A review of the exhibit «Chereschou». Ruarts Foundation, Moscow, 21.11.24 — 29.06.25 curators: Alexey Maslyaev, Catherine Boris Artists: 0331c, AES+F, Egor Giwe, Maria Avdanina, Peter Aksynov, Daniel Anthropov, Ludmila Baronina, Maria Blascher, Annushka Broche, Vita Buyvid, Alexander Vinograd and Vladimir Dubosars, Alina Glasun, Ivan Gorshkov, Grisha, Alexandre Egorov, Alexander Zaharov, Irina Korina, Alexey Korsi, Valery Koszlakov, Sasha Lamish, Vladislav Mamashev-Monro, Bella Matveyev, Natalya Michina, Boris Michailov, Damir Muratov, Tim Parczyva, Ola Pegova, Dmitry Zhuraw and Daniel Polakov, Alexandre Sawko, Aydan Salahrov, Shintrich Dhustov, Tstoratyna Tstalov, Tstyvad Sobrov,
Types of exhibition by the Ruarts Foundation Press Service
The exhibit is < < < <Corro; >» in The Ruarts Foundation, collected by the curators Alexei Maslyaev and Katrina Borisov, — authoring about kitch — < < <new aesthetics» and having a strong influence on modern culture. Kitch is not perceived as < < < < bad tone» and esthetic error, a ability to reassembly, analyze and 0; criticize aesthetic art canons. and 1; — a kind of « and 2; interesting visual and 3; conceptual findings and 4; whale field and 5; campa.
Alina Glazun. «Without a name,» 2020. ♪ Metal, Lightbox ♪ Ruarts Foundation Press Service ♪
The works presented by artists from the early post-Council years and from the early years to the present day re-think the phenomenon as " a defined kind of aestheticism that allows us to see the world as an aesthetic phenomenon ' raquo; «. In in its manifeste text, Masliayev concludes a number of criteria that form the basis of the whitch art: good content, irony, beauty, hypertrophicity, flowers, children, jewels, nature, mythological characters, celery, images of classical art (in privacy — antica), love, and many others.
On the left: Natalia Mákina. ''Multi Unitas' from the project ''OMNIA MUTANTUR'', 2024. Mixed/Right: Alina Glazun. No Name, 2022. Multi-technics of the Ruarts Foundation
The exhibition is based on a polyphonic principle. There are several overlapping plot levels on the three floors of the Fund. The viewer is found in the flow of images: luxurious natural scenes, reflexes on the cult of superstars and quoted from the high culture cannon.
Paradise life — the first of the key themes. It’s visual reflections about nature as a utopian image. Here, artists use the motives of flora and fauna, bringing the set down in their decorativeity to limit. Space fills glitchy color transitions, too bright floric scenes, images balancing reality and hyperreality.
It’s a paradise life. Types of exhibition by the Ruarts Foundation Press Service
For example, Alexander Zaharov’s paintings are designed as a meadow speculative chronicle of the ancient eR Earth and natures collected from the multiple images working for intense visual enjoyment. Natalia Mákina plays with Baroque and rockoco, creating big, visually beautiful scenes where plants and beasts dissolve into each other in another.
A separate accent is the cute teddy animals of Rostan Tawasiev, located near Alexander Egorov’s photomontages. There’s a whitch — not just joy, but and an innocent vulnerability, a reminder of the child’s desire and, from the other side, an o a hoss of capitalism.
Rostan Tawasiev. In the series «Cartins and Toys», 2006. That’s ridiculous. Technology / Alexander Egorov. In the 'Trading' series, 2020s, digital seal, debond ♪ Ruarts Foundation Press Service ♪
The cult of celebrity and standards of physical and spiritual beauty — the second line of the exhibit. S on the one hand, artists here reflex on the house view of beauty, o approaches to the design of a media personality capable of empathizing and to satisfy the large stream of Internet users (Egor Giwe, Alexander Vinograd and Vladimir Dubosarsa, Maria Avdanina, and dr.).
Egor Giwe. «Beautiful,» 2023. Halst, digital seal, Swarovski’s stylists, Alexander Vinogradov and Vladimir Dubosarsky. New Year, 2002. Halst, oil, Ruarts Foundation Pre-service
Maria Avdanina. From the project ''Do you even know about me or the *** is shealing era', 2023. Digital printing, music disc, audio service of the Ruarts Foundation
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On the left: Katya Philipova. Marilyn Monroe, Marlene Dietrich and Grace Kelly, 2003. That’s ridiculous. Technology / Right: Vladislav Mamshev-Monro: From the Life of the Magnificent Monroe series, 1993 — Press Service of the Ruarts Foundation
Another important focus is on the the theme of the decorations: their designations in the culture of consumption, in rituals of the status demonstration (works of Annska Broche, Dmitry Shabalina, Sasha Lemish).
Sasha Lemish. ''Real Things'', 2024. That’s ridiculous. Technical/Dmitry Shabalin: «No Name,» both 2019. That’s ridiculous. Technology; Cybertransformation of Spider-Man, 2021. That’s ridiculous. Engineering. Pre-service of the Ruarts Foundation
High culture and e esthetic canon — third theme block of the exhibit. Here, the work of artists goes back to patterns of traditional culture, mostly to antithetics, but also to references to Christian and medieval iconography. By working with first sources, then have myths e 0; expressions, wrestling visual images, codes, e 1; patterns, authors e 2; they create new hybrids, <laqua;e 3; e 4; the present-day version (Irina Corina, Olga Tobreluts, Ludmila Baronina, Aidan Salahova e 5;dr.). e 6; this mixture of the old e 7; the new culture, the audience will voluntarily ask: < < <What is culture today?». >
On the left: Irina Corina. The Head of the Gorgon Medusa, 2024. Textile / Right: Sasha Lemish. No Name (Yeezy with Nails), 2023. Multi-technics of the Ruarts Foundation
Types of exposures by Olga Tobreluts, Olga Pegovo, Maria Avdanina, Tim Parskova, 0331c and Grishi Ruarts Foundation Pre-service
Size, flow from themes in tam, from patterns in shapes, slowness of narrative — curious aspects of the exhibition. < <\\\\\\\\\\\\\\\\\\\\\\\\\\\}\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\}\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\}\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Kitch reflects the time, in which he is moving forward with determination. In the words of Maslyaev, it’s also it’s really the fulfillment of dreams about idials, sensations in day-to-day, romance, pleasure, hedonism that in 0; you have to be ashamed of, in 1; end of in 2; — care in 3; love. The exhibition calls for treating the phenomenon studied without guilt, with attention, pleasure, in 4; irony. Art, in 5; life often finds itself in exactly the form that yesterday seemed <laqua; in 6;.
Images provided by the Foundation Press Service Ruarts Author: Michael Arutyunyan
Ruarts Foundation Press Service