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Sergei Borisov. Zeitgeist

Personal exhibition of Sergei Borisov, the classic of Russian photography at the National Art Gallery, Sofia, Bulgaria
Curated: Catherine Borissoff

27 June 2018

SERGEI KISHCHENKO INNOVATION Prize

http://artinnovation.ru/nominants/?season=2018&nomination=%D0%A5%D1%83%D0%B4%D0%BE%D0%B6%D0%BD%D0%B8%D0%BA+%D0%B3%D0%BE%D0%B4%D0%B0

27 February 2018

The Third urban art auction

https://readymag.com/Artmossphere/901530/

17 November 2017

11th Kandinsky Prize 2017 announced list of nominees of (long-list)

http://www.kandinsky-prize.ru/ob-yavlen-spisok-nominantov-long-list-11-oj-premii-kandinskogo-2017/

20 July 2017

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20 July 2017

GRANT PROGRAMS


11 April 2017

Vita Buivid at the "Personal Structures"

RuArts Foundation will present the project Nevsky Ave by Vita Buivid at the exhibition "PERSONAL STRUCTURES". The exhibition will be held during the Venice Biennale 2017 at the European Cultural Centre.

personalstructures.org
palazzobembo.org

Despite the move to Moscow, Vita Buivid retained the status of St. Petersburg artist. Belonging to Petersburg is visible not by the subject selection, but mostly in the particular state of works. global photo installation “Nevsky Ave” appeals to the utopian scenery of recent past. Portrait types are seen as reflections in show windows. That was written by gogol in his eponymous short story, and then visualized by street photographers of the early 1990s – providers of “Photo by mail” service, completely forgotten today.
The most significant images are printed on satin and painted
by oil. Scaffoldings as renovation signs are framing the work. Installation floor is filled with glance album photos. Viewers
are moving on the planks as if over street puddles. The project demonstrates the transformation of the city image through the people, representing a group portrait of urbanism.

Varvara Mikhailovskaya.

“It seems very recent, but already a quarter of a century has passed since “Photo by mail” service, a very special by that time. Random street photographers, including myself, were the providers of a vivid memory sent by regular post. Prints on paper, film cameras and other analogue techniques have been almost removed from ordinary life today, but still exist as a time capsule, as a hope of confirmation, the presence in the past.
I’ve always been an admirer of the great writer Nikolai Gogol. Somehow we share certain geographic points: both Ukrainian-born, I've been reflecting on his most significant areas. Firstly, moved to Poltava, a prominent location for Gogol’s literature development, then following his footsteps, moved to St. Petersburg.
Gogol created his eponymous novel “Nevsky Ave” in the 1830s, but it’s still up-to-date, more relevant than nowadays anachronism – glossy 10x15 cm photos sent by mail in the early 1990s. In the novel, Gogol describes Nevsky Avenue, central in St. Petersburg, and its habitats. The story celebrates the delights of the fancy street, but is filled with kitsch and grotesque, typical for Gogol's works. And in a way nothing has changed through time: Nevsky Avenue became a time capsule itself. People passing by, they’ve changed only superficially, with a bit of current fashion, but spiritual substance, the archetype is similar.
In the same way photo installation "Nevsky Ave" appeals to the utopian prospect of the recent past. Portrait-types are seen as reflections in the shop windows. The most compelling characters are printed in bigger scale on satin and painted with oil. Scaffoldings are framing the work, turning the installation space into renovation sign. So relevant to Venice, which seems to be at constant renewal.
The floor is filled with layers of postcard-size photos. Viewers are moving over it by wooden planks as over puddles. The "technique" used as back in XIX century St. Petersburg, where wooden passageways were created on main streets; as in heavy rain days on Nevsky Ave and even in overflow situations in Venice. Glossy pictures are flooding the installation space, leaving a viewer only limited options of movement, strictly regulated to the geographic of the planks.
(Re)Creating the space, building it up as set decorations and completely drowning the viewer in the Nevsky Avenues’ faces, dated and timeless at the same time. The installation sound, introduction to the Gogol’s novel, is quietly read in a background, like a secret explanation or a mantra for a non-Russian speaking viewer.
Many cities can share the experience of being flooded with people, but the certain spirit of mingling crowd is shared among just a few. The palaces and canals, gala views on facades and darker back streets are so common for both cities. Did you know that sometimes St. Petersburg is referred to as the Northern Venice? Also, Gogol lived in Italy for twelve years, that’s why choosing this particular project for the exhibition in Venice is providing an extra layer of space connections, me following Gogol rather like a groupie than a pilgrim”.

Vita Buivid.
10 May 2017

I


25 October 2016

MY LOVE IS NOT A WISP OF SMOKE

Moscow Museum of Modern Art and RuArts Foundation present the first retrospective show of Vita Buivid

Curator: Sergey Popov

Moscow Museum of Modern Art and RuArts Foundation present the first retrospective show of Vita Buivid, a bright and original artist, who combines photography, painting and collage in her works. The project occupies five floors of the venue and contains projects, created by the author from the early 1990s till the present time.

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.

Vita Buivid can boast of vast and interesting geography, which includes her work in New York and Paris. But the key periods are associated with St-Petersburg and Moscow, where the artist works and lives from 1998 till the present time. The imagery and aesthetics of these cities are paradoxically combined, either flowing from some series to another, or conflicting sometimes. The St-Petersburg series are penetrated with cold and alienation of the classical style, together with the post-Soviet Bohemian style. At the same time the Moscow series are full of Baroque saturation, tend to the conceptual understanding of gloss and kitsch.

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.

About the artist:

Vita Buivid was born in Dnepropetrovsk. She has been occupied with photography from the late 1980s. In 1994, the artist received a grant from the Circ Bureau of Russian Culture in Amsterdam and worked on the project about the influence of Dutch art on Russian culture. Thanks to a grant from the Rutgers University she went to New York City and became interested in fashion photography. After her return to Russia, she spent some time working with fashion magazines. In 2000, she worked in Paris on the project titled «Paris. Red» at the invitation of the City Hall.

Selected solo exhibitions:

1994 — De Moor photo center, Amsterdam
1997 — Men in the Bath. Gallery 21, St-Petersburg
2008 — How I Spent My Summer. ARTStrelka-projects Gallery, Moscow
2006 — Paris. Red. Schusev State Museum of Architecture, Moscow
2009 — Vita Aperte. RuArts Gallery, Moscow
2013 — Pionomania. RuArts Gallery, Moscow
2014 — For Comfort. RuArts Gallery, Moscow

Selected group exhibitions:

1996 — Renewal and Metamorphosis. Russian Photographers of New Era. MIT Museum, Boston; Fitchburg Modern Art Museum, USA.
1997 — The Benefits of Education. State Russian Museum, St-Petersburg
2001 — Moscow in 1920-2000. Moscow Museum of Modern Art
2000 — Manly. Gallery Art in General, New York City
2006 — Photorelay. From Rodchenko to Our Days. Moscow House of Photography
2007 — Photoquai. 1st World Visual Arts Biennial. Paris
27 April 2016

Street art auction


19 September 2016

Auction


6 September 2016

OPEN CALL


16 April 2018
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