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Published by the Foundation

Alex Partola. WALL ELEMENTS 2

Wall Elements 2 is the first large-scale research of the Russian graffiti and street art scene from Kaliningrad to Petropavlovsk-Kamchatsky, a bold attempt to bring together the works of most notable street artists, completely unlike each other, drawing both illegally as well as in legal places, to capture their approaches and methods.
2018

Only the local artists with a true street background take part in the project: 70 individuals and teams total coming from 17 cities. The author of the project considers as his task to show a wide cross-section of the Russian street art scene. Some of the participants already had successful collaborations with galleries and museums. Here are emerging artists and well-known names, authors of the largest murals in the world, participants of international street art biennales, major festivals and exhibitions. Even when they gain the commercial success, they do not abandon the street, shaping the visual culture of the city with their works.

The designers of the album Wall Elements 2 are Alex Partola and Nikita K. Scriabin, co-founder of the publishing house "Os", a well-known Moscow artist. The album is based on the material captured by Alex Partola in the course of his annual photographic research and consists of 2 volumes: the documentation of the creation of the works of artists, the texts and creative manifestos of the artists contains the first volume of the almanac, the second volume contains only of photographs on which work is fixed on the street.

PARTICIPATES OF THE PROJECT: 0331C, 56, 8 rubley, А13, Aber, A.D.E.D., Adno, Sergey Akramov, Akue, Aroe, Aske, Yury Averin, Stas Bags, Blot, Chervi, Concrete Jungle, Stas Dobry, Dusto, Eloom, FrouOne, Fruits, FSFE Collective, Giwe, Gold, Gred, GRISHA, Herman IX, IMA, Keus, Alexey Kio, Kirill Kto, Kvadrat, Luka, Magic of Reptiles, Manos, Marat Mozgi, Morik, Most, Muluk, Roman Muratkin, Nagar, Ivan Ninety, Vadim Nol, Nomerz, Nootk, Nozh, Oskolki, Alex Partola, Petro, Timofey Radya, Rayons, Revansh, Ilya Robe, Sasha RTS, Rtue, Sakvo, Sam, Alexey Shidlovsky, Stepan Shobolov, Skissor, Slak, Snekzy, Stfnv, Super, SY, TOY, Turbo, Vedro, Vitae Viazi, Alexandr Yarovikov, Yury QZX, Aleksandr Zhunev, Art group "Zlye", Zoom, Zukclub.

Alex Partola (b. 1990), a graduate of the Plekhanov Russian University of Economics and the British Higher School of Art and Design, is active as a photo artist, graphic designer, author and curator of many projects, co-founder of the Os publishing house and Vkus Bumagi (“Paper Taste”) print market. He is the author of more than 200 design works and a photo book Ghost in the Machine dedicated to graffiti art on trains. He lives and works in Moscow. His artworks are housed in the collections of museums, art galleries, foundations and private owners.

0331c and Grisha. Soot

Edited on the occasion of "SOOT" at MMOMA museum.
Each catalogue measures 17 x 22 cm and consists of 64 pages, featuring in total includes over 50 photos and their descriptions.
2017

Many books have been written on the role of fire in human life. It was therefore particularly important for us in this catalog to bring out fire as an artist’s tool. At times, lighting a match or a torch, we are, consciously or not, motivated by a primordial desire to leave our mark, a drive that led graffiti from its birthplace in caves to the entrance halls and elevators of today.
Fire generates smoke which deposits soot on any surface it comes into contact with. Being one of the first forms of graffiti, “smoking” resembles the contemporary means of creating graffiti with aerosol paint. In a similar way that today the graffiti writer sprays paint, touching neither the wall nor the drawing, early humans would raise a torch to the ceiling causing the spurts of flame to leave sooty marks on it, thus forming drawings. Although these marks, dense in tone, always stand out on light surfaces, a careless touch or a strong gust of wind are enough to make this black velvety coating vanish. Perhaps this is where what artists call magic starts.

Vita Buivid. My Love Is not a Wisp of Smoke

This edition accompanies the personal exhibition of Vita Buivid «My Love Is not a Wisp of Smoke», held at the Moscow Museum of Modern Art (26 April – 12 June 2016)
2016

It is the first time when the oeuvre of Vita Buivid is presented in such a full. The exhibition comprises such celebrated series as How I Spent My Summer, nominated to the Kandinsky Prize 2009, Pionomania, Love Me As I Love You, Inquisition, Nevsky Prospect, Men in the Bath, Prime Time, Pelts of the Bobrovs Family, For Comfort, Artek and others.
The works by Vita Buivid can be attributed to the photo-based art. But every time the artist manages to expand the borders of the genre. In her artworks the aesthetics is united with the expressive and unfinished «democratic» photography. But this form is filled with deep content of different levels of perception. Each series by Buivid is a social and cultural narrative, revealing details of the bohemian lifestyle, family conflicts, personal experiences, which turns into a large-scale research, able to move the audience from the emotional experience to existential.
Buivid is often referred to the feminists. It is rather untrue, as her interests can hardly be exhausted in such an unambiguous definition. Nevertheless, the collision of the male and female views is typical for the artist’s oeuvre. It alternately takes either the ironic or the dramatic shade. The recent projects become a reflection of the time, warning or responding to different historical and political events in the country. The author’s creative evolution can be seen in more than 30 projects. Viewers can notice the analysis of human manifestations in fullness and ambiguity in each of them.

0331c and Grisha. 3016

Edited on the occasion of "3016" at RuArts gallery.
«3016» is the exhibition of the two Moscow street artists, who go by nicknames 0331c and Grisha. The exhibition presents objects made of different granite rocks with a deep engraving.

Time will pass, while the images and parts of the showpieces of this exhibition will live up to the 3016th year. Since graffiti is eternity, because we know nothing more ancient than graffiti which came down to us from the deep past.

Each catalogue measures 17 x 24 cm and consists of 72 pages, featuring in total includes over 50 photos and their descriptions.
2016

0331с: «Armed with a hammer and pointing chisel* in June 2013 I went to the mountains. The first experience in the inscription on the stone surfaces inspired me a lot. Especially I liked the awareness of the point as the original symbol of the birth of everything in our live. I was also struck by the sparks that fly out even under water when the chisel leaves another track on the stone surface. Action, generating a spark, which in its turn can become fire (if to contribute to this a bit), strongly excited and inspired me, giving me strength and overwhelming desire to sculpt.
Having returned home, I shared my findings with my friend Grisha. We began to look for stones like irrepressible, and express our ideas in granite on the streets and in parks, and wherever we found abandoned granite stones. When winter 2013 came, we took to the basement, as there was a workshop, some granite stones which we found on the streets and which we could drag from a place. Having created the first objects based on our street paintings, we were greatly inspired. Since then, Grisha and I continued our search and improved our skills in working with granite».

Sergei Borisov. Studio 50A

Moscow art elite, heroes of underground and glossy fashion. They all  intermingle on the pages of this photo story that took place behind closed doors of Sergei Borisov’s hip  Studio 50A.

160 photographs with commentary from those who witnessed the studio’s ups and downs at the time of Soviet Empire collapse and formation of the new state and society.
2014

In 1979 Sergei Borisov settled at Znamenka, since 1983 known as Studio 50A. There he worked on an illustration assignment for "Le Monde" article on Soviet rock music that recently became a subject in the West. As the piece's central figure Borisov suggested 'the tsar of Russian rock' Boris Grebenshchikov and his band Aquarium with their brand new album "Radio Africa". That's how the journey to the world of Leningrad underground music started. As new music and art forms gained momentum, Studio 50 A quickly became a communication centre for artists between Moscow and Leningrad, as well as a stepping stone for modern culture and art movement.

Borisov showed another side of Soviet life with his photo stories starring underground artists. The first Soviet rock diva Zhanna Aguzarova, World Champions art group, Roman Viktyuk, Viktor Tsoi, Vladislav Monroe, Georgy Guryanov and Timur Novikov - all were natural and spontaneous during photoshoots and performance shows, climbing city monuments and undressing in the studio as well as on the street. Another photographer would unlikely portray Soviet Bohemians the way Sergei Borisov did, with the same level of mutual trust and approach to modern life - valuable things for the underground at the time, of which Studio 50A was a significant part.

Vladimir Glynin. Abstract

Edited on the occasion of a new personal exhibition "ABSTRACT" by Vladimir Glynin in RuArts Gallery within the framework of parallel program of X Photobiennale 2014.

Moscow, 2014
2014

Vladimir Glynin began his career as a photographer in 1995, being a dancer of the Bolshoi Ballet. Initially, most of his photographs were devoted to the internal life of the theatre. Later Vladimir started making photos for magazines, including L'Officiel, Harper's Bazaar, Vogue, Elle, In Style, Mercury, Icons, GQ and others.
At the peak of his career as a photographer Glynin step aside from fashion industry , and devoted himself to art, concentrating on working with abstraction.

All the photos for the "ABSTRACT" project have been created by the author without the use of digital technologies. This result is a consequence of a multiple exposure technique. The abstract artist not so much focuses on objective or subjective representation of the world as abandons the narrative. The artist is interested in silhouettes, forms, lines, volume and texture rather than people, buildings, trees, flowers, clouds or even images.

Looking at Glynin's abstractions is an unusual relaxation exercise: you only need to imagine the world was once different from our version of it and someday will probably be dissimilar once again.

Richard Feigen. Art dealer's memoirs

A book by Richard Feigen, a famous American collector and art dealer.

The “Memoirs of an Art Dealer” is a book about artists, art auctions, collectors, their ups and downs.

Moscow, 2004
328 p.
2004

Richard Feigen is not a stranger in the art market: he knows many artists and collectors personally, as well as the circumstances in which a particular person became famous or a collector went bankrupt. Of course, the book is full of stories from private life, and views through the keyhole, but its value is not limited by that.

Feigen not only tells jokes about celebrities, but also makes a detailed analysis of the American art market since 1940s, when it was just emerging, and till 1980s, when the contemporary art market was experiencing the greatest crisis throughout the world.

In Russia today, there is practically no such central concept for the world market as "art dealer". Partially these functions were assumed by galleries, but it is obviously not enough. There aren't any special schools or training courses. That's why this book seems even more important containing the personal experience of a person who, at some point in his life, set himself the goal of becoming an art dealer and successfully achieved it. In his book, he writes about such things as the "eye of an art dealer", that sixth sense that allows a person to distinguish a good painting from a bad one by almost elusive signs.
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