L'exposition inaugurale ' Searching Eye ' invite les visiteurs à découvrir une sélection d'artistes représentés par la galerie. Du réalisme magique à l'op art et à l'expressionnisme abstrait, elle offre un large panorama d'approches artistiques couvrant plusieurs décennies.
20 Octobre 2025 - 7 Janvier 2026
SEARCHING EYE
“ L’art a toujours été, et demeure, un espace de dialogue. Dans le contexte actuel, il me semble essentiel, en tant que galerie indépendante, de favoriser la circulation des idées et d’imaginer de nouveaux modèles d’engagement culturel, affranchis de toute contrainte géographique ou politique. ”
À cette occasion, sa fondatrice Alina Pinsky déclare:
L’exposition inaugurale « Searching Eye » invite le spectateur à découvrir une sélection d’artistes représentés par la galerie. Du réalisme magique à l’op art, en passant par l’expressionnisme abstrait, elle propose un large panorama de démarches artistiques couvrant plusieurs décennies. L’exposition réunit le travail de: Igor Chelkovski (1937, vit et travaille en France), Lev Povzner (1939, vit et travaille en Russie), Michael Chernishov (1945, vit et travaille aux États-Unis),
Tatiana Andreeva (1951, vit et travaille en Suisse), Natalia Turnova (1957, vit et travaille en Russie), Igor Skaletsky (1978, vit et travaille en Allemagne), Tim Parchikov (1983, vit et travaille en France), Natasha Habarova (1985, vit et travaille en Russie) et Evgeny Muzalevsky (1995, vit et travaille en Allemagne).
Le titre de l’exposition fait écho à la célèbre formule de Diana Vreeland, « The eye has to travel », rappelant que la véritable perception de l’art suppose un mouvement constant, une quête de nouvelles impressions et de nouveaux points de vue. L’œil ne doit pas se limiter au familier: il doit être exercé, stimulé, invité à explorer différents univers visuels dans toute leur richesse.
« Searching Eye » met en lumière cette diversité et la déploie sous la forme d’un itinéraire cohérent.
Tatiana Andreeva (1951, vit et travaille en Suisse), Natalia Turnova (1957, vit et travaille en Russie), Igor Skaletsky (1978, vit et travaille en Allemagne), Tim Parchikov (1983, vit et travaille en France), Natasha Habarova (1985, vit et travaille en Russie) et Evgeny Muzalevsky (1995, vit et travaille en Allemagne).
Le titre de l’exposition fait écho à la célèbre formule de Diana Vreeland, « The eye has to travel », rappelant que la véritable perception de l’art suppose un mouvement constant, une quête de nouvelles impressions et de nouveaux points de vue. L’œil ne doit pas se limiter au familier: il doit être exercé, stimulé, invité à explorer différents univers visuels dans toute leur richesse.
« Searching Eye » met en lumière cette diversité et la déploie sous la forme d’un itinéraire cohérent.
L’exposition se déploie en une succession de registres: l’échelle cède la place au détail, les éclats de couleur à la rigueur du monochrome, les images figuratives à l’abstraction pure. Guidé par les artistes, le regard du spectateur s’engage dans un voyage à travers époques et styles, pénétrant au cœur des œuvres — du plan lointain au gros plan, de la forme extérieure à la profondeur cachée — et réinterprétant sans cesse l’espace de la peinture, du dessin ou de la sculpture.
Cette exploration s’ouvre avec des artistes qui, dès les années 1960, ont entrepris d’interroger de manière systématique la mécanique même de la perception.
L’exposition forme une polyphonie où le regard, tour à tour entraîné, démultiplié ou déstabilisé, explore les multiples dimensions du visible. « Searching Eye » apparaît ainsi comme une véritable enquête sur l’acte de voir — sur notre manière d’observer l’art et d’« écouter » les images.
Comme l’écrivait Paul Claudel : « C’est à nous de l’écouter, de prêter l’oreille au sous-entendu. »
Cette exploration s’ouvre avec des artistes qui, dès les années 1960, ont entrepris d’interroger de manière systématique la mécanique même de la perception.
L’exposition forme une polyphonie où le regard, tour à tour entraîné, démultiplié ou déstabilisé, explore les multiples dimensions du visible. « Searching Eye » apparaît ainsi comme une véritable enquête sur l’acte de voir — sur notre manière d’observer l’art et d’« écouter » les images.
Comme l’écrivait Paul Claudel : « C’est à nous de l’écouter, de prêter l’oreille au sous-entendu. »
Œuvres sélectionnées
Composition, années1980
Tempera et pastel à l'huile
sur papier marouflé sur toile
96.5 х 142 cm
Tempera et pastel à l'huile
sur papier marouflé sur toile
96.5 х 142 cm
Déclinaison des Noms, 2022
Huile sur toile. 191.5 × 37.5 cm
Anastasia à la fenêtre, 2023
Broderie. Créée par la mère de l'artiste d'après ses oeuvres
158 × 31 cm
Huile sur toile. 191.5 × 37.5 cm
Anastasia à la fenêtre, 2023
Broderie. Créée par la mère de l'artiste d'après ses oeuvres
158 × 31 cm
Structure, 1974
De la série ‘Feu’
Gouache sur papier
89 x 65 cm
De la série ‘Feu’
Gouache sur papier
89 x 65 cm
8 mars, 2000
De la série ‘Visages cachés’
Huile sur toile
203 х 307 cm
De la série ‘Visages cachés’
Huile sur toile
203 х 307 cm
Toscane, 2008
Du projet ‘Suspense’
C-Print contrecollé sur plexiglas
Du projet ‘Suspense’
C-Print contrecollé sur plexiglas
120 x 180 cm. Édition: 2/5 + A.P.
Main, 2019
Peinture sur acier
Peinture sur acier
94 × 15 × 8.5 cm. Édition: 4/8
Sans titre, 2024
Aquarelle et acrylique sur papier
Aquarelle et acrylique sur papier
120 × 84 cm
Sans titre, 2024
Huile sur toile
190 x 160 cm
Huile sur toile
190 x 160 cm
Constructeurs, 2024
Huile et pastel à l'huile sur toile199 × 106 cm
Vues d’exposition
Demande d’information
Igor Chelkovski
Main, 2019
Peinture sur acier
Igor Chelkovski (né en 1937) est un artiste non-conformiste, sculpteur et éditeur du célèbre magazine A—Я (1979-1986), consacré à l’art contemporain non officiel, à la littérature et à la philosophie.
En 1976, il s’installe à Paris, et en 1985, il est privé de sa citoyenneté soviétique « pour des actions jugées incompatibles avec celle-ci ».
Les œuvres de Chelkovski se distinguent par une expressivité plastique et une puissance imaginaire. Son travail, né dans les années 1970, reste d’une étonnante modernité grâce à ses explorations de la couleur, de la forme et des matériaux, qui façonnent un langage artistique unique.
L’artiste est particulièrement reconnu pour ses « objets » sculpturaux aux dimensions parfois monumentales. Un motif récurrent de son œuvre est la silhouette humaine, simplifiée et amplifiée en volume, s’intégrant harmonieusement dans le paysage urbain. Chelkovski réalise également des reliefs représentant de manière schématique des espaces forestiers ou urbains, à la frontière entre peinture et sculpture. En 2020, il reçoit le Premier Prix d’Art de Moscou dans la catégorie « Arts visuels et architecture ».
Ses œuvres figurent dans les collections du Centre Pompidou, du Musée russe, de la Galerie Tretiakov, du Musée Ludwig à Vienne, du Zimmerli Museum, ainsi que dans de nombreux autres musées à travers le monde.
Main, 2019
Peinture sur acier
94 × 15 × 8.5 cm. Édition: 4/8
Igor Chelkovski (né en 1937) est un artiste non-conformiste, sculpteur et éditeur du célèbre magazine A—Я (1979-1986), consacré à l’art contemporain non officiel, à la littérature et à la philosophie.
En 1976, il s’installe à Paris, et en 1985, il est privé de sa citoyenneté soviétique « pour des actions jugées incompatibles avec celle-ci ».
Les œuvres de Chelkovski se distinguent par une expressivité plastique et une puissance imaginaire. Son travail, né dans les années 1970, reste d’une étonnante modernité grâce à ses explorations de la couleur, de la forme et des matériaux, qui façonnent un langage artistique unique.
L’artiste est particulièrement reconnu pour ses « objets » sculpturaux aux dimensions parfois monumentales. Un motif récurrent de son œuvre est la silhouette humaine, simplifiée et amplifiée en volume, s’intégrant harmonieusement dans le paysage urbain. Chelkovski réalise également des reliefs représentant de manière schématique des espaces forestiers ou urbains, à la frontière entre peinture et sculpture. En 2020, il reçoit le Premier Prix d’Art de Moscou dans la catégorie « Arts visuels et architecture ».
Ses œuvres figurent dans les collections du Centre Pompidou, du Musée russe, de la Galerie Tretiakov, du Musée Ludwig à Vienne, du Zimmerli Museum, ainsi que dans de nombreux autres musées à travers le monde.
Michael Chernishov
Composition, années1980Tempera et pastel à l'huile sur papier marouflé sur toile
96.5 х 142 cm
Michael Chernishov (né en 1945) est un artiste russe et américain, considéré par de nombreux critiques d’art comme l’une des figures majeures de la scène artistique soviétique dans la seconde moitié du XXᵉ siècle. Travaillant simultanément dans les registres du pop art et de l’abstraction géométrique, il fut également l’un des pionniers de l’art performance en URSS.
Le style et les centres d’intérêt principaux de Chernishov ont commencé à se définir à la fin des années 1950, se distinguant nettement de ceux des autres artistes, groupes et écoles. Il se consacre consciemment à l’art à l’âge de 15 ans, après avoir découvert les œuvres des expressionnistes abstraits lors de l’Exposition nationale américaine à Sokolniki en 1959.
Dans les années 1960, il se lie d’amitié avec les artistes Mikhaïl Roginski et Vladimir Iakovlev. En 1962, Chernishov organise sa première exposition dans son appartement, intitulée Red Truck, dans le quartier de Mnevniki, au domicile de Roginski. Deux ans plus tard, Roginski et Chernishov présentent une exposition commune au cinéma Disk à Moscou.
Au début des années 1960, Chernishov étudie à l’École technique d’art et d’industrie de Zagorsk pour jouets, puis s’inscrit au Département d’histoire de l’art de la Faculté historique de l’Université d’État de Moscou. Cependant, après deux ans et l’étude de l’art byzantin, il perd tout intérêt et quitte l’université.
En 1974, il participe à la Deuxième Revue d’automne de la peinture dans le parc d’Izmaïlovo à Moscou, connue sous le nom d’Exposition d’Izmaïlovo. L’année suivante, il organise le happening 30ᵉ anniversaire des Nations Unies avec un groupe d’artistes à Moscou. En 1976, il collabore avec Boris Bech pour le happening Doubling I dans le parc Vorontsov à Moscou. Deux ans plus tard, en 1978, Michael Chernishov, Boris Bech, Konstantin Zvezdochotov, Vitaly Dlugy et A. Vlamov organisent le happening Doubling II.
En 1978, une rétrospective de ses œuvres de 1961 à 1978 est présentée à l’Union des artistes graphiques de Moscou (Gorkom des artistes graphiques). En 1980, il émigre de l’URSS. En 1987, il publie ses mémoires, Moscou 1961-67, relatant les premières années de sa carrière artistique. Il vit et travaille actuellement à New York.
Les œuvres de Michael Chernishov figurent dans les collections de la Galerie Tretiakov (Moscou), du Musée russe (Saint-Pétersbourg), du Musée d’État des beaux-arts Pouchkine (Moscou), du Zimmerli Museum (New Jersey, États-Unis) et dans d’autres musées à travers le monde.
Tatiana Andreeva
Tatiana Andreeva
Structure, 1974
From the ‘Fire’ series
Gouache on paper
A mathematician and artist renowned for her experimental projects involving optical patterns.
Born in Moscow, she is the daughter of a renowned textile designer and leading artist at the "Krasnaya Roza" factory named after Rosa Luxemburg. She studied theoretical and mathematical physics at the Mechanics and Mathematics Faculty of Moscow State University. In 1970–1971, she worked at Grisha Bruskin’s studio. In 1975, she graduated from the Textile Institute and was assigned to the Applied Arts Combine.
She received a medal for the "Gradient" collection at the Tallinn Fashion Days and a medal for the "Wave" collection at the Riga Fashion Days. Key projects include "Squares," "Insects," "Gradient," "Gorodets," "Hello!," "Union-Apollo," "Wave," "Electrification" (in collaboration with Anna Andreeva), and "Four Rooms of Total Design" for the Central House of Tourism. Recent exhibitions include: "Art from the USSR" (Checkpoint Charlie Museum, Berlin, 1998), "Fabrics of Moscow" (Moscow Museum, 2019), "The Future Laboratory: Kinetic Art in Russia" (Tretyakov Gallery, Moscow, 2020), "Everyday Soviet" (Zimmerli Art Museum, Rutgers University, New Jersey, USA, 2020), "History of Russian Design: The Highlights" (Museum of Design, Moscow, 2021), and "Building Socialist Spaces" (Museum of Decorative Arts, Berlin, 2022), "Square and Space. From Malevich to GES-2" (GES-2, Moscow, 2024).
Structure, 1974
From the ‘Fire’ series
Gouache on paper
89 x 65 cm
A mathematician and artist renowned for her experimental projects involving optical patterns.
Born in Moscow, she is the daughter of a renowned textile designer and leading artist at the "Krasnaya Roza" factory named after Rosa Luxemburg. She studied theoretical and mathematical physics at the Mechanics and Mathematics Faculty of Moscow State University. In 1970–1971, she worked at Grisha Bruskin’s studio. In 1975, she graduated from the Textile Institute and was assigned to the Applied Arts Combine.
She received a medal for the "Gradient" collection at the Tallinn Fashion Days and a medal for the "Wave" collection at the Riga Fashion Days. Key projects include "Squares," "Insects," "Gradient," "Gorodets," "Hello!," "Union-Apollo," "Wave," "Electrification" (in collaboration with Anna Andreeva), and "Four Rooms of Total Design" for the Central House of Tourism. Recent exhibitions include: "Art from the USSR" (Checkpoint Charlie Museum, Berlin, 1998), "Fabrics of Moscow" (Moscow Museum, 2019), "The Future Laboratory: Kinetic Art in Russia" (Tretyakov Gallery, Moscow, 2020), "Everyday Soviet" (Zimmerli Art Museum, Rutgers University, New Jersey, USA, 2020), "History of Russian Design: The Highlights" (Museum of Design, Moscow, 2021), and "Building Socialist Spaces" (Museum of Decorative Arts, Berlin, 2022), "Square and Space. From Malevich to GES-2" (GES-2, Moscow, 2024).
Tatiana Andreeva
Januaries Come to Meet Decembers, 1974From the ‘Fire’ series
Gouache on paper
88 x 50 cm
A mathematician and artist renowned for her experimental projects involving optical patterns.
Born in Moscow, she is the daughter of a renowned textile designer and leading artist at the "Krasnaya Roza" factory named after Rosa Luxemburg. She studied theoretical and mathematical physics at the Mechanics and Mathematics Faculty of Moscow State University. In 1970–1971, she worked at Grisha Bruskin’s studio. In 1975, she graduated from the Textile Institute and was assigned to the Applied Arts Combine.
She received a medal for the "Gradient" collection at the Tallinn Fashion Days and a medal for the "Wave" collection at the Riga Fashion Days. Key projects include "Squares," "Insects," "Gradient," "Gorodets," "Hello!," "Union-Apollo," "Wave," "Electrification" (in collaboration with Anna Andreeva), and "Four Rooms of Total Design" for the Central House of Tourism. Recent exhibitions include: "Art from the USSR" (Checkpoint Charlie Museum, Berlin, 1998), "Fabrics of Moscow" (Moscow Museum, 2019), "The Future Laboratory: Kinetic Art in Russia" (Tretyakov Gallery, Moscow, 2020), "Everyday Soviet" (Zimmerli Art Museum, Rutgers University, New Jersey, USA, 2020), "History of Russian Design: The Highlights" (Museum of Design, Moscow, 2021), and "Building Socialist Spaces" (Museum of Decorative Arts, Berlin, 2022), "Square and Space. From Malevich to GES-2" (GES-2, Moscow, 2024).
He lives and works in Moscow and Frankfurt.
Igor Skaletsky
Builders, 2024
Oil and oil pastel on canvas
199 × 106 cm
Igor Skaletsky’s creative career can be roughly divided into two periods. During the first ten years after graduating from the Surikov Institute, the artist developed methods of analog and digital collage, creating intriguing puzzle-like dioramas. These works are featured in one section of the exhibition. In these pieces, various artistic elements are boldly combined into absurd, illogical compositions that “tear apart the proper order of spatial connections.”
Since 2019, Skaletsky has moved away from post-digital practice and turned to painting, which has become large-scale since 2021. He populates his grotesque, richly colored canvases with paradoxical anthropomorphic phantasms that stir the imagination.
Skaletsky’s viscous surrealism is a layering of personal memories, landscapes floating in the depths of memory, and echoes of literary and cinematic sources. These elements spontaneously project onto the canvas, embracing the energy of chance — a factor of great importance to the artist, which he strives to preserve.
Skaletsky works spontaneously and intuitively, often following the material and the paint: “an unplanned brushstroke leads to other worlds.” On one hand, this approach aligns him with the surrealist tradition of automatic writing, aimed at capturing drifting images from the subconscious. At the same time, the mystical or even spiritual aspect of this process plays a significant role for Skaletsky. The artist rarely explains the meaning of his works, believing they should speak for themselves. What matters most to him is the emotional imprint, so that the coloristic solutions are perceived at first impact. The narrative content, however, is left open to interpretation.
“If someone needs a key, if a painting takes them out of their comfort zone and understanding — then I’ve done everything right.”
Lev Povzner
Love, 2003From the ‘Hidden Faces’ series
Oil on canvas
35.5 x 28.5 cm
Lev Povzner is a Russian artist, painter, and poet. He was born in 1939 in Moscow. Since childhood, he has been passionate about drawing and attended an art studio, later continuing his education at the Moscow City Art School. He dreamed of becoming a book illustrator, which would allow him to combine his two main passions: literature and drawing. After finishing school, he served in the army. From 1962 to 1968, he studied at the Moscow Polygraphic Institute in the art and graphics faculty while simultaneously working on contracts for publishing houses.
After graduating, he got a job as an artist at the "Sanprosvet" publishing house, which specialized in materials for polyclinics. For many years, up until Perestroika, he was involved in teaching—giving lessons to children and adults both privately and in art schools and cultural centers.
Lev Povzner's development as an artist traces back to the mid-1960s when he became part of Moscow's artistic underground. As a child, he met Alexander Vasiliev, a future bookseller, art dealer, and collector of unofficial art, who later introduced him to Vladimir Yakovlev and Vladimir Pyatnitsky.
Lev Povzner
March 8, 2000From the ‘Hidden Faces’ series
Oil on canvas
203 х 307 cm
Lev Povzner is a Russian artist, painter, and poet. He was born in 1939 in Moscow. Since childhood, he has been passionate about drawing and attended an art studio, later continuing his education at the Moscow City Art School. He dreamed of becoming a book illustrator, which would allow him to combine his two main passions: literature and drawing. After finishing school, he served in the army. From 1962 to 1968, he studied at the Moscow Polygraphic Institute in the art and graphics faculty while simultaneously working on contracts for publishing houses.
After graduating, he got a job as an artist at the "Sanprosvet" publishing house, which specialized in materials for polyclinics. For many years, up until Perestroika, he was involved in teaching—giving lessons to children and adults both privately and in art schools and cultural centers.
Lev Povzner's development as an artist traces back to the mid-1960s when he became part of Moscow's artistic underground. As a child, he met Alexander Vasiliev, a future bookseller, art dealer, and collector of unofficial art, who later introduced him to Vladimir Yakovlev and Vladimir Pyatnitsky.
Natalia Turnova
Untitled, 2024
Oil on canvas
Natalia Turnova is an artist and sculptor who holds a special place in contemporary Russian art.
After graduating from the Moscow Higher Art and Industrial School (formerly Stroganov School) in 1983, she met Boris Orlov, an artist who recognized the affinity of her art with the unofficial art scene, which largely determined her future path. Since the 1990s, Natalia Turnova has become one of the most sought-after artists. By this time, she had developed her own recognizable style: an expressionist manner, bright colors, large format, and precise form.
Turnova has always been true to her intuition, not seeking to belong to any particular art movements or groups, and as a result, she became an original artist and philosopher for whom creativity is what grows out of life. This is why any statement she makes, born out of long contemplation and numerous "trial and error" experiences, is a declaration of existence, of essence, made by a subtle observer and researcher.
Natalia Turnova's works can be found in the collections of the State Tretyakov Gallery, the Russian Museum, the Moscow Museum of Modern Art, the Far Eastern Art Museum, the Oklahoma Museum (USA), the Museum of Modern Art in Lodz (Poland), and others.
Untitled, 2024
Oil on canvas
190 x 160 cm
Natalia Turnova is an artist and sculptor who holds a special place in contemporary Russian art.
After graduating from the Moscow Higher Art and Industrial School (formerly Stroganov School) in 1983, she met Boris Orlov, an artist who recognized the affinity of her art with the unofficial art scene, which largely determined her future path. Since the 1990s, Natalia Turnova has become one of the most sought-after artists. By this time, she had developed her own recognizable style: an expressionist manner, bright colors, large format, and precise form.
Turnova has always been true to her intuition, not seeking to belong to any particular art movements or groups, and as a result, she became an original artist and philosopher for whom creativity is what grows out of life. This is why any statement she makes, born out of long contemplation and numerous "trial and error" experiences, is a declaration of existence, of essence, made by a subtle observer and researcher.
Natalia Turnova's works can be found in the collections of the State Tretyakov Gallery, the Russian Museum, the Moscow Museum of Modern Art, the Far Eastern Art Museum, the Oklahoma Museum (USA), the Museum of Modern Art in Lodz (Poland), and others.
Natasha Habarova
Untitled, 2024
Acrylic and watercolor on paper
120 × 84 cm
Born in Latvia, Natasha Habarova currently lives and works in St. Petersburg. She is often associated with the representatives of the new generation of St. Petersburg painters. She studied monumental painting at the Novosibirsk State Academy of Architecture and Fine Arts. Since 2013, she has regularly exhibited her work in independent venues and galleries in St. Petersburg. She is also a participant in the performances of the "School of Active Painting and Performative Posing" of the "Sever-7" group. Since 2020, she has been a member of the Russian Artists' Union.
In Habarova's style, neo-expressionism prevails, inheriting the expressionist lineage of St. Petersburg art. She often uses damaged canvases, embracing various defects, abrasions, and holes as attributes of her works. In her art, the artist tells a very personal story of urban bodily solitude, fragility, and vulnerability. She finds inspiration in form, individual characteristics, and small details, which is why each of her works becomes a statement. As the artist herself says: "The body is a collection of receptors, fleshly power, pleasure, and satisfaction. The body is God." Habarova paints exclusively from life, increasingly abstracting from the representation of the figure in favor of its sensual and intimate image. Critic Mikhail Borisov characterized her art as follows: "Natasha Habarova elegantly steps from the figurative into abstraction and metaphysics."
Untitled, 2024
Acrylic and watercolor on paper
120 × 84 cm
Born in Latvia, Natasha Habarova currently lives and works in St. Petersburg. She is often associated with the representatives of the new generation of St. Petersburg painters. She studied monumental painting at the Novosibirsk State Academy of Architecture and Fine Arts. Since 2013, she has regularly exhibited her work in independent venues and galleries in St. Petersburg. She is also a participant in the performances of the "School of Active Painting and Performative Posing" of the "Sever-7" group. Since 2020, she has been a member of the Russian Artists' Union.
In Habarova's style, neo-expressionism prevails, inheriting the expressionist lineage of St. Petersburg art. She often uses damaged canvases, embracing various defects, abrasions, and holes as attributes of her works. In her art, the artist tells a very personal story of urban bodily solitude, fragility, and vulnerability. She finds inspiration in form, individual characteristics, and small details, which is why each of her works becomes a statement. As the artist herself says: "The body is a collection of receptors, fleshly power, pleasure, and satisfaction. The body is God." Habarova paints exclusively from life, increasingly abstracting from the representation of the figure in favor of its sensual and intimate image. Critic Mikhail Borisov characterized her art as follows: "Natasha Habarova elegantly steps from the figurative into abstraction and metaphysics."
Tim Parchikov
Moscow. White Mountain, 2007
From the ‘Suspense’ project
C-print mounted to plexiglass, wooden frame
110 x 165 cm
The laureate of the Kandinsky Prize and the Moscow Art Prize, Tim Parchikov (born 1983), is one of the few Russian artists long represented by European and Asian galleries.
Parchikov works with photography. His works stand out due to the influence of his education in the cinematography department at VGIK, cinematic elements, and a cinephile aesthetic. Tim Parchikov's solo exhibitions have been held in Rome, Madrid, Paris, Cologne, St. Petersburg, and Moscow.
He participated in the Venice Biennale (2011), the Thessaloniki Photo Biennale (2014), and the Lianzhou Photo Festival (2016). His works are regularly exhibited at prestigious art fairs such as Art Basel, Frieze, and ARCO.
Tim Parchikov
Toscany, 2008From the ‘Suspense’ project
C-print mounted to plexiglass, wooden frame
120 x 180 cm
The laureate of the Kandinsky Prize and the Moscow Art Prize, Tim Parchikov (born 1983), is one of the few Russian artists long represented by European and Asian galleries.
Parchikov works with photography. His works stand out due to the influence of his education in the cinematography department at VGIK, cinematic elements, and a cinephile aesthetic. Tim Parchikov's solo exhibitions have been held in Rome, Madrid, Paris, Cologne, St. Petersburg, and Moscow.
He participated in the Venice Biennale (2011), the Thessaloniki Photo Biennale (2014), and the Lianzhou Photo Festival (2016). His works are regularly exhibited at prestigious art fairs such as Art Basel, Frieze, and ARCO.
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