Installation view
Collective Actions Group, Golden lines in Izmailovo, 2020, laminated evidence 1/20, 188 x 145 mm, courtesy of Plamen gallery, Moscow
Installation view
Installation view
Genevieve Goffman, Dreambed, Extra-Cloud Edition, (Tower and the City #5), 2020, CNC milled XPS foam, glue, 440 x 430 x 508 mm
Genevieve Goffman, Dreambed, Extra-Cloud Edition, (Tower and the City #5), 2020, CNC milled XPS foam, glue, 440 x 430 x 508 mm
Genevieve Goffman, Dreambed, Extra-Cloud Edition, (Tower and the City #5), detail, 2020, CNC milled XPS foam, glue, 440 x 430 x 508 mm
Genevieve Goffman, Dreambed, Extra-Cloud Edition, (Tower and the City #5), detail, 2020, CNC milled XPS foam, glue, 440 x 430 x 508 mm
Installation view
Dasha Kuznetsova, Русский сон, 2020, oil on canvas, 245 x 340 mm
Installation view
Vladimir Chernyshev, Untitled, 2012, graphite and ink on wrapping paper, 127 x 140 mm unframed
Vladimir Chernyshev, Untitled, 2012, graphite and ink on wrapping paper, 127 x 140 mm unframed
Installation view
Vitaly Bezpalov, Human's Pod (Always CC Pre_Seed) VII, 2020, Princess Noori black tea soaked masking tape on foam board, varnish, cocaine, 245 x 1000 x 30 mm
Vitaly Bezpalov, Human's Pod (Always CC Pre_Seed) VII, detail, 2020, Princess Noori black tea soaked masking tape on foam board, varnish, cocaine, 245 x 1000 x 30 mm
Installation view
Christopher Brodie Peckham, Nearly Now, 2017, colored pencil on paper, 272 x 212 mm unframed
Vitaly Bezpalov, Aboli bibelot d'inanité sonore, 2020, Princess Noori tea bags in steel bowl, water, dimensions vary
Installation view
Dima Gred, Untitled, 2018, photographic print on cotton paper, 337 x 440 mm
Ilya Smirnov, 36912 60153045 9999 5, 2020, coloured chalk on tiled wall, dimensions vary
Ilya Smirnov, 36912 60153045 9999 5, detail, 2020, coloured chalk on tiled wall, dimensions vary
Voronezh city was a place of exile for a Russian-Jewish acmeist poet Osip Mandelstam. On Jan. 2 1937 he's writing Smile, angry lamb—a semi-accurate description for Rafael's Sacra Famiglia con l’angello. While involuntarily based in a remote province O.M. didn't have physical access neither to the originals, nor to reproductions of Rafael's work. Poems painting differs from the actual one in many ways. Soft background and fuzzy vegetation of the original is replaced by the bare and unwelcoming rocky landscape. Sky’s gentle gradient turns into a dramatic clash of sharp-edged clouds. The Lamb of God looks angry unlike Rafael's rather cheerful rendering. The text narrates a non-existent visual piece, a memorial amalgamation of multiple high culture images the exiled one is thirsting for.
Cristo acompáñame. Cristo ante mí. Cristo detrás de mí. Cristo en mí. Cristo debajo de mí. Cristo sobre mí. Cristo a mi derecha. Cristo a mi izquierda. Cristo en el corazón.
Sedientos. Tenemos sed.
— Ilya S. FEB 11, 1:53AM St. Petersburg
.jpg)
-13.jpg)
