed making similar experiments simultaneously. How to explain this? Probably, art is primarily made in the heavens. And I always did what was very interesting to me."
"I was very lucky. My mother was a famous artist. We just couldn't avoid working together and influencing each other! We lived together in a small apartment in the center of Moscow and were always under each other's feet. We discussed and participated in almost everything together. My mother worked in a six-meter kitchen. It was impossible to ignore. Sometimes my mother would abandon some work, and I would see it and want to express an idea, asking my mother to let me finish it. Sometimes my mother would pick up my insignificant sketch and turn it into a great work. There was a boiling pot of many ingredients of various experiences, knowledge, and thoughts. Everything was discussed in the kitchen, everything went into work. Even my father's machines. My father, a genius mathematician, also participated in creating sketches for fabric, always technically supporting this process. He sharpened the pen, got me an epidiascope, adjusted the compressor for the airbrush, and sometimes even drew. I have fused both — my mother and father. My mother as an artist, my father with his scientific perspective, clear formulas, and mathematical thinking. My works, I think, embody both beginnings. My mother was an amazing artist but originally very different, more impressionistic, with a different methodology, a different school. Probably, I took more from my father’s philosophical and abstract thinking because I spent more time with him."
"I became an artist in two stages. Initially, as usual, there was the question of life, which has no answer. During life, when you are ready, the answer appears. Throughout my childhood, I sailed with my father on a yacht and kayak through the wild northern places, the lakes of the Arkhangelsk and Karelia regions. Their purity and harmony struck me so much that I suffered from the inability to express this admiration, not knowing how to contain this extraordinary, divine beauty. I wanted to roll it up and take it with me. And at the end of the 1960s, I was expelled for political reasons from the last grade of school. To support me, my parents sent me to rest at the Dzintari Creative House near Riga. There, graphic artist Kolya Koshelkov asked me to pose for a portrait and said, 'Here are some paints, a brush, and paint me so you don’t die of boredom.' Before that, I had been forbidden to draw. I took the brush, made the first lines. As if by electricity, my hand 'melded' with it, and the answer came: 'Here it is! I can capture, express, and take with me (roll up) that admiration I felt in the distant northern lakes!' The realization happened in an instant."
"I don’t divide myself into an artist and a designer. However, by professional training, I always start with the technical assignment: how many colors, textures, what are the technical possibilities for size, repetition. I also consider technical limitations. How to express the idea in all possible, and in my case, often impossible ways."
"Throughout my life, nature and love have been my sources of inspiration. Love makes life more intense. Emotions are heightened, the mind works in a different mode, new doors and spaces open, and you find yourself in a completely different cosmic dimension. And nature is all-encompassing love, unattainable in its beauty."
"My total installations and design projects began with the commission for four experimental rooms at the Central Tourist House in 1974. I proposed a radical design where walls, ceilings, floors, linoleum, and deck chairs followed a single pattern, creating a total design. To my surprise, the project was approved.
At that time, I was interested in the possibility of translating geometric formulas onto different mediums, even extending beyond rooms—such as bridges. I was often told that my patterns were too scientific, that essentially, I was translating formulas of mathematics and physics into visuals. Today, I am keen to explore new materials for me—canvas, metal, wood, plywood. I enjoy working on objects as parts of total installations, such as screens. I believe that the history of art is primarily a history of ideas, and working with formula-ideas that evolve into total design is extremely important to me."
"For me, gender in art is not an issue. Sappho answered that: 'Love, I love, Youth I love, Joy I love, And the sun. My fate is to be In the sunlight And in beauty In love!'
I have always wanted to and done only what interests me. I believe that you are either a good artist or not, regardless of gender, age, or skin color. In art, there are different categories. However, I certainly admire and acknowledge women poets, women artists, and women musicians. The Greek poetess Sappho, our women liberated by revolutionary shifts in consciousness—Stepanova, Ekster, Sonia Delaunay, Goncharova, cellist Natalia Gutman, composer Sofia Gubaidulina. They inspire me with their feminine achievements."
Gallery owner Alina Pinsky spoke with the artist about love, beauty, profession, artistic thinking, and gratitude for fate.
Tatiana Andreeva — the daughter of Anna Andreeva, an outstanding artist of the Thaw era who led the Decorative Art section of the Moscow Union of Artists and boldly fused contemporary Western art movements with the legacy of Russian avant-garde.
Tatiana began as a designer and worked in the style of Op Art in the 1970s (Op Art, or optical art, is an art movement from the second half of the 20th century where artists used illusions, geometric patterns, contrasts, and color play to create effects of movement in their paintings. — Forbes Life). In 1974, Tatiana Andreeva created the project "Four Rooms" in the style of total design at the Tourist House, where dynamic patterns extended from wallpaper to linoleum, deck chairs, and vinyl raincoat patterns, creating the effect of a human figure dissolving into space. This powerful artistic debut did not bring the younger Andreeva worldwide fame. The history has turned out such that today Tatiana Andreeva's name is known only to a narrow circle of professionals.
"My works of the 1970s are an ode to paper. I really like the texture of paper. Rough and smooth, expensive and cheap, newspaper, wrapping paper, thick drawing paper, transparent glossy vellum, and matte parchment. I like how paper absorbs and repels paint. It is probably the most intimate medium for me. The first ideas are put down on paper. Only now am I beginning to work with canvas, and everything is different here. The starting point for creating each series is a completely new thought as a new formula. In this sense, I am a hunter. I hunt for the goal until I achieve the full manifestation of the idea. I like to work in series. As a professional, I was certainly well-prepared by the textile institute. For example, I was selected for the 'Four Rooms' project based on my diploma. Plus, I had another school: my mother often asked me to help with her works. And I worked hard, and she corrected, guided, and explained the specifics of fabric, proportions relative to the human figure. Textiles, I must say, dictate strict laws similar to those of Op Art: laws of scale, repetition, rapport. Furthermore, despite the closed borders, the USSR had brilliant libraries. I used to spend time there until they kicked me out. Days, nights, months. I tried to understand, to absorb the line of world art from Egypt to the contemporary. In other words, I was not fixated on the USSR. Now, thanks to the possibilities of the internet, I discover that in completely different corners of the Earth, we were indeed making similar experiments simultaneously. How to explain this? Probably, art is primarily made in the heavens. And I always did what was very interesting to me."
"I was very lucky. My mother was a famous artist. We just couldn't avoid working together and influencing each other! We lived together in a small apartment in the center of Moscow and were always under each other's feet. We discussed and participated in almost everything together. My mother worked in a six-meter kitchen. It was impossible to ignore. Sometimes my mother would abandon some work, and I would see it and want to express an idea, asking my mother to let me finish it. Sometimes my mother would pick up my insignificant sketch and turn it into a great work. There was a boiling pot of many ingredients of various experiences, knowledge, and thoughts. Everything was discussed in the kitchen, everything went into work. Even my father's machines. My father, a genius mathematician, also participated in creating sketches for fabric, always technically supporting this process. He sharpened the pen, got me an epidiascope, adjusted the compressor for the airbrush, and sometimes even drew. I have fused both — my mother and father. My mother as an artist, my father with his scientific perspective, clear formulas, and mathematical thinking. My works, I think, embody both beginnings. My mother was an amazing artist but originally very different, more impressionistic, with a different methodology, a different school. Probably, I took more from my father’s philosophical and abstract thinking because I spent more time with him."
"I became an artist in two stages. Initially, as usual, there was the question of life, which has no answer. During life, when you are ready, the answer appears. Throughout my childhood, I sailed with my father on a yacht and kayak through the wild northern places, the lakes of the Arkhangelsk and Karelia regions. Their purity and harmony struck me so much that I suffered from the inability to express this admiration, not knowing how to contain this extraordinary, divine beauty. I wanted to roll it up and take it with me. And at the end of the 1960s, I was expelled for political reasons from the last grade of school. To support me, my parents sent me to rest at the Dzintari Creative House near Riga. There, graphic artist Kolya Koshelkov asked me to pose for a portrait and said, 'Here are some paints, a brush, and paint me so you don’t die of boredom.' Before that, I had been forbidden to draw. I took the brush, made the first lines. As if by electricity, my hand 'melded' with it, and the answer came: 'Here it is! I can capture, express, and take with me (roll up) that admiration I felt in the distant northern lakes!' The realization happened in an instant."
"I don’t divide myself into an artist and a designer. However, by professional training, I always start with the technical assignment: how many colors, textures, what are the technical possibilities for size, repetition. I also consider technical limitations. How to express the idea in all possible, and in my case, often impossible ways."
"Throughout my life, nature and love have been my sources of inspiration. Love makes life more intense. Emotions are heightened, the mind works in a different mode, new doors and spaces open, and you find yourself in a completely different cosmic dimension. And nature is all-encompassing love, unattainable in its beauty."
"My total installations and design projects began with the commission for four experimental rooms at the Central Tourist House in 1974. I proposed a radical design where walls, ceilings, floors, linoleum, and deck chairs followed a single pattern, creating a total design. To my surprise, the project was approved.
At that time, I was interested in the possibility of translating geometric formulas onto different mediums, even extending beyond rooms—such as bridges. I was often told that my patterns were too scientific, that essentially, I was translating formulas of mathematics and physics into visuals. Today, I am keen to explore new materials for me—canvas, metal, wood, plywood. I enjoy working on objects as parts of total installations, such as screens. I believe that the history of art is primarily a history of ideas, and working with formula-ideas that evolve into total design is extremely important to me."
"For me, gender in art is not an issue. Sappho answered that: 'Love, I love, Youth I love, Joy I love, And the sun. My fate is to be In the sunlight And in beauty In love!'
I have always wanted to and done only what interests me. I believe that you are either a good artist or not, regardless of gender, age, or skin color. In art, there are different categories. However, I certainly admire and acknowledge women poets, women artists, and women musicians. The Greek poetess Sappho, our women liberated by revolutionary shifts in consciousness—Stepanova, Ekster, Sonia Delaunay, Goncharova, cellist Natalia Gutman, composer Sofia Gubaidulina. They inspire me with their feminine achievements."
Alina Pinsky Gallery at Cosmoscow 2023
September - October 2023
September - October 2023
Alina Pinsky Gallery is participating in the Cosmoscow Contemporary Art Fair for the seventh time.
The gallery traditionally showcases all its artists, harmoniously combining different periods and directions in its exhibition, spanning both modern and contemporary art. The Cosmoscow fair serves as a "reporting event," a snapshot of discoveries and developments over the past year of the gallery's growth. In 2022-2023, the gallery officially added three new names to its roster: Natalya Turnova (1957), Natasha Khabarova (1985), and Tatyana Andreeva (1951).
This time, the gallery's booth is conceptually divided into two parts: one half is dedicated to contemporary painting leaning towards expressionism, while the other features geometric abstractions from the second half of the last century, close to minimalism and op-art.
The first part includes works by artists such as Evgeny Muzalevsky, whose solo exhibition made a significant impact at the gallery this summer, Igor Skaletsky, whose eagerly awaited debut has been postponed for a year and a half and is now expected to be a notable event this winter, as well as the prominent Natalya Turnova and Natasha Khabarova, who started collaborating with the gallery in 2022-2023. The other part of the exhibition is a mini-museum-level showcase of senior generation classics: sculptures by Igor Shelkovsky, paintings and graphics by Mikhail Chernyshov, and unique op-art "modules" from the 1970s by Tatyana Andreeva.
This year, the Cosmoscow fair is being held at the ‘Expocentre’. Alina Pinsky Gallery’s booth is located in section B5 of the Base area. The fair will run from September 29 to October 1, 2023.
During Cosmoscow, Evgeny Muzalevsky’s solo exhibition continues at Prechistenka 28.
The gallery traditionally showcases all its artists, harmoniously combining different periods and directions in its exhibition, spanning both modern and contemporary art. The Cosmoscow fair serves as a "reporting event," a snapshot of discoveries and developments over the past year of the gallery's growth. In 2022-2023, the gallery officially added three new names to its roster: Natalya Turnova (1957), Natasha Khabarova (1985), and Tatyana Andreeva (1951).
This time, the gallery's booth is conceptually divided into two parts: one half is dedicated to contemporary painting leaning towards expressionism, while the other features geometric abstractions from the second half of the last century, close to minimalism and op-art.
The first part includes works by artists such as Evgeny Muzalevsky, whose solo exhibition made a significant impact at the gallery this summer, Igor Skaletsky, whose eagerly awaited debut has been postponed for a year and a half and is now expected to be a notable event this winter, as well as the prominent Natalya Turnova and Natasha Khabarova, who started collaborating with the gallery in 2022-2023. The other part of the exhibition is a mini-museum-level showcase of senior generation classics: sculptures by Igor Shelkovsky, paintings and graphics by Mikhail Chernyshov, and unique op-art "modules" from the 1970s by Tatyana Andreeva.
This year, the Cosmoscow fair is being held at the ‘Expocentre’. Alina Pinsky Gallery’s booth is located in section B5 of the Base area. The fair will run from September 29 to October 1, 2023.
During Cosmoscow, Evgeny Muzalevsky’s solo exhibition continues at Prechistenka 28.
Igor Skaletsky and Evgeny Muzalevsky Featured in I+D Art Publication
September 2023 Issue
September 2023 Issue
Igor Skaletsky: The Magic of Colors. Expressionistic Color as Liberation
A highlight of the autumn art season will be Igor Skaletsky's solo exhibition at Alina Pinsky Gallery in Moscow. In recent years, the artist has focused on large-scale canvases featuring provocative, grotesque imagery. His rich color palette recalls French painting and the vivid imagery of the Nabi group artists. The Nabis (Denis, Sérusier, Vuillard, Bonnard, Ranson, Vallotton...) were intellectual painters who practiced magical realism, offering viewers mysterious hints and symbols in the light-filled space of their paintings. As Nabi scholar Charles Chassé noted: "For them, a painting only had meaning if it had 'style'. That is, when the artist succeeded in altering the form of observed objects and imposing contours or colors that expressed his personality." Skaletsky's magical realism involves layers of landscapes and memory imprints expressed in a spontaneous manner: "An unplanned brushstroke leads to other worlds." This approach aligns him with the tradition of surrealism while also inviting deeper interpretive engagement. "If a painting requires a key, if it pushes the viewer out of their comfort zone and understanding—then I've done it right."
Evgeny Muzalevsky: Artist, Painter
The young 27-year-old artist, a graduate of the Rodchenko School in Moscow, has gained recognition for his spontaneous, vibrant, and reactive self-expression. In 2021, Evgeny Muzalevsky was awarded the first prize of the Anatoly Zverev Foundation. His works are part of several museum collections and numerous private collections. In December 2020, he moved to Frankfurt and is completing his studies at Offenbach University of Art and Design. He is represented by Alina Pinsky Gallery.
A highlight of the autumn art season will be Igor Skaletsky's solo exhibition at Alina Pinsky Gallery in Moscow. In recent years, the artist has focused on large-scale canvases featuring provocative, grotesque imagery. His rich color palette recalls French painting and the vivid imagery of the Nabi group artists. The Nabis (Denis, Sérusier, Vuillard, Bonnard, Ranson, Vallotton...) were intellectual painters who practiced magical realism, offering viewers mysterious hints and symbols in the light-filled space of their paintings. As Nabi scholar Charles Chassé noted: "For them, a painting only had meaning if it had 'style'. That is, when the artist succeeded in altering the form of observed objects and imposing contours or colors that expressed his personality." Skaletsky's magical realism involves layers of landscapes and memory imprints expressed in a spontaneous manner: "An unplanned brushstroke leads to other worlds." This approach aligns him with the tradition of surrealism while also inviting deeper interpretive engagement. "If a painting requires a key, if it pushes the viewer out of their comfort zone and understanding—then I've done it right."
Evgeny Muzalevsky: Artist, Painter
The young 27-year-old artist, a graduate of the Rodchenko School in Moscow, has gained recognition for his spontaneous, vibrant, and reactive self-expression. In 2021, Evgeny Muzalevsky was awarded the first prize of the Anatoly Zverev Foundation. His works are part of several museum collections and numerous private collections. In December 2020, he moved to Frankfurt and is completing his studies at Offenbach University of Art and Design. He is represented by Alina Pinsky Gallery.
Capsule clothing collection : Alina Pinsky x Kruzhok x Muzalevsky
June 2023
June 2023
Kruzhok, together with the Alina Pinsky Gallery, presented a collection of clothes for the opening of the Evgeny Muzalevsky solo exhibition. The result of this collaboration between brand and artist was eight individual items based on his work.
Jacket and trousers made from tapestry with a pencil pattern that is easy to read and a recognizable graphic style. Oversized silk shirt with mother-of-pearl buttons. A large deconstructed hand-knitted sweater based on the painting "Ulyana Vaskovich in a white dress". A hoodie and a T-shirt emblazoned with images: a blue figure of a goat - part of a triptych painting - was exhibited at the author's graduation project, and a tomb self-portrait with the dates 1995-2023 - was drawn by Muzalevsky after moving to Germany.The collection is completed by two pairs of silk pajamas - multicoloured & black and white - the abstract print retains the texture of paint.
The collection is available on the brand's website, in the Alina Pinsky gallery and in the Kruzhok showroom in Khokhlovsky Lane.
Jacket and trousers made from tapestry with a pencil pattern that is easy to read and a recognizable graphic style. Oversized silk shirt with mother-of-pearl buttons. A large deconstructed hand-knitted sweater based on the painting "Ulyana Vaskovich in a white dress". A hoodie and a T-shirt emblazoned with images: a blue figure of a goat - part of a triptych painting - was exhibited at the author's graduation project, and a tomb self-portrait with the dates 1995-2023 - was drawn by Muzalevsky after moving to Germany.The collection is completed by two pairs of silk pajamas - multicoloured & black and white - the abstract print retains the texture of paint.
The collection is available on the brand's website, in the Alina Pinsky gallery and in the Kruzhok showroom in Khokhlovsky Lane.
Interview with Alina Pinsky for Black Square Journal
Founded in 2007, Black Square is a conceptual magazine dedicated to art and style. Since spring 2023, it has evolved into a collector's edition that showcases contemporary culture beyond established centers and borders. Black Square explores modern art, culture, fashion, design, and lifestyle—not just in the world’s cultural capitals, but across the globe.
The theme of the first issue is "New Geography." This theme reflects the current state of art and culture, where the focus shifts to "postcolonial discourse" and the rethinking of traditional cultural hierarchies.
For the inaugural issue of the revamped Black Square, the team interviewed Tanya Stolyar about life and art. The magazine, edited by Anzor Kankulov, has turned out beautifully and impressively. In these challenging times, it can be seen as a breakthrough in the field.
The theme of the first issue is "New Geography." This theme reflects the current state of art and culture, where the focus shifts to "postcolonial discourse" and the rethinking of traditional cultural hierarchies.
For the inaugural issue of the revamped Black Square, the team interviewed Tanya Stolyar about life and art. The magazine, edited by Anzor Kankulov, has turned out beautifully and impressively. In these challenging times, it can be seen as a breakthrough in the field.
New Artist: Natasha Habarova
Natasha Habarova, a representative of the new wave of St. Petersburg painting, works in an expressionistic style, focusing on themes related to the physical body. Her portraits often lack traditional "portret-ness," with faces rendered in an abstract manner. Her choice of poses and unexpected angles add to the uniqueness of her work. Habarova employs a muted or monochromatic color palette, and her use of damaged canvases or paper highlights the fragility, vulnerability, and sensitivity of the human condition.
Born in Latvia in 1985, Habarova began her studies in costume design at the Saint Petersburg State University of Industrial Technologies and Design in 2002. In 2007, she moved to Novosibirsk to study monumental-decorative art at the Novosibirsk State University of Architecture, Design, and Arts. Since 2011, she has been living and working in St. Petersburg. Habarova has participated in exhibitions with the group Sever-7.
Born in Latvia in 1985, Habarova began her studies in costume design at the Saint Petersburg State University of Industrial Technologies and Design in 2002. In 2007, she moved to Novosibirsk to study monumental-decorative art at the Novosibirsk State University of Architecture, Design, and Arts. Since 2011, she has been living and working in St. Petersburg. Habarova has participated in exhibitions with the group Sever-7.
'Spatial Alternatives' exhibition by Alexander Yulikov
at State Tretkov Gallery
September 29, 2022
at State Tretkov Gallery
September 29, 2022
The State Tretyakov Gallery presented the first personal exhibition of the outstanding Russian artist Alexander Yulikov. The exhibition features more than 50 of the artist's works, covering a significant period of his work from the 1970s to the 2020s.
In the mid-1970s, Alexander Yulikov was called the only Russian minimalist. The artist’s commitment to simple geometric forms, to creating homogeneous compositions from repeating characters, to working with square planes painted in one color, and to seriality brings Yulikov’s work closer to minimalism - one of the most intellectual movements in world art of the 1960s, an important property of which was "economy of artistic forms" However, unlike Western minimalists, Yulikov never broke with the traditional attributes of painting: canvas, brushes and paints, which still remain the main tools of the artist, or with painting itself. This attachment emphasizes the continuity of Alexander Yulikov’s art with the traditions of the Russian avant-garde, primarily the Suprematism of Kazimir Malevich. The artist explores the relationships between colours, textures, geometric shapes, lines, and signs, allowing forms to exist regardless of the boundaries set by the plane of the canvas. Among Yulikov’s main discoveries are experiments with canvases that are broken, divided into segments, or taking on non-standard configurations. In a series of works, Yulikov uses simple techniques reminiscent of the methods of op art - optical art, where, by changing the distance between elements, the illusion of a dynamic shift of forms is created, and the real and the visible do not coincide. It is important that the optical metamorphosis of the design of each painting is achieved by the artist with the help of such simple “tools” as matches, threads or relief figures applied to the canvas.
The opening of the Alexander Yulikov exhibition in 2020 was recognised by the Barnett Newman Foundation, one of the main abstractionists of the second half of the twentieth century. The Foundation jury's decision to award the prize to this exhibition was accompanied by a letter signed by another prominent American master, Frank Stella, which spoke of the individuality and independence of the Russian artist.
The exhibition is held with the support of Alina Pinsky Gallery.
In the mid-1970s, Alexander Yulikov was called the only Russian minimalist. The artist’s commitment to simple geometric forms, to creating homogeneous compositions from repeating characters, to working with square planes painted in one color, and to seriality brings Yulikov’s work closer to minimalism - one of the most intellectual movements in world art of the 1960s, an important property of which was "economy of artistic forms" However, unlike Western minimalists, Yulikov never broke with the traditional attributes of painting: canvas, brushes and paints, which still remain the main tools of the artist, or with painting itself. This attachment emphasizes the continuity of Alexander Yulikov’s art with the traditions of the Russian avant-garde, primarily the Suprematism of Kazimir Malevich. The artist explores the relationships between colours, textures, geometric shapes, lines, and signs, allowing forms to exist regardless of the boundaries set by the plane of the canvas. Among Yulikov’s main discoveries are experiments with canvases that are broken, divided into segments, or taking on non-standard configurations. In a series of works, Yulikov uses simple techniques reminiscent of the methods of op art - optical art, where, by changing the distance between elements, the illusion of a dynamic shift of forms is created, and the real and the visible do not coincide. It is important that the optical metamorphosis of the design of each painting is achieved by the artist with the help of such simple “tools” as matches, threads or relief figures applied to the canvas.
The opening of the Alexander Yulikov exhibition in 2020 was recognised by the Barnett Newman Foundation, one of the main abstractionists of the second half of the twentieth century. The Foundation jury's decision to award the prize to this exhibition was accompanied by a letter signed by another prominent American master, Frank Stella, which spoke of the individuality and independence of the Russian artist.
The exhibition is held with the support of Alina Pinsky Gallery.
Alina Pinsky Gallery at first 'Contour' graphics fair
From May 24 to 28, 2023, Alina Pinsky Gallery took part in the first Kontur graphics fair, which was held in Nizhny Novgorod.
At our stand, we combined works of artists of different generations: works by the greats of nonconformism - Igor Shelkovsky (b. 1937) and Mikhail Chernyshov (b. 1945), alongside watercolors by Evgeny Muzalevsky (b. 1995) and graphics by two gallery artists - Natalia Turnova (b. 1957) and Natasha Khabarova (b. 1985).
At our stand, we combined works of artists of different generations: works by the greats of nonconformism - Igor Shelkovsky (b. 1937) and Mikhail Chernyshov (b. 1945), alongside watercolors by Evgeny Muzalevsky (b. 1995) and graphics by two gallery artists - Natalia Turnova (b. 1957) and Natasha Khabarova (b. 1985).
Nizhny Novgorod has long established itself as an important cultural centre in Russia due to the wide variety of art institutions with a range of unique projects. The Kontur graphic art fair has become a meeting place for collectors and art lovers. The first fair was attended by 29 galleries from Moscow, St. Petersburg, Samara, Vladimir and Nizhny Novgorod
Alina Pinsky Gallery x LOBBY Concierge
Evgeny Muzalevsky's 'My Beloved Fly'
April - May 2023
Evgeny Muzalevsky's 'My Beloved Fly'
April - May 2023
On April 27th, Alina Pinsky Gallery presented an exhibition of graphic works by Evgeny Muzalevsky, titled "My Beloved Fly," at the LOBBY space.
The art of Evgeny Muzalevsky embodies expression at the intersection of abstraction and figurativeness, emerging from the chaotic intertwining of images once captured and imprinted in the artist's consciousness. These are images that the artist constantly retrieves from memory, extracts from the everyday, or draws from the history of art.
The exhibition "My Beloved Fly" is dedicated to Muzalevsky's graphic works from recent years, bringing together two periods in the artist's creative journey: the early "wild" drawings, sometimes combined with diary notes, and the new, more structured watercolor works created after Muzalevsky's move to Germany.
The artist metaphorically describes, "The first part of the project slides through the graphics of 2017-2020, evoking nostalgic tremors. Bright drawings hidden inside boxes reveal numerous fragmented figures, transformations of bodies, self-portraits, and bleeding wounds. A small diary series is also included, combining text and letter. Formally, this work is unified by portraits within frames that rise above the text or dangle at the bottom of the page. The second part of the project is a watercolor journey in which reality unfolds backward."
Muzalevsky recalls being fascinated by the alchemical process of creating his works, spending hours watching the paint bubble. He worked on them in a small room, where in the corner, he could place two sheets: "I felt like I was creating treasures that would slightly stabilize the room."
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LOBBY Art Concierge was founded in Moscow in 2020 by Christina Etumyan and Sophia Karpovskaya. LOBBY's services are aimed at popularizing the collecting of contemporary art. The exhibition activities within the LOBBY space, as part of the #LOBBYBelieve initiative and collaborations with galleries, art projects, and institutions, are part of the implemented program to create a professional platform for transparent interaction within the art market.
The art of Evgeny Muzalevsky embodies expression at the intersection of abstraction and figurativeness, emerging from the chaotic intertwining of images once captured and imprinted in the artist's consciousness. These are images that the artist constantly retrieves from memory, extracts from the everyday, or draws from the history of art.
The exhibition "My Beloved Fly" is dedicated to Muzalevsky's graphic works from recent years, bringing together two periods in the artist's creative journey: the early "wild" drawings, sometimes combined with diary notes, and the new, more structured watercolor works created after Muzalevsky's move to Germany.
The artist metaphorically describes, "The first part of the project slides through the graphics of 2017-2020, evoking nostalgic tremors. Bright drawings hidden inside boxes reveal numerous fragmented figures, transformations of bodies, self-portraits, and bleeding wounds. A small diary series is also included, combining text and letter. Formally, this work is unified by portraits within frames that rise above the text or dangle at the bottom of the page. The second part of the project is a watercolor journey in which reality unfolds backward."
Muzalevsky recalls being fascinated by the alchemical process of creating his works, spending hours watching the paint bubble. He worked on them in a small room, where in the corner, he could place two sheets: "I felt like I was creating treasures that would slightly stabilize the room."
/
LOBBY Art Concierge was founded in Moscow in 2020 by Christina Etumyan and Sophia Karpovskaya. LOBBY's services are aimed at popularizing the collecting of contemporary art. The exhibition activities within the LOBBY space, as part of the #LOBBYBelieve initiative and collaborations with galleries, art projects, and institutions, are part of the implemented program to create a professional platform for transparent interaction within the art market.
Sculpture "Running Man" by Igor Chelkovski in Malevich Park
June, 2023
June, 2023
The creators of the objects presented are globally renowned artists, classics of underground Soviet art of the 1960s-1970s, as well as artists from subsequent generations who have already gained international recognition. They all draw from the experience of the avant-garde and emphasize that "art is not only the creation of objects but the invention of ideas and visual languages" (V. Koleychuk). The exhibition's scientific curator is art historian Irina Gorlova, head of the Department of Modern Trends at the State Tretyakov Gallery; the curator is art historian and creative producer Ksenia Novokhatko.
Igor Chelkovski's 'Running Man' comes from a series that the artist has been working on since the early 2000s. It was this 'People' series that the artist first translated into large-scale urban sculpture. Chelkovski's constructive thinking, which assembles variant compositions from linear structures, aligns his work with the experiments of the Russian avant-garde. One of the leading researchers of Chelkovski's work, Evgeny Barabanov, insists on the important difference between the philosophy of the constructivists and Chelkovski's plastic consciousness, which is based on 'man as the measure of all things.' 'Running Man' will greet visitors at the entrance. 'Sitting Man,' also by Chelkovski, which previously marked the route, has changed its location and now awaits visitors in the linden alley.
Five objects complement the exhibition opened in Malevich Park in the autumn. Since September 2022, visitors have been able to see the spatial labyrinth "Vertical-Horizontal" by contemporary Russian land art and kinetic art classic Francisco Infante-Arana, as well as his work from the "Life of a Square" series; the "Reconstruction of Karl Johansson's Mechanical Self-Tensioning Structure," one of the pioneers of kinetic art in Russia, artist and architect Vyacheslav Koleychuk; "Ancient Head" by Aristarkh Chernyshev from the Sminex art collection; "Sitting Man" by Igor Chelkovski, and "Private Sun" and "Private Moon" from Leonid Tishkov's now completed triptych.
Visitors to the exhibition can use an audio guide titled "What Does Malevich Have to Do with It?". In anticipation of the opening of the second part of the exhibition, the audio guide, created by Tretyakov Gallery staff, has been revised and expanded with the participation of Anastasia Chetverikova, the author of the podcast "Art for Guys." The route unites and comments on the objects, revealing the artists' creative intentions and the connection of their work with the ideas of the Russian avant-garde.
Malevich Park, opened in December 2020, is a platform for the long-term display of environmental art and public art from the 20th and 21st centuries. Located in the Odintsovo District near Barvikha and Nemchinovka, it pays tribute to the founder of Suprematism. Kazimir Malevich often visited these places, where he lived with the parents of his second wife.
The park is filled with artistic references to Malevich's work. Its architecture uses geometric forms - squares, circles, triangles - and mirrored surfaces. The entrance pavilion, created by sculptor Grigory Orekhov based on the "Black Square," is a half-split mirrored cube and resembles a crossroads where visitors can glimpse an endless corridor of reflections.
Igor Chelkovski's 'Running Man' comes from a series that the artist has been working on since the early 2000s. It was this 'People' series that the artist first translated into large-scale urban sculpture. Chelkovski's constructive thinking, which assembles variant compositions from linear structures, aligns his work with the experiments of the Russian avant-garde. One of the leading researchers of Chelkovski's work, Evgeny Barabanov, insists on the important difference between the philosophy of the constructivists and Chelkovski's plastic consciousness, which is based on 'man as the measure of all things.' 'Running Man' will greet visitors at the entrance. 'Sitting Man,' also by Chelkovski, which previously marked the route, has changed its location and now awaits visitors in the linden alley.
Five objects complement the exhibition opened in Malevich Park in the autumn. Since September 2022, visitors have been able to see the spatial labyrinth "Vertical-Horizontal" by contemporary Russian land art and kinetic art classic Francisco Infante-Arana, as well as his work from the "Life of a Square" series; the "Reconstruction of Karl Johansson's Mechanical Self-Tensioning Structure," one of the pioneers of kinetic art in Russia, artist and architect Vyacheslav Koleychuk; "Ancient Head" by Aristarkh Chernyshev from the Sminex art collection; "Sitting Man" by Igor Chelkovski, and "Private Sun" and "Private Moon" from Leonid Tishkov's now completed triptych.
Visitors to the exhibition can use an audio guide titled "What Does Malevich Have to Do with It?". In anticipation of the opening of the second part of the exhibition, the audio guide, created by Tretyakov Gallery staff, has been revised and expanded with the participation of Anastasia Chetverikova, the author of the podcast "Art for Guys." The route unites and comments on the objects, revealing the artists' creative intentions and the connection of their work with the ideas of the Russian avant-garde.
Malevich Park, opened in December 2020, is a platform for the long-term display of environmental art and public art from the 20th and 21st centuries. Located in the Odintsovo District near Barvikha and Nemchinovka, it pays tribute to the founder of Suprematism. Kazimir Malevich often visited these places, where he lived with the parents of his second wife.
The park is filled with artistic references to Malevich's work. Its architecture uses geometric forms - squares, circles, triangles - and mirrored surfaces. The entrance pavilion, created by sculptor Grigory Orekhov based on the "Black Square," is a half-split mirrored cube and resembles a crossroads where visitors can glimpse an endless corridor of reflections.
Charity Exhibition-Auction VIS-A-VIS at MMOMA on Petrovka
May 23 - June 4, 2023
May 23 - June 4, 2023
The Moscow Museum of Modern Art, in collaboration with the Friends Charity Foundation, presented the exhibition "vis-a-vis" (face to face), dedicated to the foundation's 8th anniversary. The museum halls featured works by artists from different generations and directions, provided from the personal collections of the foundation's friends: Lena Feygin and Yan Yanovsky, Lilia Limiyan and Gor Nahapetyan, Oksana and Dmitry Razumov, Marina and Alexander Rappoport, Ksenia Sobchak, Alena Doletskaya, Inna Bazhenova, Alexandra Lekomtseva, Svetlana Bondarchuk, Irina Volskaya, and many others.
Art possesses an incredible creative power that illuminates people's lives in various moments. This is why, on its anniversary, the Friends Foundation decided to turn to art.
The exhibition, curated by Alina Pinsky (Alina Pinsky Gallery), offers a selection of works by artists such as Andrey Pozdeev, Dmitry Krasnopevtsev, Tim Parchikov, Evgeny Muzalevsky, Natalia Turnova, Andrey Bartenev, Maria Safronova, Natta Konysheva, Igor Samolet, David Ter-Oganyan, Vladislav Mamyshev-Monroe, Valery Katsuba, and many others. Despite the obvious differences in genres, styles, and techniques, each work is about "looking within," seeking answers, and exploring meanings.
Especially for ALROSA Diamonds and the Friends Charity Foundation, world-renowned artist Maria Serebryakova created a jewelry sculpture titled "Drops." Throughout the exhibition, visitors will have the opportunity to watch a film about the creation process of the sculpture made of steel and concrete, elegantly incorporating white gold earrings adorned with a scattering of diamonds.
The exhibition continues a series of special projects in support of charity programs successfully conducted by MMOMA for several years and will conclude with an auction. The auction will feature works included in the exhibition as lots, and the proceeds will be directed to the development of the Friends Foundation's programs.
Curator: Alina Pinsky
Venue: Petrovka, 25
Art possesses an incredible creative power that illuminates people's lives in various moments. This is why, on its anniversary, the Friends Foundation decided to turn to art.
The exhibition, curated by Alina Pinsky (Alina Pinsky Gallery), offers a selection of works by artists such as Andrey Pozdeev, Dmitry Krasnopevtsev, Tim Parchikov, Evgeny Muzalevsky, Natalia Turnova, Andrey Bartenev, Maria Safronova, Natta Konysheva, Igor Samolet, David Ter-Oganyan, Vladislav Mamyshev-Monroe, Valery Katsuba, and many others. Despite the obvious differences in genres, styles, and techniques, each work is about "looking within," seeking answers, and exploring meanings.
Especially for ALROSA Diamonds and the Friends Charity Foundation, world-renowned artist Maria Serebryakova created a jewelry sculpture titled "Drops." Throughout the exhibition, visitors will have the opportunity to watch a film about the creation process of the sculpture made of steel and concrete, elegantly incorporating white gold earrings adorned with a scattering of diamonds.
The exhibition continues a series of special projects in support of charity programs successfully conducted by MMOMA for several years and will conclude with an auction. The auction will feature works included in the exhibition as lots, and the proceeds will be directed to the development of the Friends Foundation's programs.
Curator: Alina Pinsky
Venue: Petrovka, 25
Lecture 'Lydia Masterkova: Earthly and Transcendental'
February 15, 2023
February 15, 2023
Lydia Masterkova is often referred to as the Amazon of the second Russian avant-garde. She was one of the few artists engaged in abstract art in the USSR during the 1960s and 1970s. In late 1975, the artist emigrated and spent the rest of her life in France. In this lecture, we will explore Masterkova's connections with Malevich, Dina Verni, and Georgy Kostaki. We will also delve into her works from private European collections and immerse ourselves in the mystery of late Masterkova, where images of otherworldly realms reign, and the vibrations of past centuries' creators come to life.
Lecturer: Irina Sergeevna Kochergina - an art historian, senior researcher at the State Tretyakov Gallery, Department of Painting of the First Half of the 20th Century. Her involvement in organizing Lydia Masterkova's exhibition at MMCSI in 2014-2015 and her interactions with a close circle of the artist's friends and relatives allowed Irina to gather unique materials about various stages of the artist's work.
During the lecture, we will examine the periods of lyrical and geometric abstraction. Particular attention will be given to the metaphysics and manifestations of mystical perception in the late works of Masterkova. Rare materials from private collections in France will allow us to delve into the lesser-known Suprematist period, paying homage to the artist's friendship with one of the leading representatives of the Russian avant-garde, Ivan Kudryashev. The complex and contrasting drama of the artist's life and work will be revealed through the prism of archetypes - unconscious patterns that shape human thinking and behavior.
Lydia Masterkova
1927 – 2008
A member of the Lianozovo Group, Lydia Masterkova was one of the first artists to turn to metaphysical abstraction, imbuing geometric figures with sacred meaning. She frequently employed the circle as a form, as if solving problems of balance and completeness of plastic form.
In her childhood, she was interested in theater, music, poetry, and attended a drama club. She studied at the Moscow Secondary Art School (1943–1946), with Mikhail Perutsky as her first teacher. She then entered the Moscow City Art School. She was part of the Lianozovo Group and, in the late 1950s, was one of the first to engage in abstract art, remaining loyal to this direction throughout her career.
Lydia Masterkova began participating in art exhibitions early in her career. Her first solo exhibition was held in 1961 at the home of art historian I. Tsirlin. She was also part of significant Moscow exhibitions:
1967 - Exhibition of works by "twelve artists" at the "Druzhba" club on Entuziastov Highway (Moscow). This exhibition was closed two hours after the opening, with L. Masterkova's works being removed even before the exhibition's opening.
1974 - The 1st Autumn Landscape Art Exhibition - the so-called "Bulldozer Exhibition" (Moscow).
1974 - The 2nd Autumn Landscape Art Exhibition in Izmailovo Forest Park (Moscow).
1974 - Progressive Stromungen in Moskau 1957–1970 (Museum Bochum, Bochum, Germany).
1975 - Painting exhibition of Moscow artists at the "Beekeeping" pavilion at VDNKh (Moscow).
In late 1975, Lydia Masterkova emigrated to Vienna and then in March 1976 to France, where she lived in the picturesque village of Saint-Laurent, 300 km from Paris, caring for her numerous domestic animals. "In France, I live quietly, like a mouse; I simply work, and I don't have time for conversations" (from an interview with L. Masterkova, January 24, 2006).
In her later years, she created graphic series as well as large-format paintings with collage elements. One of these paintings became her final work. After moving to the West, Lydia Masterkova worked extensively and actively exhibited her art in France, the United States, Switzerland, Germany, and Italy. In 1977, her solo exhibition took place at Dina Verni's gallery in Paris.
Lecturer: Irina Sergeevna Kochergina - an art historian, senior researcher at the State Tretyakov Gallery, Department of Painting of the First Half of the 20th Century. Her involvement in organizing Lydia Masterkova's exhibition at MMCSI in 2014-2015 and her interactions with a close circle of the artist's friends and relatives allowed Irina to gather unique materials about various stages of the artist's work.
During the lecture, we will examine the periods of lyrical and geometric abstraction. Particular attention will be given to the metaphysics and manifestations of mystical perception in the late works of Masterkova. Rare materials from private collections in France will allow us to delve into the lesser-known Suprematist period, paying homage to the artist's friendship with one of the leading representatives of the Russian avant-garde, Ivan Kudryashev. The complex and contrasting drama of the artist's life and work will be revealed through the prism of archetypes - unconscious patterns that shape human thinking and behavior.
Lydia Masterkova
1927 – 2008
A member of the Lianozovo Group, Lydia Masterkova was one of the first artists to turn to metaphysical abstraction, imbuing geometric figures with sacred meaning. She frequently employed the circle as a form, as if solving problems of balance and completeness of plastic form.
In her childhood, she was interested in theater, music, poetry, and attended a drama club. She studied at the Moscow Secondary Art School (1943–1946), with Mikhail Perutsky as her first teacher. She then entered the Moscow City Art School. She was part of the Lianozovo Group and, in the late 1950s, was one of the first to engage in abstract art, remaining loyal to this direction throughout her career.
Lydia Masterkova began participating in art exhibitions early in her career. Her first solo exhibition was held in 1961 at the home of art historian I. Tsirlin. She was also part of significant Moscow exhibitions:
1967 - Exhibition of works by "twelve artists" at the "Druzhba" club on Entuziastov Highway (Moscow). This exhibition was closed two hours after the opening, with L. Masterkova's works being removed even before the exhibition's opening.
1974 - The 1st Autumn Landscape Art Exhibition - the so-called "Bulldozer Exhibition" (Moscow).
1974 - The 2nd Autumn Landscape Art Exhibition in Izmailovo Forest Park (Moscow).
1974 - Progressive Stromungen in Moskau 1957–1970 (Museum Bochum, Bochum, Germany).
1975 - Painting exhibition of Moscow artists at the "Beekeeping" pavilion at VDNKh (Moscow).
In late 1975, Lydia Masterkova emigrated to Vienna and then in March 1976 to France, where she lived in the picturesque village of Saint-Laurent, 300 km from Paris, caring for her numerous domestic animals. "In France, I live quietly, like a mouse; I simply work, and I don't have time for conversations" (from an interview with L. Masterkova, January 24, 2006).
In her later years, she created graphic series as well as large-format paintings with collage elements. One of these paintings became her final work. After moving to the West, Lydia Masterkova worked extensively and actively exhibited her art in France, the United States, Switzerland, Germany, and Italy. In 1977, her solo exhibition took place at Dina Verni's gallery in Paris.
ZVEREV ART PRIZE 2021
October 19 - November 21, 2021
October 19 - November 21, 2021
At the beginning of 2021, the AZ Museum announced an art project competition for the Zverev Art Prize, named after Anatoly Zverev. The conditions for submitting and reviewing applications were extremely democratic. The theme and motto of the competition was the famous aphorism "the world of artists," reformulated by A. Zverev in his autobiography: "Life is restricted, art is free."
The work of Evgeny Muzalevsky, titled "And Forgive Us Our Debts, As We Forgive Our Debtors," received the First Prize of the Zverev Prize, established by the AZ Museum.
More than two thousand applications were submitted for the Anatoly Zverev Prize competition. Applicants were expected to present projects that reflected freedom, originality, and non-triviality, in line with the creative spirit of the artist Anatoly Zverev. All of these qualities were evaluated by the Expert Council, which included the founder of the AZ Museum, Natalia Opaleva, the art director of the AZ Museum, Polina Lobachevskaya, art historian Andrei Sarabyanov, and artists Grigory Bruskin, Aristarkh Chernyshev, Francisco Infante, Sergey Bratkov, and Vladimir Nasedkin.
The exhibition of the Zverev Prize nominees also included works by the photographer Tim Parchikov.
The work of Evgeny Muzalevsky, titled "And Forgive Us Our Debts, As We Forgive Our Debtors," received the First Prize of the Zverev Prize, established by the AZ Museum.
More than two thousand applications were submitted for the Anatoly Zverev Prize competition. Applicants were expected to present projects that reflected freedom, originality, and non-triviality, in line with the creative spirit of the artist Anatoly Zverev. All of these qualities were evaluated by the Expert Council, which included the founder of the AZ Museum, Natalia Opaleva, the art director of the AZ Museum, Polina Lobachevskaya, art historian Andrei Sarabyanov, and artists Grigory Bruskin, Aristarkh Chernyshev, Francisco Infante, Sergey Bratkov, and Vladimir Nasedkin.
The exhibition of the Zverev Prize nominees also included works by the photographer Tim Parchikov.
Igor Chelkovski and Natalia Turnova at the MMOMA
September 7, 2021
September 7, 2021
The Moscow Museum of Modern Art (MMOMA) presents its tenth thematic exhibition of the collection, this time dedicated to new acquisitions and gifts. The exhibition features works by fourteen Russian artists of different generations, which have entered the museum's collection over the past few years.
Among them is Igor Chelkovski's authorial series "Mechanical Drawing," his large multipart wooden panel, and Natalia Turnova's paintings from the series "Old Age" and "New Generation." Here's what the artist says about them in an interview with Buro 24/7:
"The 'Old Age' series includes images of the elderly, to which I always find it difficult to come up with names. That's why I vary them: 'Old Woman,' 'Old Man,' 'Old Man in a Cap,' and so on. For me, it's always a sensitive point – at the very end, when the works are already painted, I have difficulty coming up with names for the portrait series to diversify them somehow. 'New Generation' is subconsciously about infants, so, purely visually, compared to wrinkled old people, these should be more generalized forms. From these heads, there should be a sense of 'embryo.' Like a puppy, where everything is very large and big, and in general, it's difficult to determine what will grow out of it. There are no experiences, no suffering on the faces of infants, no traces of life yet.
Created from the late 2000s to 2020, which is now viewed from a historical perspective, all the works presented in the exhibition were first shown as part of various exhibitions not only in Moscow (including solo exhibitions held at MMOMA) but also in Venice, St. Petersburg, Nizhny Novgorod, Vladivostok, and other cities. Now, as part of the museum collection, they inhabit unfamiliar space in the building on Petrovka Street. Each project on the exhibition is accompanied by information about its provenance and museum registration, representing the results of collection work, as well as the artist's commentary – a story about the artwork itself, its semantic intrigue, and exhibition features. These research materials, recorded specifically for the exhibition by Julia Ovchinnikova, will enrich the Media Library of the MMOMA Educational Center.
Among them is Igor Chelkovski's authorial series "Mechanical Drawing," his large multipart wooden panel, and Natalia Turnova's paintings from the series "Old Age" and "New Generation." Here's what the artist says about them in an interview with Buro 24/7:
"The 'Old Age' series includes images of the elderly, to which I always find it difficult to come up with names. That's why I vary them: 'Old Woman,' 'Old Man,' 'Old Man in a Cap,' and so on. For me, it's always a sensitive point – at the very end, when the works are already painted, I have difficulty coming up with names for the portrait series to diversify them somehow. 'New Generation' is subconsciously about infants, so, purely visually, compared to wrinkled old people, these should be more generalized forms. From these heads, there should be a sense of 'embryo.' Like a puppy, where everything is very large and big, and in general, it's difficult to determine what will grow out of it. There are no experiences, no suffering on the faces of infants, no traces of life yet.
Created from the late 2000s to 2020, which is now viewed from a historical perspective, all the works presented in the exhibition were first shown as part of various exhibitions not only in Moscow (including solo exhibitions held at MMOMA) but also in Venice, St. Petersburg, Nizhny Novgorod, Vladivostok, and other cities. Now, as part of the museum collection, they inhabit unfamiliar space in the building on Petrovka Street. Each project on the exhibition is accompanied by information about its provenance and museum registration, representing the results of collection work, as well as the artist's commentary – a story about the artwork itself, its semantic intrigue, and exhibition features. These research materials, recorded specifically for the exhibition by Julia Ovchinnikova, will enrich the Media Library of the MMOMA Educational Center.
'Man Seated' in 'Malevich Park'
September 29, 2022
September 29, 2022
On September 29, the open-air exhibition "What Does Malevich Have to Do with It?" opened in "Malevich Park." The exhibition features works by both classic artists of unofficial art from the 1960s-1970s, such as Igor Chelkovski and Francisco Infante, and artists of subsequent generations who have gained international recognition.
With the support of the State Tretyakov Gallery, a 3.5-meter-tall sculpture "Man Seated" by Igor Chelkovski has been installed in the park.
With the support of the State Tretyakov Gallery, a 3.5-meter-tall sculpture "Man Seated" by Igor Chelkovski has been installed in the park.
Evgeny Muzalevsky featured in the exhibition 'How to Catch a Butterfly'
September 28, 2022
September 28, 2022
The Nabokov Museum presented the exhibition "How to Catch a Butterfly?" – a poetic contemplation on escapism, memory, and migration in the context of Vladimir Nabokov's literary practice.
Drawing inspiration from one of the writer's inherent and unexpected passions – the pursuit (or as he called it, "netting") of butterflies, the exhibition offers an artistic perspective on the understanding of processes related to physical and spiritual movement. These processes are connected both with Nabokov's migration experiences and with the journeys through the chambers of his own memory, which have a dream-like character.
"The question I propose in the exhibition's title," explains curator Ilya Kronchev-Ivanov, "is a trap from which each artist tries to extricate themselves in their own way, answering, rather, the question of 'how not to be caught.' Nabokov himself managed to do this four times, despite the fact that once, while he was sedated with ether, he was pinned and dissected like a butterfly from his collection."
The exhibition is located in three halls of the museum (the Small Dining Room, the recently opened Green Living Room, and the Library), forming a parallel exposition alongside the main one. The works of contemporary artists have a site-specific nature and integrate into the museum-memorial space, engaging in a dialogue with Nabokov's legacy. Thus, the exhibition reinterprets not only events from the writer's life but also the phenomena that humanity is experiencing today.
Artists featured in the exhibition: Lera Lerner, Galya Fadeeva, Maria Dmitrieva, Alina Kugush, Zhenya Muzalevsky, Denis Prasolov, and Natalia Fedorova.
Drawing inspiration from one of the writer's inherent and unexpected passions – the pursuit (or as he called it, "netting") of butterflies, the exhibition offers an artistic perspective on the understanding of processes related to physical and spiritual movement. These processes are connected both with Nabokov's migration experiences and with the journeys through the chambers of his own memory, which have a dream-like character.
"The question I propose in the exhibition's title," explains curator Ilya Kronchev-Ivanov, "is a trap from which each artist tries to extricate themselves in their own way, answering, rather, the question of 'how not to be caught.' Nabokov himself managed to do this four times, despite the fact that once, while he was sedated with ether, he was pinned and dissected like a butterfly from his collection."
The exhibition is located in three halls of the museum (the Small Dining Room, the recently opened Green Living Room, and the Library), forming a parallel exposition alongside the main one. The works of contemporary artists have a site-specific nature and integrate into the museum-memorial space, engaging in a dialogue with Nabokov's legacy. Thus, the exhibition reinterprets not only events from the writer's life but also the phenomena that humanity is experiencing today.
Artists featured in the exhibition: Lera Lerner, Galya Fadeeva, Maria Dmitrieva, Alina Kugush, Zhenya Muzalevsky, Denis Prasolov, and Natalia Fedorova.
Igor Chelkovski's works in the Russian Museum
June 30, 2022
June 30, 2022
On June 30, 2022, the Marble Palace hosted an exhibition titled "Contemporary Russian Art as the Language of Animation" at the Russian Museum. The exhibition included three independent projects: "Animators," "Mechanicus," and "Man-Scheme."
The exhibition showcased over 60 works of contemporary art from the collection of the Russian Museum, private collections, and author's collections. The works encompassed various art forms, including painting, graphics, sculpture, photography, as well as installations and videos. The exhibition featured both widely recognized and lesser-known artists.
The motif of the "man-scheme," which originated in the avant-garde art, has now become an impressive and effective means of discussing the modern individual and their place in the world. In the exhibition, this motif was presented through two groups of works. Some artists worked with established information pictograms featuring figures transferred from non-artistic spaces into the realm of art, while others created their own characters using similar principles of form formation. In this way, the artists responded to the changing cultural environment filled with symbols and signs.
The creative work of the "New Artists" of the 1980s was presented in three directions: art of abstract forms, to which Igor Chelkovski's works belong, art depicting reality in its social and ecological dimensions, and art of fantasy and cosmic themes.
The exhibition ran until August 29, 2022.
The exhibition showcased over 60 works of contemporary art from the collection of the Russian Museum, private collections, and author's collections. The works encompassed various art forms, including painting, graphics, sculpture, photography, as well as installations and videos. The exhibition featured both widely recognized and lesser-known artists.
The motif of the "man-scheme," which originated in the avant-garde art, has now become an impressive and effective means of discussing the modern individual and their place in the world. In the exhibition, this motif was presented through two groups of works. Some artists worked with established information pictograms featuring figures transferred from non-artistic spaces into the realm of art, while others created their own characters using similar principles of form formation. In this way, the artists responded to the changing cultural environment filled with symbols and signs.
The creative work of the "New Artists" of the 1980s was presented in three directions: art of abstract forms, to which Igor Chelkovski's works belong, art depicting reality in its social and ecological dimensions, and art of fantasy and cosmic themes.
The exhibition ran until August 29, 2022.
Igor Chelkovski and Dunya Zakharova at the 'Thinking Landscape' exhibition at the Museum of Moscow
June 9, 2022
June 9, 2022
On June 9, the Museum of Moscow opened a group exhibition titled "Thinking Landscape," featuring artists from the Alina Pinsky Gallery, including Igor Chelkovski and Dunya Zakharova.
The project is dedicated to artistic exploration of the surrounding space and the search for new forms of interaction with it through painting, architecture, sculpture, photography, and video art. The exhibition brings together the works of over twenty Russian artists from different generations.
Various generations of artists contemplate space at the exhibition, from well-known figures like Igor Chelkovski to young artists like Dunya Zakharova and others. The artworks presented at the exhibition often refer to images of vastness and infinity, but each of the works possesses an individual experience: the artists engage with both common notions, phantasms, and myths, as well as deeply personal memories.
The exhibition ran until August 21, 2022.
The project is dedicated to artistic exploration of the surrounding space and the search for new forms of interaction with it through painting, architecture, sculpture, photography, and video art. The exhibition brings together the works of over twenty Russian artists from different generations.
Various generations of artists contemplate space at the exhibition, from well-known figures like Igor Chelkovski to young artists like Dunya Zakharova and others. The artworks presented at the exhibition often refer to images of vastness and infinity, but each of the works possesses an individual experience: the artists engage with both common notions, phantasms, and myths, as well as deeply personal memories.
The exhibition ran until August 21, 2022.
Triptych by Evgeny Muzalevsky at the 'Monsters Under the Bed' exhibition in St. Petersburg
May 21, 2022
May 21, 2022
The MAXART Foundation for the Support and Development of Contemporary Art, in collaboration with the cultural space "Third Place" in St. Petersburg, presents a site-specific exhibition titled "Monsters Under the Bed."
Evgeny Muzalevsky's triptych, "heart" from 2020, is featured among other works by young contemporary artists of different generations working with various genres and media.
The exhibition explores the transformation of childhood fears into a state of anxiety through personal experience. In conditions of emotional turbulence provoked by external circumstances, anxieties take on increasingly tangible forms, becoming rooted in the routine of everyday life. In the contemporary context, ecological, social, and cultural principles have repeatedly demonstrated their vulnerability. What does fear mean to us today, and what tools for overcoming it seem most appropriate and productive?
Evgeny Muzalevsky's triptych, "heart" from 2020, is featured among other works by young contemporary artists of different generations working with various genres and media.
The exhibition explores the transformation of childhood fears into a state of anxiety through personal experience. In conditions of emotional turbulence provoked by external circumstances, anxieties take on increasingly tangible forms, becoming rooted in the routine of everyday life. In the contemporary context, ecological, social, and cultural principles have repeatedly demonstrated their vulnerability. What does fear mean to us today, and what tools for overcoming it seem most appropriate and productive?
3D Tour and Extension of the Exhibition 'Tim Parchikov. Just a Shot Away'
March 5, 2022
March 5, 2022
Alina Pinsky Gallery has extended the exhibition "Tim Parchikov. Just a Shot Away" until April 5. You can access the 3D tour of the exhibition through the provided link.
"Tim Parchikov. Just a Shot Away" is a curated selection of works, with the key series being the artist's "Suspense." The exhibition features nearly fifty works from different periods, including the most recent ones. Spontaneous shots, as if taken from a movie, convey a sense of anticipation, that moment "a minute before the shot" from suspense films.
His works regularly participate in international exhibitions and are exhibited at prestigious art fairs such as Art Basel, Frieze, ARCO, and others.
The catalogue with introductory articles by art critics Irina Kulik and Kira Dolinna has been released for the exhibition.
"Tim Parchikov. Just a Shot Away" is a curated selection of works, with the key series being the artist's "Suspense." The exhibition features nearly fifty works from different periods, including the most recent ones. Spontaneous shots, as if taken from a movie, convey a sense of anticipation, that moment "a minute before the shot" from suspense films.
His works regularly participate in international exhibitions and are exhibited at prestigious art fairs such as Art Basel, Frieze, ARCO, and others.
The catalogue with introductory articles by art critics Irina Kulik and Kira Dolinna has been released for the exhibition.
'Vase with Flowers' by Igor Chelkovski in Zaryadye Park
September 4, 2021
September 4, 2021
On September 3rd, as part of the "Here and Now" project supported by the Museum of Moscow, a seven-meter sculpture by Igor Chelkovski titled "Vase with Flowers" was installed in Zaryadye Park.
The sculpture is a schematic representation of flowers made of steel. Chelkovski's vibrant and contrasting composition resembles the architectones of Kazimir Malevich – volumetric Suprematist models constructed from simple geometric elements.
Igor Chelkovski is always inspired by natural forms, which allow him to infuse his artwork with lightness and harmony. His vases with flowers constitute a significant separate series, and the scaling of his sculptures is a constant interest of the artist. In 2020, Igor Chelkovski received the First Moscow Art Prize for his sculptural series "People" at the Tretyakov Gallery.
The sculpture is a schematic representation of flowers made of steel. Chelkovski's vibrant and contrasting composition resembles the architectones of Kazimir Malevich – volumetric Suprematist models constructed from simple geometric elements.
Igor Chelkovski is always inspired by natural forms, which allow him to infuse his artwork with lightness and harmony. His vases with flowers constitute a significant separate series, and the scaling of his sculptures is a constant interest of the artist. In 2020, Igor Chelkovski received the First Moscow Art Prize for his sculptural series "People" at the Tretyakov Gallery.
Igor Chelkovski's works at the 'Arkhangelskoye' Estate Museum
June 24, 2022
June 24, 2022
The exhibition "Gardens of Art. Metamorphoses," prepared for the opening of the Botanical Orangeries, pays homage to the rich historical past of this place while also offering a contemporary perspective on the future. The project weaves together different timelines, with museum artifacts shining through painting, graphics, sculpture, and contemporary art objects. The exhibition features installations, art objects, paintings, and graphics by well-known contemporary artists.
The Botanical section, where the exhibition is housed, was built to the east of the palace part of the estate and included the Cold Orangery, measuring 21 sazhens in length and 14 arshins in width, two greenhouses on either side, and the Palm (Muzovaya) and Erica Orangeries opposite. They housed palm trees, ericas, heather, and subtropical curiosities. However, the Botanical section did not exist for long. In 1832, Boris, the heir of Prince N. B. Yusupov, ordered its abolition and the demolition of the buildings.
Nearly 200 years later, the Cold Orangery and Botanical greenhouses have been recreated on the old foundations, and their new purpose shifts the focus to another passion of the former owner – contemporary art. A brilliantly educated aristocrat, Yusupov was equally interested in antiquities, old masters, and contemporary artists. Educated in the Age of Enlightenment, he had a particularly keen understanding and appreciation for the art of his contemporaries. During his travels across Europe, he visited the studios of painters and sculptors, purchased artworks, commissioned pieces, participated in auctions, and closely followed the art world.
The exhibition ran until October 31, 2022.
The Botanical section, where the exhibition is housed, was built to the east of the palace part of the estate and included the Cold Orangery, measuring 21 sazhens in length and 14 arshins in width, two greenhouses on either side, and the Palm (Muzovaya) and Erica Orangeries opposite. They housed palm trees, ericas, heather, and subtropical curiosities. However, the Botanical section did not exist for long. In 1832, Boris, the heir of Prince N. B. Yusupov, ordered its abolition and the demolition of the buildings.
Nearly 200 years later, the Cold Orangery and Botanical greenhouses have been recreated on the old foundations, and their new purpose shifts the focus to another passion of the former owner – contemporary art. A brilliantly educated aristocrat, Yusupov was equally interested in antiquities, old masters, and contemporary artists. Educated in the Age of Enlightenment, he had a particularly keen understanding and appreciation for the art of his contemporaries. During his travels across Europe, he visited the studios of painters and sculptors, purchased artworks, commissioned pieces, participated in auctions, and closely followed the art world.
The exhibition ran until October 31, 2022.
Igor Chelkovski - Winner of the Moscow Art Prize
December 9, 2020
December 9, 2020
On November 20th, in Zaryadye Park, the awards ceremony for the laureates of the Moscow Art Prize took place. The prize was established by the Foundation for the Development of Contemporary Art (FDCA), chaired by Ivan Demidov, with Olga Sviblova and Vasily Tsereteli serving on the prize's expert council. This year marked the first presentation of the award. Sculptor Igor Chelkovski received the inaugural prize in the category of "Visual Art and Architecture" for his series "People."
Igor Chelkovski (born in 1937) belongs to the first generation of Moscow's "unofficial" artists. He began his artistic journey in the late 1950s and transitioned to sculpture in the 1970s. Starting in 1976, Chelkovski lived in France, where he published the renowned art journal "A-YA." He currently maintains two studios, one in Moscow and another in Élan, near Paris. His recent solo exhibitions were held at the Multimedia Art Museum in Moscow (winter 2013-2014), the Tretyakov Gallery (winter 2017-2018), and in Alina Pinsky's gallery (winter 2018-2019).
Our gallery exclusively represents Igor Chelkovski. His works can be found in the Tretyakov Gallery, the Russian Museum, the Ludwig Foundation in Vienna, the Pompidou Center, and other renowned collections.
Chelkovski began creating small wooden figures of people in the 1970s. He reproduced some of his works in metal, aiming to give them a monumental scale. As the artist himself stated during the Moscow Art Prize ceremony, "There is a saying, 'Size does not equal greatness,' which is not entirely true. If you take an Egyptian pyramid and reduce it to the size of a child's cube, all its greatness will disappear. Size matters in sculpture." Some of Chelkovski's "people" sculptures are significantly larger than human height. The most massive of them are the three-meter sculptures "Standing Man," "Walking Man," and "Running Man," which were installed last year in the courtyard of the New Tretyakov Gallery as a gift from collectors Alina and Dmitry Pinsky.
In the photo: Monumental sculptures in the courtyard of Igor Chelkovski's French studio, dating back to the early 2000s.
Igor Chelkovski (born in 1937) belongs to the first generation of Moscow's "unofficial" artists. He began his artistic journey in the late 1950s and transitioned to sculpture in the 1970s. Starting in 1976, Chelkovski lived in France, where he published the renowned art journal "A-YA." He currently maintains two studios, one in Moscow and another in Élan, near Paris. His recent solo exhibitions were held at the Multimedia Art Museum in Moscow (winter 2013-2014), the Tretyakov Gallery (winter 2017-2018), and in Alina Pinsky's gallery (winter 2018-2019).
Our gallery exclusively represents Igor Chelkovski. His works can be found in the Tretyakov Gallery, the Russian Museum, the Ludwig Foundation in Vienna, the Pompidou Center, and other renowned collections.
Chelkovski began creating small wooden figures of people in the 1970s. He reproduced some of his works in metal, aiming to give them a monumental scale. As the artist himself stated during the Moscow Art Prize ceremony, "There is a saying, 'Size does not equal greatness,' which is not entirely true. If you take an Egyptian pyramid and reduce it to the size of a child's cube, all its greatness will disappear. Size matters in sculpture." Some of Chelkovski's "people" sculptures are significantly larger than human height. The most massive of them are the three-meter sculptures "Standing Man," "Walking Man," and "Running Man," which were installed last year in the courtyard of the New Tretyakov Gallery as a gift from collectors Alina and Dmitry Pinsky.
In the photo: Monumental sculptures in the courtyard of Igor Chelkovski's French studio, dating back to the early 2000s.
Sculptures by Igor Chelkovski in the courtyard of the New Tretyakov Gallery
October 7, 2019
October 7, 2019
On October 7, 2019, in the inner courtyard of the New Tretyakov Gallery, three sculptures by Igor Chelkovski, titled "Standing," "Walking," and "Running," found their permanent home. These three-meter tall metal sculptures were created specifically for open public spaces. Igor Chelkovski's long-standing dream of bringing contemporary sculpture into the city became a reality thanks to the generous gift from collectors Alina and Dmitry Pinsky.
The Tretyakov Gallery, the primary state repository of national art, took the first step in a new practice of shaping public spaces. This aligns with the future vision of the Tretyakov Gallery, as conceived by the architect Rem Koolhaas, which will become an "open museum."
"Art expresses the essence of its time, its era, and cannot exist outside of it. In our collection, there are only a few works by unofficial artists; there is almost no art from the 1990s and 2000s. Now we are striving to enrich the collection of contemporary art. We are grateful to patrons and foundations that donate it to the Tretyakov Gallery," says Zelfira Tregulova, the museum's director, in one of her interviews.
"We are happy to contribute to the ability of the Tretyakov Gallery to showcase large-scale works, including sculptures, installations, and objects of theatrical art. Our goal is to attract public interest, sponsors, and donors to the formation of the museum's contemporary collection," adds Inna Krymova, a co-author of the cultural concept.
"The fact that attention is now being paid to our national art in Russia, including contemporary art, gives hope that it will be able to take its rightful place in global art. If you want others to be interested in your art, start by being interested in it yourself. All countries follow this path, from France to China," comments artist Igor Chelkovski.
The Tretyakov Gallery, the primary state repository of national art, took the first step in a new practice of shaping public spaces. This aligns with the future vision of the Tretyakov Gallery, as conceived by the architect Rem Koolhaas, which will become an "open museum."
"Art expresses the essence of its time, its era, and cannot exist outside of it. In our collection, there are only a few works by unofficial artists; there is almost no art from the 1990s and 2000s. Now we are striving to enrich the collection of contemporary art. We are grateful to patrons and foundations that donate it to the Tretyakov Gallery," says Zelfira Tregulova, the museum's director, in one of her interviews.
"We are happy to contribute to the ability of the Tretyakov Gallery to showcase large-scale works, including sculptures, installations, and objects of theatrical art. Our goal is to attract public interest, sponsors, and donors to the formation of the museum's contemporary collection," adds Inna Krymova, a co-author of the cultural concept.
"The fact that attention is now being paid to our national art in Russia, including contemporary art, gives hope that it will be able to take its rightful place in global art. If you want others to be interested in your art, start by being interested in it yourself. All countries follow this path, from France to China," comments artist Igor Chelkovski.
Lecture 'Radical Design in Italy'
April 4, 2019
April 4, 2019
Gallery "Palisandr" employee Artem Dezhurko gave a lecture about the shameless and hooligans who worked at the intersection of architecture, design, and "contemporary" art in the late 1960s and early 1970s. The lecture discussed figures such as Ettore Sottsass, Alessandro Mendini, Gaetano Pesce, Andrea Branzi, as well as artistic groups like Archizoom, Superstudio, Gruppo UFO, Gruppo 9999, Gruppo Strum, and Studio 65. Their role in the history of Italian and global design is immense, and Italian design owes much of its enduring reputation to these individuals. They were leading designers in Italy until the end of the century, but the lecture focused on the period from the mid-1960s to the mid-1970s when they first entered the profession. While they continued to work into the 1980s, this decade was beyond the scope of the lecture. The lecture also covered the manufacturers who played a crucial role in supporting Italian radical design, such as Poltronova, Zanotta, and Cassina.
Alexander Rymkevich's lecture 'Men's Interior'
March 27, 2019
March 27, 2019
On March 27th, an event organized by Alexander Dobrovinsky's "Tabu" club took place at the Palisandr Gallery—a lecture on men's interior design presented by Alexander Rymkevich, a fashion expert and the chief editor of The Rake Russia magazine. Alexander Rymkevich is an experienced lecturer, and although many of the gallery's guests heard him for the first time that evening, it turned out he was an excellent storyteller, able to talk engagingly about a wide range of topics. Alexander Rymkevich showcased numerous "men's" interiors (including the office of Alexander Dobrovinsky, the founder of the "Tabu" club), shared stories about their owners, their art collections, and sometimes, what made the narrative especially captivating, details about their attire.
Lecture 'Design of the Mid-20th Century in Sweden'
January 31, 2019
January 31, 2019
On January 30, another lecture by Artem Dezhurko on the history of design took place at the gallery. This time, the topic was Swedish design in the mid-20th century. The lecture covered how the "modern movement" came to Scandinavia thanks to Sweden, the significant role of the 1930 decorative arts exhibition in Stockholm, and featured figures such as Carl Malmsten, Carl Bergsten, Axel Einar Hjorth, Axel Larsson, Bruno Mathsson, Ingve Ekström, and Josef Frank, an Austrian designer who emigrated to Sweden.
Lecture 'Italian Modernist Design'
January 29, 2018
January 29, 2018
On November 29, 2018, a lecture by Artem Dezhurko on modernist design and interiors in Italy from the 1930s to the 1950s took place at the "Palisandr" gallery. The lecture covered the projects of designers such as Gio Ponti, Franco Albini, Giuseppe Pagano, Piero Portaluppi, Carlo Mollino, Marco Zanuso, Osvaldo Borsani, Ico Parisi, and others. It showcased interiors of the homes they lived in and furniture they designed, primarily focusing on unique or limited-edition pieces. By comparing Italian design from the mid-20th century with what is considered the norm of modernist aesthetics, the lecturer aimed to highlight its distinctiveness and complexity.
Lecture-discussion 'Vintage or Reissues?'
October 23, 2018
October 23, 2018
On October 23, 2018, at the Palisandr Gallery, there was a lecture-discussion titled "Vintage or Reissues?" by Artem Dezhurko and Alina Pinsky. The lecture focused on collectible design and the merits of items with a history. The speakers discussed vintage and contemporary pieces from designers like Eames, Mies van der Rohe, Jean Prouvé, and Poul Kjærholm. They also talked about how materials age and the satisfaction that comes from examining hallmarks.
The lecture 'Counterdesign: New Laws of Attraction'
February 19, 2018
February 19, 2018
The "Palisandr" Gallery concluded its exhibition project dedicated to the 1980s with a lecture titled "Counter-Design: New Laws of Attraction." The lecture explored the connection between radical design and the fashion industry, presented by fashion historian Andrey Abolenkin and Alina Pinsky (from the "Palisandr" Gallery).
The phenomenon of anti-design in the 1980s is the central theme of the current exhibition at the "Palisandr" Gallery. Members of the famous Italian group Memphis attempted to challenge bourgeois consumerism and material culture itself. Their new ideas, forms, and materials became a prominent cultural phenomenon at the time, and today, there is a renewed interest in that vibrant era.
Design is often considered a barometer of societal changes, and the same can be said for fashion. The 1980s marked a true revolution in tastes and concepts of beauty. It was a time when Karl Lagerfeld became the artistic director and reformer of Chanel, street art emerged as a new form of elitism, rap revolutionized music, genres blurred in pop culture, and the early stages of the global computer network appeared. The last bastions of bourgeois "good taste" were shattered, and there was no longer a clear division between noble and crude materials, no more rules for the right proportions and forms. Alongside the resurgence of interest in radical design from the 1970s and 80s, the fashion world is witnessing the rise of "ugly chic." This lecture explored how counter-design is linked to the heyday of disco and synth-pop and how it influences the latest fashion trends.
Andrey Abolenkin is a fashion analyst and one of Russia's leading experts in the field of fashion. He collaborates with Russian fashion houses, advises major retailers and clothing manufacturers, and has worked with various fashion magazines. He served as the Chief Consultant of Moscow Fashion Week for several years, produced fashion shows, and authored numerous publications and lecture programs.
The phenomenon of anti-design in the 1980s is the central theme of the current exhibition at the "Palisandr" Gallery. Members of the famous Italian group Memphis attempted to challenge bourgeois consumerism and material culture itself. Their new ideas, forms, and materials became a prominent cultural phenomenon at the time, and today, there is a renewed interest in that vibrant era.
Design is often considered a barometer of societal changes, and the same can be said for fashion. The 1980s marked a true revolution in tastes and concepts of beauty. It was a time when Karl Lagerfeld became the artistic director and reformer of Chanel, street art emerged as a new form of elitism, rap revolutionized music, genres blurred in pop culture, and the early stages of the global computer network appeared. The last bastions of bourgeois "good taste" were shattered, and there was no longer a clear division between noble and crude materials, no more rules for the right proportions and forms. Alongside the resurgence of interest in radical design from the 1970s and 80s, the fashion world is witnessing the rise of "ugly chic." This lecture explored how counter-design is linked to the heyday of disco and synth-pop and how it influences the latest fashion trends.
Andrey Abolenkin is a fashion analyst and one of Russia's leading experts in the field of fashion. He collaborates with Russian fashion houses, advises major retailers and clothing manufacturers, and has worked with various fashion magazines. He served as the Chief Consultant of Moscow Fashion Week for several years, produced fashion shows, and authored numerous publications and lecture programs.
Igor Chelkovski. Création sculpturale.
20 mars 2022
Une conversation publique entre Igor Chelkovski et Leonid Parfenov à la Galerie Palisandr.
« À l'époque soviétique, l'impressionnisme était assimilé à de l'extrémisme. » Igor Chelkovski, un homme d'histoire qui a vécu le début et la fin de l'ère du Dégel à Moscou et s'est affirmé en tant qu'artiste durant ces années, s'est entretenu avec Leonid Parfenov, auteur de la célèbre série d'émissions de télévision et de livres sur la vie quotidienne soviétique, sur la vie d'artiste sous la censure et sans elle. Ils en ont conclu que la vie sans censure reste bien meilleure, même si elle offre peut-être moins d'adrénaline.
November 7th, 2019
Igor Chelkovski's chairs
The artist Igor Chelkovski, a living legend of non-conformist art, created a series of small sculptures resembling pieces of furniture in 2013. For the winter exhibition of 2018-2019 at the Palisandr Gallery, three of his chairs were produced in life-size for the first time.
