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WHITE SPACE GALLERY COLLECTION CATALOGUE EVERYTHING WAS FOREVER, CONTENTS UNTIL IT WAS NO MORE White Space Gallery Collection Catalogue Introduction by Dorota Michalska 5 Catalogue and price list 36 © White Space Gallery, 2019 Published in 2019 by White Space Gallery, London UK Non-conformism 9 Yuri Albert 36 [email protected] Ilya Kabakov 9 Tatiana Antoshina 36 www.whitespacegallery.co.uk Mikhail Grobman 9 Yuri Avvakumov 37 Leonid Borisov 38 Introduction by Dorota Michalska Leonid Borisov 9 Antanas Sutkus 10 Vita Buivid 40 Alexander Florenski 40 All images © the artists Moscow Conceptualism 12 Olga Florenski 41 Yuri Albert 12 Images of Timur Novikov’s works: Courtesy of the artist’s Gluklya 42 family collection, St Petersburg, unless otherwise stated. Dmitry Prigov 12 Mihail Grobman 43 Underground Cinema and Alternative Music 15 Book design: mikestonelake.com Ilya Kabakov 43 Andrey Tarkovsky 15 Andrei Krisanov 43 All rights reserved. No part of this publication may be Sergei Parajanov 15 Dmitri Konradt 44 reproduced, stored in a retrieval system, or transmitted, in any Yuri Mechitov 16 Oleg Kotelnikov 45 form or by any means, electronic, mechanical, photocopying, Vladimir Tarasov 17 recording, or otherwise, without the prior permission in Oleg Kotelnikov & Andrey Medvedev 45 writing of White Space Gallery. Dmitry Konradt 18 Oleg Kulik 46 Perestroika and the Post-Soviet period 21 Stas Makarov 46 Timur Novikov 21 Yuri Mechitov 47 Oleg Kotelnikov 21 Lera Nibiru 48 Ivan Sotnikov 22 Timur Novikov 49 Andrei Krisanov 22 Sergei Parajanov 51 New Artists and Necrorealists 24 Dmitri Prigov 52 Evgeny Yufit 24 Dmitri Shagin 53 Vladimir Shagin 53 Paper Architecture 25 Vladimir Shinkarev 53 Yuri Avvakumov 25 Ivan Sotnikov 54 Mitki 27 Antanas Sutkus 55 Dmitri Shagin 27 Andrei Tarkovski 56 Vladimir Shinkarev 27 Vladimir Tarasov 57 Alexander Florensky 28 Olga Tobreluts 58 Olga Florensky 29 Evgeny Yufit 59 Performance Art 30 Oleg Kulik 30 Women artists 31 Tatiana Antoshina 31 Vita Buivid 31 Gluklya 32 Lera Nibiru 33 New Academy 34 Olga Tobreluts 34 Stas Makarov 35 Mikhail Rozanov 35 Olga Tobreluts. Prisoner of the Caucases. 2009 INTRODUCTION

To write about Russian contemporary art from the last decades inexorably means to enter into a multilayered landscape of momentous historical shifts which have fundamentally shaped our understanding of both the XX and the XXI century. The catalogue’s title – Everything Was Forever, Until it Was No More – is borrowed from Russian scholar Alexei Yurchak’s book of the same name. Yurchak discusses the nature of change within the context of Russian history which often saw the collapse of entities which appeared at the time eternal, such as the Soviet Union and Communism. Art can constitute an entry path into accessing and understanding this complex historical panorama as well as offering insights into such concepts as shifting identities, individual and collective memory and the multiple entanglements between the private and the public.

Several artists present in the catalogue – such as Ilya and Emilia Kabakov, Dmitry Prigov, Yuri Albert and Leonid Borisov – are connected to the Moscow Conceptualist movement which began in the early 70s and continued as a trend in Russian art in the 80s. Ilya and Emilia Kabakov’s installation and drawings– which explore the issues of language, communication and the construction of meaning – are nowadays unanimously regarded as crucial reflections on the Soviet and Post-Soviet identity. Their works embody an attitude of detachment and irony while at the same time demonstrating a deep belief in the power of art. Dmitry Prigov ‘s works – drawings, installations, books and poems – explore the concept of “nothingness” which seem to underpin and indeed often undermine society and material reality. His artistic practice has recently gained new visibility thanks to the recent conferences, exhibitions and displays organized by the Hermitage Museum, Centre Pompidou, Courtauld institute and Calvert 22.

The perestroika period (1985-1991) saw a shift in the Russian artistic landscape with the emergence of St. Petersburg as the center of a new wave in contemporary art. Several of those initiatives were centered around the charismatic figure of artist Timur Novikov and funder of the New Artists group in 1982. The group – which included among others Oleg Kotelnikov, Ivan Sotnikov and Evgeny Yufit (also funder of the “Necrorealism” movement) – had a highly interdisciplinary approach to art which spanned performance, film, theatre, music, design and fashion. They were also deeply involved in the rock and techno music scene in St Petersburg collaborating with the experimental orchestra Popular

4 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 5 Mechanics for whom they created costumes and backdrop. Indeed, music played a crucial part in shaping the Russian art of the 70s and 80s as in the case of composer, drummer and visual artist Vladimir Tarasov based in Vilnius whose sound installations are often a reflection on the relationships between music, landscape, improvisation and individual memory. Also hailing from Lithuania is photographer Antanas Sutkus whose humanistic approach to art comes to the fore in his portraits of common people, both young and old.

The catalogue also features visual works by two world famous film directors: Andrey Tarkovsky and Sergei Parajanov. Tarkovsky’s series of polaroids – taken during his stay in Italy in the 80s – seem to uncannily resemble Romantic painting from the XIX century. Accordingly to art scholar Boris Groys, the polaroids embody a sense of nostalgia after a reality unspoiled by capitalism or industrial advancement. Parajanov’s colleges – which the artist describes as “compressed films” – were created during his imprisonment by the Soviet authorities and fully embody Parajanov’s baroque imagination. Since the 90s Russian art – both historical and contemporary – has increasingly gained visibility in Western museums and art institutions. Several artists in the catalogue have been present at Venice Biennale (Ilya and Emilia Kabakov, Yuri Avvakumov, Tatiana Anthoshina, Vladimir Tarasov, Gluklya) while others have their works in some of the most important international art collections such as the ones at the Centre Georges Pompidou (Timur Novikov, Oleg Kotelnikov, Ivan Sotnikov, Evgeny Yufit). Recently, a consistent interest in Russian art has resulted in two important exhibitions: Ilya and Emilia’s Kabakov solo show ‘Not Everyone Will Be Taken Into The Future’ (Tate Modern, 2017/18) and the exhibition ‘Kollektsia! Contemporary Art in the USRR and in Russia, 1950-2000 at the Centre Pompidou in Paris, 2016. Those initiatives clearly demonstrate that contemporary Russian art is still a fertile ground for research and acquisitions by both private and public collectors.

Dorota Michalska

6 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 7 1 2 NON CONFORMISM

Ilya Kabakov (born Dnepropetrovsk, Soviet Union, 1933). He studied at the VA Surikov Art Academy in Moscow, and began his career as a children’s book illustrator during the 1950’s. He was part of a group of Conceptual artists in Moscow who worked outside the official Soviet art system. In 1985 he received his first solo show exhibition at Dina Vierny Gallery, Paris, and he moved to the West two years later taking up a six-month residency at Kunstverein Graz, Austria. In 1988, Kabakov began working with his future wife Emilia (they were to be married in 1992). From this point onwards all their work was collaborative, in different proportions according to the specific project involved. Today Kabakov is recognized as one of the most important Russian artists to have emerged in the late twentieth century. His installations speak as much about conditions post-Stalinist Russia as they do about the human condition universally. His retrospective ‘Not Everyone Will Be Taken Into The Future’ was at Tate Modern in 2017/18 and now in Tretyakov Gallery, Moscow until January 2019. Art Museum, Bochum, Germany, 1988; The State Russian Museum, 1999; MOMA, Moscow, 2014. His Mikhail Grobman (b. 1939, Moscow) lives and works are in the collections of ART4RU Museum, works in Tel Aviv. Grobman has written poetry, Moscow; Centre Pompidou, Paris; Ludwig essays, and children’s books since the 1950s. A Museum, Cologne; Art Museum, Bochum; Museum few years later he began painting and joined of Modern Art, Bochum; Museum am Ostwall, the Lianozovo group and took part in Samizdat Dortmund; Museum of Modern Art, Utrecht; Tel movement. Since the 1960s he was a member of Aviv Museum of Art; The Pushkin State Museum The Second Avant-garde. In 1971 he emigrated of Fine Arts, Moscow; The State Russian Museum, from the USSR to Israel and started publishing St. Petersburg; Art4Ru Museum; The State the magazine and founded Leviathan art group. Tretyakov Gallery, Moscow. The use of text is very important in Grobman’s art, he writes minimalist poems and ‘visual verses’ Leonid Borisov (1943 – 2013, St Petersburg, consisting of magazine headings, and transforms Russia) employs a decidedly abstract and 1. Ilya Kabakov. Row. 1969-1989 old book covers into poetic texts. He has had solo “Minimalist” understanding of space and visuality, 2. Mikhail Grobman. Generalissimo. 1964-1989 exhibitions at the Tel Aviv Museum of Art, 1971; and utilises found photography to create collages

8 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 9 1 2 Selected exhibitions: He has had solo exhibition (1962). Sutkus is also famous for his portraits of at the State Russian Museum, St Petersburg, Jean-Paul Sartre, taken when he and Simone de Moscow Museum of Modern Art, and Elena Beauvoir visited Lithuania in 1965. These two Schukina Gallery, London. Borisov’s works famous French intellectuals were accompanied on are in the collections of the State Tretyakov a trip to the dunes of the Curonian Spit by a group Gallery, Moscow, the State Russian Museum, of Lithuanian writers and artists, including the St Petersburg, the State Hermitage Museum, still unknown 26-year-old photographer Antanas St Petersburg, and the Moscow Museum of Sutkus, who managed to capture his iconic portrait Modern Art, among many others. of the great existentialist.

Antanas Sutkus (b. 1939) bought his first camera Selected collections: Lithuanian Museum of Art, as a child, having not earned enough to buy a Vilnius; National Library, Paris; Museum of French bicycle when digging peat with his mother. He Photography, Paris; Museum of Photography, later became a photojournalist and, since 1968, Helsinki; International Centre of Photography, has worked as an independent photographer. New York; Institute of Arts, Chicago; Art Museum, He has also helped Lithuanian photographers Minneapolis; Art Museum, Boston; Victoria and gain international recognition as co-founder Albert Museum, London; Museum of Modern and President of the Photography Art Society Art, Stockholm; Moscow House of Photography; of Lithuania, which championed photography Art Gallery, Dresden; Folkvang Museum, Essen, as an art form. His humanistic approach, heavily Germany; DeCordoba Museum, Linkoln, USA; influenced by the French photographer Henri Contemporary Art Museum, Riga, Latvia; Cartier-Bresson, comes to the fore in his images Photography Museum, Odense, Denmark; F.C. of people, young and old. Filled with romance, Gundlach’s Collection, Hamburg; Gallery Le beauty and sadness, they move beyond Chateau d’Eau, Toulouse, France; Museum Oscar that demonstrate his interrogations of the photographic realism to resemble stills from Niemeyer, Curitiba, Brazil. picture plane and of abstraction. On the topic an unmade film. His stated aim is ‘to make an of the elusive “figure,” his photographic self- attempt at drawing a psychological portrait of portrait creates a tautological understanding of contemporary man’. the (artist’s) self. He creates a mirror, to which Beyond recording events, Sutkus’ keen eye we hold up our own image. Leonid Borisov finds history within human faces: ’One has to is renowned for his geometric abstraction. In love people in order to take pictures of them.’ 1974 he attended three of the most important His black and white portraits manage to avoid exhibitions in the history of the unofficial Soviet sentimentality but have great pathos. One series art—the “Bulldozer” and the Izmailovo Park bears witness to Soviet rule in Lithuania during the exhibitions in Moscow, and the Gazovskaya Communist era and shows ordinary Lithuanians exhibition in Leningrad. Borisov first showed going about their everyday quotidian lives, which his abstract works at the non-official exhibition provides a striking contrast to the model citizens in Leningrad in 1975. His work demonstrates a and workers promoted by Soviet propaganda. His special “stereometric” space, which he treats as series taken in an orphanage for blind children 1. Leonid Borisov. Self Portrait. 2001 something living and self-sufficient. produced the profoundly affecting Blind Pioneer 2. Antanas Sutkus. Pioneer, Ignalina. 1964

10 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 11 1 2 MOSCOW CONCEPTUALISM

Yuri Albert (born 1959, Moscow) was a student of Ekaterina Arnold and completed teacher’s training degree in Moscow in 70s. In 80s he became a Member of Club of Avantgardists (CLAVA). Received Krasner-Pollock Foundation grant in 2000 and Civitella Ranieri Fellowship in 2001. Curated “Exhibition of Young Artists”, I Moscow International Biennale for Young Art, F lug - E ntfernung - Verschwinden: 2008. Received the 2011 Kandinsky Prize and Galerie Hlavního Mêsta Prahy, Prag, 15.11.1995 - 7.1.1996 the Innovation Prize in 2013. Solo exhibitions include: 2017 The Gang. (Artistic co-op Cupid – with P. Davtyan, A. Filippov, V. Skersis) and 2015 I Need to Tell You So Much with My Art. Stella Art Foundation, Moscow; 2013-14 What did the artist mean by that? MOMA, Moscow; Selbstportrait mit geschlossenen Augen. Haus der Niederlande, Münster, 1999. His works are in the collections of Centre Pompidou, Paris; Moscow’s Tretyakov Gallery and National Center for Contemporary Arts, the Russian Museum in St Petersburg, museum collections in Helsinki, Budapest, New Jersey, among others. Yuri Albert. Elitist- Democratic Art. Exhibition at Kunstmuseum underground art community. The intricate of an installation is over, 90% of the installations Liechtenstein runs until 20.01.2019. He lives and relationship between image and text that is a key disappear, like phantoms, dismantled and works in Moscow and Cologne. feature of Moscow conceptualism is especially broken into many pieces. All the projects of prevalent in his work. my installations represent a modelled space Dmitry Prigov (1940-2007) was born in Moscow Phantom Installations is a collection of 50 recorded on paper as a series of conceptual in 1940 and studied at the Moscow Art Institute. conceptual drawings for installations by Dmitry graphic drawings. This space of phantoms He was one of the founders of the Moscow Prigov was shown at London’s White Space contains numerous environmental objects and Conceptualists, along with Ilya Kabakov, Vitaly Gallery in December 2001. The exhibition inhabitants of the surrounding world, taking Komar, Alexander Melamid and Erik Bulatov. He presented the ongoing objects of Prigov’s artistic various forms and combinations and coloured has created drawings, sculptures, objects and activities, along with their realisations; huge into 3 metaphysical colours – black, white and

installations and, as an author, has written more 1. Yuri Albert. Self-Portrait with closed eyes. Galerie Hlavního spaces of large-scale graphics and also drawings. red, also the colours of Russian iconography and than 20,000 poems. He was a pioneer of Russian Mêsta Prahy, Prague. 1995 – 1996 Prigov writes: The genre of installation is the Russian Avant Guard, of the beginning of performance art and a cult figure in Moscow’s 2. Dmitry Prigov. Phantom Installations. 1990s – 2001. itself phantom like. After the exhibiting period 20th century.

12 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 13 1 UNDERGROUND CINEMA AND ALTERNATIVE MUSIC

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Andrey Tarkovsky (1932 – 1986). These previously unseen polaroids from the Florence-based Tarkovsky Foundation were taken in Russia and Italy between 1979 and 1984. Tarkovsky’s parents – poet Arseniy Tarkovsky and Maria Ivanovna Vishniakova – divorced while he was still a child, and his father’s poetry features in Mirror, Stalker and Nostalgia, while his mother makes an appearance in Mirror. From romantic landscapes and studied portraits to private shots of the auteur’s family and friends – including the distinguished scriptwriter Tonino Guerra – all these polaroids demonstrate the singular compositional and visual-poetic ability of this master image-maker, and many taken in Russia extend the personal imagery of the film Mirror. Andrey Tarkovsky, born on 4 April 1932 in the Volga region, is considered by many to be one of the world’s greatest filmmakers. Although he made just eight feature films before his life was viaggio (1983) with his most accomplished film cut short by cancer at the age of 54, each is an since Mirror, Nostalgia, written in collaboration artistic masterpiece and a landmark in world with the distinguished screenwriter Tonino cinema. Tarkovsky studied Arabic at the Moscow Guerra. By the time Tarkovsky started work on his Institute of Oriental Languages, and Geology final film, The Sacrifice, he was seriously ill with in Siberia, before enrolling in the famous VGIK cancer. He died on 29 December 1986 and was Moscow film school in 1959. In 1960 he made his buried at the Russian cemetery Sainte-Geneviève- prize-winning graduation short, The Steamroller des- Bois near Paris. and the Violin. In the early 1980s, Tarkovsky left Russia permanently. The few remaining years Sergei Parajanov (1924 – 1990). Film-maker and of his life were plagued by a constant struggle artist Sergei Parajanov, born in 1924 in Tbilisi into with the Soviet authorities to allow his family, an Armenian family, is one of the most daring and particularly his young son, Andrey, to join him. His visionary directors to emerge from the former 1. Andrey Tarkovsky. Near Citta Ducale Church. November 1982 filmmaking career started again in Italy where he Soviet Union. Fellini, Antonioni and Tarkovsky 2. Andrey Tarkovsky. Rome. 20 April 1982 followed the television documentary Tempo di hailed him as a ‘genius’, ‘magician’ and without

14 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 15 1 2 3 films and started to create collages. A collage is a compressed film”, he said. After his release he was not allowed to make films for fifteen years, so dedicated his life to making collages, drawings and other art forms. He was eventually permitted to work as a film-maker again in 1983, and created The Legend of Suram Fortress in Georgia.

Yuri Mechitov (b. 1950 in Tbilissi, Georgia) is Georgia’s most well-known photographer. He took many iconic images of Georgian society, including portraits of film director Sergei Parajanov and photographs from his film sets. My name is Yuri Mechitov. I was born on May, 10, 1950 in Tbilisi, Georgia. I began to shoot photographs when I was 8 years old. But I Vladimir Tarasov (born 1946), composer, started to think about photography seriously drummer and visual artist, has lived and worked doubt ‘a master’. His unique, explosive cinematic much later. My first exhibition was displayed in Vilnius since 1968. He has played in the language has no equal in the world of cinema. in 1979 in Tbilisi. I started to work mainly in Lithuanian National Symphony Orchestra for After graduating from VGIK (State Institute documentary genre, now I find I like to shoot many years. Between 1971 and 1986, he was a of Cinematography) in Moscow, Parajanov was people, I was happy to get into the art world. It member of the famous GTC group (Viacheslav directed to Kiev’s Dovzjenko film studio where, in happened occasionally, but I believe that it was as Ganelin, Vladimir Tarasov, Vladimir Tchekhasin). 1963, he created the film Shadows of our Forgotten it should be. My guides were three very different The musicians frequently incorporated Ancestors, which won him a BAFTA and brought persons -an artist Mark Polyakov, who lives and perforative actions into their concerts. Operating him both worldwide popularity and persecution. His works in NYC, film director Sergey Parajanov, who in Lithuania, the GTC had better opportunities to next film, the anti-war Kiev’s Frescoes, was banned. rests in peace in Yerevan, Armenia and Vladimir travel abroad and present their work at festivals. In 1966 he was invited to Armenia, where he shot Pichkhadze, alas also buried in Tbilisi. They made Their first album was released on a Polish label his best-known film The Colour of Pomegranate all their best for me, for I could understand, PolJazz in 1975. Tarasov has recorded over 100 (‘Sayat-Nova’), which underwent heavy Soviet evaluate and create art myself. albums. He writes orchestral music, along with censorship before release. Nevertheless, this film film and theatrical scores. Since 1991 he has won international recognition, as well as further been active in the visual arts, making solo works provoking the authorities. and collaborating with artists Ilya Kabakov and In spite of international acclaim, Parajanov Sarah Flohr. Tarasov’s works were exhibited was a constant target for the Soviet authorities. in Kunsthalle, Dusseldorf (1991), in Venice (La He was arrested twice on fabricated charges Biennale di Venezia, 1993), at the Museum and spent five years in hard labour camps in the of Contemporary Art in Chicago (1993), the Georges Pompidou Centre in Paris (1995), at the Ukraine and Georgia. During his imprisonment, he 1. Sergei Parajanov. Colour of Pomegranate. 1968 Hermitage in Saint Petersburg (2004), at the continued his creative activity – painting, making 2. Yuri Mechitov. Sergei Parajanov, Tbilissi. 15 May 1981 KUMU Kunstmuseum in Talinn (2017) and LTK4 collages, puppets and hats out of any materials 3. Vladimir Tarasov performing in Ilya Kabakov’s studio in that he came across. ‘I was prohibited to make Moscow 1975. Photograph by Vladimir Yankilevsky in Cologne (2018).

16 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 17 1 2 Tarasov was born in Archangelsk, Russia. Since 1991 he has been working in the visual arts, both solo, and collaborating with artists such as Ilya Kabakov, Dimitri Prigov, and others. One of the first sound installations made by Tarasov was his 1993 Concert for Flies. The work, evoking a space where flies perform the composition, refers to the surreal humour characteristic of Moscow Conceptualism, and raises questions about the boundaries of improvisation and value of aesthetic criteria.

Dmitry Konradt (b. 1954 in St Petersburg) trained as a geologist and went on to become one of St Petersbug’s most famous photographers. After so unexpected. Along with rock music and his celebrated black and white photographs of photography, his other passion was cinema, and performers on and off stage at the legendary his favourite directors – Andrei Tarkovsky, Sergei Leningrad Rock Club, he switched to cityscapes Parajanov, Theo Angelopolus, Miklos Jancso – were and began working in colour in the 1990s. first and foremost visual artists. It was this art that For years he captured moment after moment, Konradt strived for in his colour photography. concert after concert. He accumulated thousands Konradt’s cityscapes, unlike his rock of photographs and was happy to share them photography, are static. Pouring rain, falling snow, with musicians, promoters, journalists, fans or tree branches in the wind seem immovable, and friends. It was only years later, when rock frozen. Their energy is introvert; we see it through music broke out of underground and Konradt’s colour. His St Petersburg is modest, unobtrusive, photographs were exhibited en masse, that we even shy: very much like the man himself. The saw the artistry involved in capturing the wildness quite beauty that he finds behind the facades of of the movement and music. imperial grandeur is so well concealed that often Particularly striking at least initially was it is not even aware of itself. His camera brings Konradt’s other photography. Tis seems to the hidden to life. complete antithesis to his rock images. In place of sharp and contrasting black and white Selected collections: Konradt’s works have been expression, we saw the soft and subdued colours shown by and are included in the collection of of the northern city; instead of a kaleidoscope of major Russian museums and galleries including musicians’ faces and figures, we saw abandoned The State Russian Museum (St Petersburg), back yards and empty streets. It turned out Nabokov Museum (St Petersburg), Moscow that for all those years, alongside noisy and House of Photography, The Museum of The City riotous rock imagery Dima had been making Foundation (St Petersburg), The Free Culture quiet cityscapes that he only much later dared Fund collection (St Petersburg) and the Huis 1. Dmitry Konradt. Rock band Zvuki Mu. Leningrad, 1997 to exhibit. In retrospect, this should not seem Marseiille Museum of Photography (Amsterdam). 2. Dmitry Konradt. St Petersburg. 2017

18 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 19 PERESTROIKA AND THE POST SOVIET PERIOD

Timur Novikov (1958- 2002) was the originator Selected exhibitions: Timur Novikov has of the St Petersburg’s post-Soviet avant-garde exhibited internationally at major exhibitions and an iconic figure of the final decades of the and institutions, of which include the Tate 20th Century. Novikov founded two art groups — Liverpool (1989), Stedelijk Museum, Amsterdam the Novie Khudozhniki (New Artists) in 1982 and (1993), Kunsthalle, Dusseldorf (1993), World the Novaya Akademia (New Academy) in 1989, Financial Centre in New York (1997), State the simultaneously experimental and retrograde Russian Museum, St Petersburg (1998), The group, which dominated the artistic life of his State Hermitage Museum, St Petersburg native St. Petersburg. In 1991, he had his first (2009), Manifesta 10, St. Petersburg, The State solo exhibition at Phyllis Kind Gallery, New York. Hermitage Museum, St Petersburg (2014). There, he became familiar with the East Village art scene and met leading vanguard artists, such Selected collections: Stedelijk Museum, as Robert Raushenberg and John Cage, who Amsterdam; Tate, London; Centre Georges he referred to as teachers. He also befriended Pompidou, Paris; Schwules Museum, Berlin; the late Keith Haring, his exact contemporary, The Museum of Modern Art, Vienna, Victoria and became a committed member of the and Albert Museum, London; The F.R. Weisman international avant-garde. Art Museum, Minneapolis; and the Zimmerly By the late 1990s, Novikov had already Museum, Rutgers University. formulated his contradictory cultural philosophy. He was both a defender of St Petersburg’s Oleg Kotelnikov (born 1958, St Petersburg) classical culture and a champion of modern have been closely tied with the underground advertising, which he believed was the last culture of St Petersburg (Leningrad) – the New refuge of what was obviously beautiful. Academy of Fine Arts and the group New Artists, The founding image of the New Academy as well as expressions of independent cinema movement, Apollo Trampling on the Black Square and music. The activities of Oleg Kotelnikov (1990) encapsulates the conflict between the in painting, cinematography, animation and spiritual essence of art (the god Apollo) and poetry both then and now are united by witty the quintessence of the avant-garde (Kazimir commentary that reacts to the events of the Malevich’s canonical 1915 painting, Black Square). time. His solo exhibition at ASSA gallery in In 1997, Novikov lost his sight but continued St Petersburg in 1983 marked the start of the developed his artistic theories and created new ‘wild’ painting style of the New Artists. He was Timur Novikov. Pyramids. 1989-2005 art work for the last seven years of his life. an artist member of the famous Russian rock

20 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 21 1 2 3 are as naive, open and inventive as those that marked his secular life, showing virtually no sign of his religious occupation. He spent his summers with his family in Montenegro, where he painted holiday boats, seascapes and mountains.

Selected collections: In 2015, The New Museum in St Petersburg held Ivan Sotnikov: Painting of the 20th-21st Century, the artist’s first retrospective exhibition with over 100 works produced from the 1980s to the present decade, from public (the Russian Museum and Novy Museum) and private collections. His works are in the collections of The State Russian Museum, Victoria and Albert Museum and Centre Pompidou. group Kino. In 1986 he wrote a manifesto on Ivan Sotnikov (1961-2015) was born and raised in the Necrorealism movement, together with St Petersburg, and studied art and photography. Andrei Krisanov (1966-2018). Member the Yevgeny Yufit. Kotelnikov made animation films In the early 1980s he founded, along with New Artists (Novye Khudozhniki) group, was for the Parallel Cinema studios Mzhalala Film and Novikov, the New Artists group, making wild making wild paintings influenced by German Chepaev, and his animations appear in the iconic paintings influenced by German Expressionism, Expressionism, Pop Art and Primitivism. First Perestroika era film ASSA (1987). In addition he Pop Art and Primitivism. First operating out of operating out of a communal flat, New Artists performed in concerts with Sergei Kuryokhin’s a communal flat, they held a series of influential held a series of influential exhibitions and Popular Mechanics orchestra and played with exhibitions and parties, combining fine art parties, combining fine art with youth culture, many rock bands. He directed music videos for with youth culture, music, cinema, fashion and music, cinema, fashion and performance. The Joanna Stingray and designed books about the performance. The springboard for the group’s springboard for the group’s foundation was the work of Timur Novikov. He created artist’s books foundation was the now proverbial creation now proverbial creation of a “zero object”. Andrei in collaboration with Yevgeny Kozlov and painted of a “zero object”. In the spirit of Dada and was famous for producing a cover to iconic joint pictures with Ivan Sotnikov. Kotelnikov the absurd, Sotnikov and Novikov declared a Russian rock band Kino’s album “Blood Group”. created the Polar Projects series of exhibitions rectangular cutout within an exhibition panel to designed to replace the traditional East/West and be a work of art, a “zero object,” describing it as North/South cultural orientation (1994). Realised “a product of a pure creative act for which its the North/South project in collaboration with authors did not exert any effort apart from their Andrei Medvedev at the Museum of the Arctic wish to create such an object”. and Antarctic in St Petersburg (1997). In 1996, he was ordained as a Russian Orthodox priest and from the late 1990s served in a parish Selected collections: Oleg Kotelnikov’s works in the village of Rogavka situated between are in the major collections, including The State Novgorod and St Petersburg. He later studied at Russian Museum in St Petersburg, MOMA in the Orthodox Saint Tikhon Theological University, 1. Timur Novikov. Pyramids. 1989-2005 Moscow and the Centre Pompidou in Paris. Moscow. Despite his new calling, he continued to 2. Oleg Kotelnikov. Mother and Child. 1980s paint; the works from the latter part of his career 3. Andrey Krisanov. Untitled. 2013

22 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 23 1 3 NEW ARTISTS PAPER ARCHITECTURE

AND NECROREALISTS Yuri Avvakumov (born 1957) is most famous The Leningrad underground art groups (1982- for introducing – together with other young 1990s) have rapidly gained international graduates from the Moscow Architectural currency, enriching the lexicon of pop-culture Institute, such as Michael Belov and Alexander and attracting the attention of Andy Warhol, Brodsky, the concept of ‘paper architecture’ in Keith Haring and John Cage. The New Artists 1984. The term describes a genre of conceptual and Necrorealist art-communities are considered design in the USSR produced only on paper the most important phenomena in the Russian as a way of bypassing political restrictions and art of the end of the XX century. The founder criticizing the dehumanizing nature of Russian of the ‘Necrorealism’ movement, St Petersburg- architecture of the time. The group, which based painter, art photographer and film maker exhibited collectively under the title Paper Evgeny Yufit (1961-2016) was concerned with the Architects in 1984, chose not to take part in 6th Venice Biennale of Architecture (1996), and representation of death and psycho-pathological a system where buildings had to be erected in the exhibition Berlin-Moscowat Martin-Gropius cheaply and quickly with little care for users, Bau in Berlin (2003), among other venues. In processes connected to this theme. We know 2 about the Necrorealists today because they where skilled labour was shunned, creativity 2002, he reconstructed one of Kazimir Malevich’s documented their activities on film, and because stifled and architecture was part of a large- Architectons. Avvakumov took part in the Venice their impenetrable proto-art was enthusiastically scale bureaucratic machinery. Following this Biennale in 1996 (Sensing the future. Architect as accepted in the changing cultural environment experience, Avvakumov developed , in 1996, the seismograph) and in 2003 (Utopia station). of perestroika. Their 8mm and 16mm films project Russian Utopia, a Depository – an archive included such vernacular classics as Werewolf for visionary architectural projects created in Selected collections: Yuri Avvakumov is an Orderlies (1984), Woodcutter (1985), Spring Russia during the last 300 years that had never architect, curator and artist living and working (1987) and Suicide Warthogs (1988). They were been carried out. The artist perceives the project in Moscow. His works are in collections of produced on the margins of the amateur circuit, as the embodiment of a collective Russian dream State Russian Museum, St. Petersburg / State with assistance from a studio attached to the and as a metaphor of a “columbarium for rejected Tretyakov Gallery, Moscow / State Museum of Leningrad Optical Mechanical Factory. According fantasies.” The archive was shown in numerous Architecture, Moscow / Pushkin State Museum to local legend, the act of film-making began museums and art institutions, including the of Fine Arts, Moscow, Moscow Museum of by accident, when a group of Necrorealists Venice Biennale in 1996. Modern Art, Moscow House of Photography, gathered at the Finland station. Somebody had In the early 1980s, Avvakumov was involved Musée National d’Art Moderne, Paris, Deutsches a handsaw and somebody else had a sailor’s as an exhibition designer in a series of exhibition Architekturmuseum, Victoria & Albert Museum, vest, and with enough odds and ends about of Lyubov Popova, Olga Rozanova, Konstantin ZKM Museum for New Art, Moderna Galerija, their person, shooting began on the first part of Melnikov and Vladimir Tatlin. His artistic practice Ljubljana, National Center for Contemporary Arts, Werewolf Orderlies. The films that Yufit made is mostly focuses on the Russian avant-garde Moscow, Stella Art Foundation, Alberto Sandretti with the Mzhalala Film logo are archived at Eye, legacy and its later revaluation. Since 1986, Foundation, Milan, Krasnoyarsk Museum Center, The Film Museum in Amsterdam, Netherlands. he has worked on a series called Temporary Kaliningrad Art Gallery and Duke Museum of Art, His works are in the collections of Centre George Monuments, devoted to 1920s Constructivism North Carolina. Pompidou, MOMA NY, New York Film Archives, and its protagonists, which he has shown at the State Russian Museum and MOMA Moscow. 1,2. Evgeny Yufit. Necrorealist film shots. 1990s Russian Museum in Petersburg (1992), the State 3. Yuri Avvakumov. Red Galley. 1989 Museum Architecture in Moscow (1993), at the

24 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 25 MITKI Dmitri Shagin (b. 1957 in St Petersburg) is described in the pamphlet as not only the group’s During the years leading up to Perestroika, figurehead, but also its most typical member. A in 1986, the notorious Mitki group upset the painter and drinking companion of Shinkarev’s establishment by sticking up two fingers at with a tendency to gently defy social convention the unimaginative Soviet system – becoming by, say, shaking hands with women and kissing celebrities in the process. men on the cheek, Shagin embodied the While government-approved Socialist Realist absurdist quality of the movement. He professed painters depicted a rose-tinted view of life a deep love for both the Imperial Russian and under Communism, the non-conforming Mitki Soviet military, especially a fascination with chose instead to paint ordinary people and their all things naval, while simultaneously strictly minor everyday troubles. They tackled these rejecting violence in all forms. Thus, the Mitki subjects with gentle, self-deprecating humour, were born. as their slogan proclaimed; ‘the Mitki don’t want to conquer anybody’. The group which Vladimir Shinkarev (b.1954) is one of the most comprised many painters, illustrators, writers, important contemporary Russian painters and an poets, sculptors, musicians and filmmakers, author of very popular and funny books – “Mitki” was founded by the legendary painter Dmitri and “Maxim and Fyodor”. From 1984 he became Shagin, artist and writer Vladimir Shinkarev and a founder member of the Mitki – Saint Petersburg artist A. Florensky. According to the Russian collective of artists, working in a variety of media, art critic, Larisa Skobkina, Mitki take their cue from music and publishing to writing and film- from the great giants of Russian culture, such as making. The members of Mitki drank cheap port Dostoevsky, Stravinski and Malevich. Mitki take wine, dressed shabbily, often wearing black and their place in the serious artistic tradition of the white Russian military shirts, and rejected the folk lubok (a popular style of prints from C18/19 avant-garde and the trendy. Instead of offering a Russia) and primitive painting of the early avant view of the idealised communism of the Socialist guard artists, such as Goncharova and Larionov. Realists, the Mitki focused on everyday subjects Another critic, Lydia Ginzburg, said their work with gentle, self-deprecating humour. portrayed ‘intentionally shabby images of our In 1997-1999 Shinkarev created the “World crude everyday reality, with the aesthetic of hard Literature” series of works based on sixteen drinking bouts and four-letter words; a game of books, some famous, some barely known – idiocy; a language as simple as mooing; and the Dante’s “Divine Comedy”, Goethe’s “The Sorrows vocabulary of the average cannibal’. of Young Werther”, the “Red Cavalry” by Babel, and “Crime and Punishment” by Dostoevsky. In 2001-2006 Shinkarev worked on a “World cinema” project, dedicated both to the history of the cinema and to the 20th century history itself. From the 1990s he worked on the series “Gloomy Paintings” featuring urban landscapes in and Vladimir Shinkarev. Peter The Great. 2000 around Saint Petersburg. Shinkarev explains his

26 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 27 1 2 4 satirical subjects and flourished in Russia into the early twentieth century. Alexander Florensky who works in duo with her artist wife Olga Florensky is a headliner of numerous exhibitions. They live and work in St. Petersburg and Tbilisi. ‘Florenskys’ works are kept in dozens of museums around the world. For over twenty years, they have been making impossible objects and other equally wonderful things. Their objects are incredibly organic coalescences of found objects of various kinds – sometimes ones that have lived at home for a long time, sometimes ones found on the trash heap, sometimes bought at an expensive antiques stores. ….their oeuvre exudes light irony and feeds on the observation of children’s 5 games and wishes, which have made themselves 3 at home in the adults’ heads and have no desire to leave…In their large projects, the Florenskys show objects, paintings, photographs, drawings, choice of gloomy shades as a form of resistance silk-screens, blueprints, films (a mix of animation, to contemporary culture “associated with bold documentary, and feature films). synthetic colours of advertising, that have stained intricate harmonious colours of the real world”. Olga Florensky (b. 1960 in St Petersburg) who Shinkarev’s painting presents the viewer with works in duo with her artist husband Alexander the entire varied range of the artist’s meditations Florensky is a headliner of numerous exhibitions, on life: melancholy landscapes, ascetic images key member of the group Mitki. She lives and of nudes and still lives. Crucially, painting is works in St. Petersburg and Tbilisi. ‘Florenskys’ understood as the soul’s only salvation in the works are kept in dozens of museums around world, painful as the artists’ effort may be. the world. For over twenty years, they have been making impossible objects and other equally show objects, paintings, photographs, drawings, Alexander Florensky (b. 1960 in St Petersburg) wonderful things. Their objects are incredibly silk-screens, blueprints, films (a mix of animation, began his career in the 1980s as a traditional organic coalescences of found objects of various documentary, and feature films). painter and illustrator but turned to conceptual kinds – sometimes ones that have lived at home art in the 1990s joining the satirical Mitki group. for a long time, sometimes ones found on the trash heap, sometimes bought at an expensive His Russian Album is an ironic take on the popular 1. Vladimir Shinkarev. Mitki. 1999 antiques stores. ….their oeuvre exudes light Russian taste for copies of nineteenth-century 2. Dmitri Shagin. Walking on Water. 2001 irony and feeds on the observation of children’s history paintings in the style of the ‘Wanderers’ 3. Vladimir Shinkarev. Tender is the night. World literature school of social realists. For his purpose series. 2001 games and wishes, which have made themselves Florensky has adopted the idiom of the Lubok 4. Alexander Florensky. The Russian album. 2001 at home in the adults’ heads and have no desire or folk print which depicted narrative, moral or 5. Olga Florensky. Postcards. 2005 to leave…In their large projects, the Florenskys

28 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 29 1 3 4 PERFORMANCE ART

Oleg Kulik (born 1961) ranks among the most interesting and controversial Russian artists. He has managed to attract the attention of art critics and exhibition curators by his performance shows, which are characterised by “strong expression” where he himself assumes a role of “artist-animal”. In these performances Kulik becomes a dog, a bird, a fish, and a bull, simplifying his performance language to the basic emotional vocabulary of an animal. Coming to prominence shortly after the collapse of the Soviet Union, with his provocative relationship with the former Soviet Union, these performances offering an alternative and critical artists have sought to subversively challenge social commentary, Kulik is most renowned for his conventional notions of sexuality, femininity and performances Mad Dog, Reservoir Dog and I Bite gender in the post-Soviet Russia. Their practices America and America Bites Me. In recent years do not only comment on the changing nature of he has pursued new subjects of focus such as the the current Russian identity under technocratic

relationship between religion and art. 2 and authoritarian capitalism, but also first and Kulik was born in Kiev, 1961 and lives and works foremost on the changing nature of female in Moscow. He graduated from Kiev Art School WOMEN ARTISTS Russian subjectivities in such a present. in 1979, then Kiev Geological Survey College in 1982 and was awarded a Berlin scholarship by the The influence of Women artists Tatiana Antoshina, Tatiana Antoshina (born 1956) is a Russian Berlin Senate in 1996. Vita Buivid, and Gluklya on Russian art since multimedia artist whose work has been the 90s has been significant, reflected in their exhibited at the Venice Biennale (56th Venice Selected exhibitions: Kulik has exhibited in various representation at numerous international Biennale, State Pavilion of Mauritius, 2015), group and solo shows internationally including biennales and solo shows at major museums. Moscow Biennale and the Asian Art Biennale. Deep into Russia, Galleria Pack, Milan (2010), These more established figures are joined by Antoshina’s work has also been the subject of New Sermon, Photos and Videos of Performances Lera Nibiru, coming from a younger artistic numerous solo shows in Russia and beyond, 1993–2003, Rabouan-Moussion Gallery, Paris generation. Collectively, they offer an antonym including Museum of a Woman held at White (2008), Oleg Kulik, Chronicle 1987-2007, to a dominant post-Soviet artistic landscape Space Gallery in 2004. Photographs from this retrospective exhibition, Central House of Artist, practically synonymous with its leading male series were displayed at White Space Gallery Moscow (2007), Russia Performing Bodies, Tate figures. Their works provide us with an alternative in Women at Work: Subverting the Feminine Modern, London (2000). He has also performed narrative of contemporary Russian art. Utilising in Post-Soviet Russia alongside a rare image 1. Oleg Kulik. Family of the future. 1997 internationally at galleries such as Muzej similar conceptual strategies as their male entitled Queen of the Night. 2. Oleg Kulik. Horses of Bretagne. 1998 Suvremene Umjetnosti , Zagreb, Hamburger contemporaries, including taking on a humorous 3. Tatiana Antoshina. Rustic concert from Museum of a Bahnhof, Berlin and Tate Modern, London. and ironic disposition, recycling motifs and Vita Buivid (born 1962) in Dnepropetrovsk, woman series. 1996 materials from both popular culture and the Ukraine, Buivid now lives and works in Moscow. 4. Tatiana Antoshina. Luncheon on the grass. From Museum of a woman series. 1996 history of art, and maintaining an ambivalent Initially working with photography and image-

30 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 31 1 3

2

Lera Nibiru (born 1981) graduated from the St. Petersburg State University of Cinema and Television with a degree in Animation (2003). Part of an emergent generation of young women Russian artists, she lives and works in Moscow. Nibiru has twice been nominated for the Kandinsky prize and her work is held in collections of the Centre Georges Pompidou, Paris and the Freud’s Deream Museum, St. Petersburg. White Space Gallery is showing for based works, Buivid has extended her practice Gluklya (born 1969, Natalia Pershina-Yakimanskaya) (2011) and the Institute of Contemporary Arts, the first time a series of drawings and collages across watercolour, oil, collage and textiles. formerly of ‘Glukyla and Tsaplya’, lives and works London (2010) and Factory of Found Clothes at taken from her Cosmos series, which draws Buivid’s works are now included in the collections in St. Petersburg and Amsterdam. Gluklya founded White Space Gallery, London (2007), in which she influence from the work of Pavel Pepperstein of the Moscow House of Photography, The State the Factory of Found Clothes in 1996 and became displayed a ‘shroud’ dedicated by Glukyla to her and his brand of ‘Psychedelic Realism’. Nibiru Russian Museum, and Museum of Contemporary an active participant in Chto Delat (‘What is to former artistic mentor Timur Novikov, whose work describes her multimedia pieces as straddling the Art, Helsinki. She is prominent in the wider be Done?’) from 2003. Gluklya uses textiles as a provided inspiration in the 90s St. Petersburg serious and the silly, which can simultaneously tendency of Russian conceptual practice to recycle conceptual link between the art world and the artistic scene. remind oneself of childish dreams and ‘deep motifs and materials from the former Soviet Union. wider public, allowing for the communication of sensual phantasms’. Buivid’s ‘Empire of Clothes’ nostalgically captures meanings which are at once private and public. different eras from the history of the Soviet Union. Creating costumes composed from the collection Selected exhibitions: Gluklya has exhibited of Moscow based fashion designer Petlyura extensively internationally and was included in

(described as the ‘King of Junk’) Buivid retreives the exhibition All the World’s Futures curated by 1. Vita Buivid. Empire in Clothes. in collaboration with and repurposes items from a culture which has Okwui Enwezor at the 56th Venice Biennale. She Petliyura. 2001 otherwise become outmoded and obsolete since has otherwise exhibited at the Museum of Modern 2. Gluklya (Natalia Pershina-Yakimanskaya). Burned Dress. 1999 the fall of the Soviet Union. Art Moscow (2014), Museo Reina Sofia, Madrid 3. Lera Nibiru. Cosmos series. 2017

32 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 33 1 2 3 NEW ACADEMY

Olga Tobreluts (born 1970, Russia) trained as an architect but is internationally prominent as a painter and multi-media artist. She was a leading member of Timur Novikov’s ‘New Academicians’ active in Saint Petersburg during the 1990s. This movement rejected modernism and the avant- garde and turned instead to classical antiquity, Russia’s imperial and totalitarian past, Hollywood movies, western advertising, homo-erotica and kitsch for ideals of physical beauty. Tobreluts was the New Academy’s ‘professor of new technologies’ and pioneered the use of digital Stas Makarov (born 1953) was one of the original Mikhail Rozanov (born 1973) studied history media on the Russian art scene. The art critic members of the ‘New Academy of Art’ in St at Moscow State, and graduated from the New Bruce Sterling called her ‘Helen of Troy equipped Petersburg in the 1980s and 90s. This was a Academy of Fine Arts in St. Petersburg. He with a video camera and a computer.’ group of artists who rejected modernism and developed his vision and style in Timur Novikov’s From 2003, Tobreluts moved away from mined Russia’s imperial and totalitarian past, famous squat at Pushkinskaya 10. her use of digital technologies, returning to sometimes ironically, as well as Hollywood movies, Rozanov’s black and white photographs are the use of traditional painting techniques and western advertising, kitsch and homoerotica for minimalist and refined: he has photographed experimentations with pigment and colour. classical ideals of beauty. Makarov’s ‘Angels of St Moscow constructivist architecture and the glossy Petersburg’ series of paintings, hand-coloured surfaces of skyscrapers, industrial structures Selected collections: Tobreluts’ work is now photographs and prints captures the faded (viaducts, factories, bridges) as well as classical held in the collection of the Victoria and Albert grandeur of Russia’s imperial capital by focussing Roman buildings and Versaille. Museum. Here, Tobreluts work ‘A Prisoner in the on details of architectural ornament and public His refined, minimalist technique largely remains Caucuses’ (2010) is presented as photographic sculpture. The streaky gummiprint process used true to the traditions of Saint Petersburg’s New series. This work parodies Oskar Schlemmer’s here is suggestive of peeling paint, washed-up Academy of Fine Arts, proving that less is more. Bauhaus ‘Triadisches Ballett’. Tobreluts’ piece beauty, or worn out ideals. Alongside his interest in landscape photography, shows choreographed scenes which border the Rozanov’s preoccupation with the architecture and absurd and the profound, comically appropriating industrial structures of Soviet Russia has invited Schlemmer’s meditations on movement, space comparisons to the neo-classical influences of and form through the slapstick narratives of ‘Fat’ Soviet artist Alexander Rodchenko. In a similar and ‘Thin’. manner, he also illustrates the grand traditions of Russian design, formidably intertwined with the rich heritage of Soviet building.

1. Olga Tobreluts. Apollo. From Model series. 2003 2. Stas Makarov. Angel. 2014 3. Mikhail Rozanov. Peterhoff. 2015

34 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 35 CATALOGUE AND PRICE LIST Yuri Avvakumov

Yuri Albert

Album for the blind. Exhibition set of 88 pages, page size34x28 cm. German version. 1995. Text contains descriptions of Van Worker and Farmer. 1990-98. Worker and Farmer. 1990-95. Barricade. 1986-98. Red Galley. 1989. Silkscreen Gogh paintings from the letters to his brother Theo. Edition of 3. Price: 2500 GBP Silkscreen print. Edition 40. Silkscreen print. Edition 36. Silkscreen print. Edition 40. print. Edition 12. 40 x 60 cm. Price 1500 GBP Price 1500 GBP Price 1500 GBP Price 1500 GBP Tatiana Antoshina

Boy on the ball. 1996. C-print. Rustic concert. 1996. C-print. Are you Jelous? 1996. C-print. Turkish bath. 2000. C-print. Edition 10. 102X75 cm. Edition 10. 85X75 cm. Edition 10. 75 x 92 cm. Edition 10. 94X75 cm. Price 3000 GBP Price 3000 GBP Price 3000 GBP Price 4000 GBP Stairladder Barricade. 1993-2005. Monoprints (40 x 30 cm). Price 1200 GBP Photographs (30x20 cm). Price 900 GBP

Olympus. 1996. C-print. The oath. 1996. C-print. Card players. 1997. C-print. Lunch on the grass. 1996. Edition 10. 75x88 cm. Edition 10. 75X101 cm. Edition 10. 75X95 cm. C-print. Edition 10. 75X101 cm. Price 3000 GBP Price 4000 GBP Price 4000 GBP Price 3000 GBP

36 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 37 Monument to the fire Stair ladder barricade. 1989- Red Tower. 1986-98. Barricade. 1980s. Untitled (red, black, silver). Two Phases (circles). Collages, drawings: 1970s. 30 x 30 cm. 600 GBP evacuation. 1988. 70 x 50 x 94. Silkscrren print. Price Silkscreen print. Edition 40. 25 x 50 x 70cm. 1981.watercolour, collage on 1995. watercolour on card. 50 cm. Price on application 1500 GBP Price 1500 GBP Price on application card. 39x50cm. 1200 GBP 39x50cm. 1200 GBP

Leonid Borisov

Self-portraits. 1-4. 2001. C-print. Unique. 44.5x30 cm. Price 1100 GBP Unique photographs. 1990s-2001. 30 x 45cm. Price 800 GBP

‘6’. 1977. oil on canvas, 50x65 Line. 1980. Oil on board. ‘Image’. 2000.Oil on canvas. Los Menians. 2000. Painting, Unique photographs. 1990s-2001. 30 x 45cm. Price 800 GBP cm. 5500 GBP 35x20 cm. 1800 GBP 70x70cm. 4500 GBP print on canvas. 2800 GBP

38 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 39 Vita Buivid

The Russian Album. 2001. Set of five screenprints on paper 30×40 cm. Edition 21/40. Price 1100 GBP set Olga Florenski

Postcard series. 2005. Silkscreen prints on paper 62×86 cm. Edition of 100 + 30 AP. Price 800 GBP

Stories of Sherlock Holmes. 2010. Series of 10 silkscreen prints, 42x29x8cm, edition 80 + AP. Price 500 GBP set Vita Buivid. Empire in Clothes series. 2001. C-prints mounted on plastic. 100 x 150 cm. Edition 2/2. Price 5000 GBP

Alexander Florenski

First World War. 2002. Artist Ilya Repin with his wife. Emperor Nicholas II with Daniel Yuvachev (Kharms, Silkscreen print. 70 x58 cm. 2005. Silkscreen print on his Wife Empress Alexandra 1905-1942) 2005. Silkscreen Edition 24. Price 800 GBP paper 62x86cm. Edition of Fedorovna. 2005. Silkscreen print on paper 62×86 cm. 100 + 30 AP. Price 800 GBP print on paper 62x86 cm. Edition of 100 + 30 AP. Edition of 100 + 30 AP. Price Price 800 GBP 800 GBP Moby Dick. 2010. Series of 10 silkscreen prints, 42x29x8cm, edition 80 + AP. Price 500 GBP set

40 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 41 Gluklya (Natalia Pershina-Yakimanskaya) Mikhail Grobman & Ilya Kabalkov. The Beautiful Sixties Portfolio of lithographs. 1964-69 made in 1989. Full set price on application.

Mihail Grobman

Burned dress. 1999. Price on application Untitled. (Walking tree). 2017. Costume from the ‘Carnival’. Price: 4000 GBP Butterfly. 1966-1989. Lithograph. Medal – Decorated Russia. 1964-1989. Generalissimo. 1964-1989. Lithograph. 56 x 76 cm. Price 900 GBP Lithograph. 56 x 76 cm. Price 900 GBP 76 x 56 cm. Price 900 GBP

Ilya Kabakov

Row. 1969-1989. Lithograph. Fly no. 1. 1969. Lithograph. Motorcycle. 1969-1989. Lithograph. Flag from “Language of Fragility” series. 2017. Give me your fear. 2017. Textile. 240x140cm. 56 x 76 cm. Price 900 GBP 56 x 76 cm. Price 900 GBP 56 x 76 cm. Price 900 GBP Price on application Price on application Andrei Krisanov

Observations. 2010-2012. Series of watercolours. 20x30 cm. 1100.00 GBP each

Untitled. 2013. Silkscreen. 40×30 cm. Edition 17/60

42 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 43 Dmitri Konradt Oleg Kotelnikov

Oleg Kotelnikov. Breath of the city. 1980s. Oil on wood in artist’s made frame. 66x32cm. Price 4000 GBP Rock band Aukzion, Oleg Garkusha. 1989. Boris Grebenshikov. 1992. Viktor Tsoy. 1987. Photograph Leningrad. 1986. Photograph Photograph 30x20cm. Photograph 20x30 cm. 30x20cm. Price 1100 GBP 20x30 cm. Price 800 GBP Price 800 GBP Price 1100 GBP

Oleg Kotelnikov. Mother and child. Drawing. 1980s. 20x30 cm. Price 900 GBP

Oleg Kotelnikov. Bus stop. Oleg Kotelnikov. Anichkov 1980s. 79x119 cm. Oil on Bridge. Lithograph. 50 x70 canvas. Price 6000 GBP cm. Edition 45. Price 400 GBP Oleg Kotelnikov & Andrey Medvedev

St Petersburg series. 2017. C-print. 40 x 60 cm. Price 1500 GBP

St Petersburg series. 2017. C-print. St Petersburg series. 2001. C-print. 40 x 60 cm. Price 1500 GBP 40 x 60 cm. Price 1500 GBP

Polar project. 1997. Silkscreen prints 21x23 cm. Price 700 GBP per set

44 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 45 Oleg Kulik Yuri Mechitov

Family of the Future. 1999. Family of the future. 1997. Deep into Russia. 1997. Photograph. 30 x 40 cm. Gelatin silver vintage print. C-print. 100 x 100 cm. Edition 9. Price 1100 GBP 60x60 cm. Edition 9. Price Edition 9. Price 6000 GBP 3000 GBP

Oleg Kulik. Horses of Bretagne. 1998. Photographs. 30x40 cm. Edition 9. Price 900 GBP

Stas Makarov

1-3. Stas Makarov. Angels of St Petersburg. 2003-2015. Gummi prints. 40 x 60 cm. Price 900 GBP Sergei Parajanov. Vintage prints. 1980s-90s. 30x40 cm. Price 600 GBP

46 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 47 Lera Nibiru Timur Novikov

Deer. 2000. Edition 50. Fir Tree. 2000. Edition 50. Fish. 2000, 2000. Edition 50. Sunrise. 2000. Edition 50. 70x50 cm. Price 1200 GBP 70x50 cm. Price 1200 GBP 70x50 cm. Price 1200 GBP 70x50 cm. Price 1200 GBP

Cosmic series. Drawings. 40x50 cm. Price 600 GBP Icebreaker. 1987-2005. Edition 100 + 30 AP. 72x92 cm Price 1200 GBP

Penguins. 1987-2005. Edition Start. 1989-2005. Edition 100 + 30 AP. 92x92 cm Russia. 1989-2005. 100 + 30 AP. 68x 92 cm Price Price 1800 GBP Edition 100 + 30 AP. Cosmic series. Drawings, collages. . 40x50 cm. Price 700 GBP 1200 GBP 121x73 cm. Price 1800 GBP

48 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 49 Sergei Parajanov

White Night. 1989-2005. Sun. 1989-2005. House in the steppe. Pyramids. 1989-2005. 68x68 cm. Edition 100 + 30 AP. 62x62 cm. Edition 100 + 30 AP. 1980s - 2005. 40x50 cm. Edition 100 + 30 AP. Price 1200 GBP Price 1200 GBP Edition 250. Price 500 GBP 68x58 cm. Price 1200 GBP

Ideals of Lost Childhood. 2000. Series of 16 prints. Size 30x40 cm. Edition 75. Price 1600 GBP for the set http://collections.vam.ac.uk/item/O101602/lost-ideals-of-happy-childhood-print-novikov-timur/

Dawn of German Romanticism. 1994- 1996. 30x40 cm. Edition 100. Price 1500 GBP for set From portfolio of 15 prints scanned from original collages. Each print 40x50cm. Stamped by Sergei Parajanov’s museum https://timurnovikov.com/en/works/TH558 in Yerevan. Price 2700 GBP

50 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 51 Dmitri Prigov Dmitri Shagin

Walking on Water. 2001. Entrance of the Lord Watercolour. 43 x 31cm. to Jerusalem. 2001. Price 1000 GBP Watercolour. 43 x 31cm. Price 1000 GBP Vladimir Shagin I have two documents on the Islander. 2001. Ink on paper. table. 2001. Ink on paper. 43 x 31cm. Price 800 GBP Phantom Installations. 2001. Prints from drawings , signed. Edition 10. Price 400 GBP 43 x 31cm. Price 800 GBP

Mikhail Rozanov

Untitled. 1996. Watercolor. 25x36cm. 1600 GBP

Vladimir Shinkarev

Peter the Great. 2000. Oil on canvas. 56 x 71 cm. Via Angelo Mazina, Rome. 2010. Oil on canvas St Petersburg and Peterhoff series. 2015. Photographs. 60x90 cm. Edition 10 Price 6000 GBP 50x40cm. Price 2200 GBP

52 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 53 Antanas Sutkus

World Literature series. 2001. Watercolours. 20x25 cm. Price 800 GBP J-P Sartre and Simpone de Bevoire in Nida, Lithuania. 1965. Vintage gelatin silver prints. 30x40/40x50 cm. Price on aplication

Birds are happy to see the Mitki. 1988. 40x40 cm. spring. 1999. Lithograph. Lithograph. Unique. 34x45cm. Edition 50 +3AP. Price 500 GBP Price 400 GBP

Ivan Sotnikov

Blind Pioneer. 1962. Pioneer Ignalina. 1964. Young Doctor. 1972. Mother’s Hand. 1965. Good Bye, Lenin. 1991. 40x30 cm. Vintage. 40x30 cm. Vintage. 40x30 cm. Vintage. Vintage. 40x30 cm. Vintage 50 x 40 cm. Price 4000 GBP Price 4000 GBP Price 4000 GBP Price 4000 GBP Price 3000 GBP

Untitled. 1980s. From a series of prints and drawings 40x50cm. Price 500 GBP

First Lithuanian Bikers. Marathon on School Children, Uzupis, Vilnius 1959. Gelatin Brothers. Kaveliu 1974. Vintage University Street, Silver print. 40 x 50 cm. Price 2000 GBP Street. 1968. Gelatin 50x50cm. Vilnius. 1959. Gelatin Silver print. 40 x 50 Price 4000 GBP silver print. 50x40 cm. cm. Price 2000 GBP Price 2000 GBP Lithographs. 2014. Edition up to 30. 35x45 cm. Price 400 GBP

54 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 55 Andrei Tarkovski Vladimir Tarasov

First River. 2007-2016. Video installation. Price on application

Portfolio of 25 Tarkovsky polaroids. Printed in Florence, Italy 2007. Edition of 12 + 3 A/P + exhibition set. Lambdas printed on 40x50 paper with polaroids 30 cm large. Portfolio box 42x52x7 cm. Price for the individual images: 1500 – 2500 GBP. Complete set of 25. Price on application

Gobustan. 2009. 9 screen Video installation. Price on Kyklos. 2010. Video. Approx. 7min. Price on application application

56 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 57 Olga Tobreluts Evgeny Yufit

Prisoner of the Caucases. 2009. Ilford prints. Unique. 76x60 cm. 2700 GBP

Prisoner of the Caucases. Models series. 2006. Digital prints. Unique 130x90cm. 2009. C-type print on Price on application canvas. 200x135cm. Price 5000 GBP

Golden Ass. 1994 (in collaboration with Ekaterina Andreeva, Konstantin Goncharov, Alexei Sokolov). Digital prints. 60x40 cm Edition 10. Price on application Necrorealist film shots. 1990s. 80x92cm. Vintage photographs mounted on plywood board by the artist. Price on application

58 EVERYTHING WAS FOREVER, UNTIL IT WAS NO MORE WHITE SPACE GALLERY 59 [email protected] www.whitespacegallery.co.uk