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Olga Tatarintsev, "Fragile Basement", 2020, inc on paper, 29,5x21 cm. INQUIRE
For both images: Ogla Tatarintsev, Untitled from "Nests of Memory" series, 2020, gel pen on paper, 21x29,5 cm. INQUIRE
Olga Tatarintsev, "Art to Be Alone", 2020, inc on paper, 21x29,5 cm. INQUIRE
Olga Tatarintsev, "Place where there is no Darkness", 2020, inc on paper, 21x29,5 cm. INQUIRE
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Olga Tatarintsev, Untitled from "Nests of Memory" serie, 2020, inc on paper, 21x29,5 cm. INQUIRE
Olga Kisseleva
photo Lilia Chak
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Olga Kisseleva is isolated in Paris where she teaches art and science at the University of Sorbonne. The classes went online, but for Olga it is a very familiar and comfortable mode of being. Olga Kisseleva’s projects are usually based on deep research and require serious preparation. This quarantine was a challenge for her, but she decided to be more flexible and adapt all her ongoing projects to the current situation. As a result, a new edition of her Power Struggle project appeared. The work in progress was launched in 2011 as a commission by Tate Modern. The artist studies the similarities between the behavior of viruses and human behavior in situations of conflict, or difficulty, described in particular by Game Theory. |
POWER STRUGGLE DC *, April–May 2020
In full swing of the pandemic, while the world's attention is focused on the virus and its behaviors, the artist initiates a new series of performances, where she invites high-level specialists in the fields affected by the crisis: medicine, virology, biology, but also finance, politics or culture, to comment on virus confrontations as if they were divergences applied to their own field.
* BC era = before COVID19, DC = during pandemic COVID19, AC = after COVID19. Source: LEONARDO provocation initiated in April 2020 by curators Roger Malina, Nina Czegledy and Joel Slayton.
* BC era = before COVID19, DC = during pandemic COVID19, AC = after COVID19. Source: LEONARDO provocation initiated in April 2020 by curators Roger Malina, Nina Czegledy and Joel Slayton.
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Claire Nettleton is the Academic Curator for the Benton Museum of Art at Pomona College in California, USA, author of The Artist as Animal in 19th Century French Literature and organizer of Viral Culture: Bioart, COVID-19 and Society weekly webcast meetings with the art-science community and co-editor of a corresponding edited volume.
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POWER STRUGGLE DC with Claire Nettleton, video HD with sound 6:08, INQUIRE
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Dominique Moulon is an independent curator, art critic and professor. Holder of a PhD in Arts and Sciences of the Art, he is a member of the Observatory of Digital Worlds in Humanities (OMNSH) and the Observatory of Digital Worlds in Humanities (OMNSH). He teaches at EPSAA (Advanced Professional Graphic Design School), ECV (School of Visual Arts), Parsons School for Design, SAIC (School of the Art Institute) of Chicago, and the University of Paris 1 Panthéon-Sorbonne.
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Dr Roman Hossein Khonsari is surgeon at the Necker Children Hospital and Associate Professor at the University of Paris. Specialist of maxillofacial surgery, he leads the laboratory “Development and growth of the skull” that studies pattern formation during cranio-facial development.
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Fabrizio Donini Ferretti has twenty years of experience in financing the energy sector, with a focus on clean energies, environment, and climate change mitigation. His is an investment banker and financial advisor in the fields of energy and infrastructure, with private banks, multilateral institutions and private equity.
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Natalia Buryka is a public historian, essayist, specialist in modern political systems and cultural and educational projects in the field of human sciences. She is an organizer of the historical festival Secousse in Paris. In past, she is the editor of the French and Russian sections of the International Fédération for Public History
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Marina Chernikova
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In Amsterdam, Marina Chernikova currently missing out on planned travels, relives her memories of past voyages. Through computer manipulation she unites previous video records of her rambles through the streets of Moscow, Paris and Amsterdam. In this process recognizable and logical images of cities are mixed, multi-layered and reconstructed. Eventually they are transformed into new glitch-like urban landscapes. These become sources of new snapshots and videos and form a new series “Archives of Rambles / 2020”. The artist shows the altered perception of the urban environment by a person immersed in the digital universe.
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For 3 images: Marina Chernikova, "Untitled", digital print on paper 80х4 cm, edition of 8 +2 a.p. INQUIRE
Marina Chernikova, “Archives of Rambles 20 M/P”, 2020, vidéo, 1min 40sec, HD, stereo, edition of 8 + 2a.p. INQUIRE
For 2 images: Marina Chernikova, "Paris Night ”, 2020, digital print on paper, 40x70 cm, edition of 8 + 2 a.p. INQUIRE
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For both images: Marina Chernikova, "Yellow Facade" / "Blue Facade", 2020, acrylic and water-color on paper, 37x26 cm. INQUIRE
Marina Chernikova, "Ruins", 2020, acrylic and water-color on paper, 36x48 cm. INQUIRE
Marina Chernikova, "Bridge", 2020, acrylic and water color on paper, 30x40 cm. INQUIRE
Gosha Ostretsov
photo Mikhail Stenin
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“An artist is always in isolation” – says Gosha Ostretsov, a Russian artist who is self-isolating with his family in his house surrounded by woods near Moscow. During this quarantine Ostretsov started a new project - “The Forest Dwellers”. The artist focuses on establishing a very intimate connection with nature. He listens to medieval music and walks in the woods which have become his own private temple. From there he brings home weird dry tree branches, draws their portraits, turns them into sculptures and talks to them as if they were actual human beings. The return to the pagan world of primordial unity of humans and trees is helping the artist to cope with stress and uncertainty.
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Gosha Ostretsov, "Forest Inhabitant", 2020, pencil on paper, 30x40 cm. INQUIRE
Gosha Ostretsov, "Mask", 2020, pencil on paper, 40x30 cm. INQUIRE
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Gosha Ostretsov, "Mask with a Beard", 2020, wood, wood mushrooms, tree bark, tissue, 130x34 cm. INQUIRE
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Gosha Ostretsov, "Mask with a Mustache", 2020, wood, wood mushrooms, tree bark, tissue, 50x40 cm. INQUIRE
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From 1 to 3: Gosha Ostretsov, "Aleshenka", 2020, wood, acrylic paint, 68x23 cm; "Chineese Dragon", 2020, wood, acrylic paint, 85x50 cm; "Lion", 2020, wood, acrylic paint, 48x33cm. INQUIRE
Vladyslav Krasonshchok
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Kharkiv, an industrial city in Eastern Ukraine is the home of Vladyslav Krasnoshchok. He is one of the most important representatives of the younger wave of the famous Kharkiv School of Photography. Unlike all other participants of the exhibition he has an additional dimension of his career. Vladyslav Krasnoshchok is a surgeon who has been operating throughout this lock-down in two major hospitals in the city. In parallel he was creating numerous new art pieces – engravings on masks and old newspapers, photos and installations. The artist uses Petri dishes (common cell-growing tools that can be found at any medical laboratory) to create collages filled with nostalgic memories and artifacts from the Soviet past. In his practice Krasnoshchok is focused on the topic of cultural memory and remembering which is especially relevant in contemporary Ukraine which in 2014-2019 went through a painful and ambiguous wave of decommunization and is currently looking for ways to overcome all “forms of forgetting ” of its cultural and political past. |
Vladyslav Krasnoshchok, Untitled, 2020, anonymous photo colored manually, 29x35 cm. INQUIRE
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For two images: Vladyslav Krasnoshchok, Untitled, March 2020, manual linocut on surgical mask, 10x17 cm, edition of 60 each. INQUIRE
For three images: Vladyslav Krasnoshchok, "Petri Dish", 2015, Petri dish, mixed media, 12x12x2,5 cm. INQUIRE
For three images: Vladyslav Krasnoshchok, "Petri Dish", 2015, Petri dish, mixed media, 12x12x2,5 cm. INQUIRE
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Vladyslav Krasnoshchok, Untitled, 2020, manual linocut on Pravda of the 10th of March 1953 (with the first announsment of the Stalin's death), 60x40cm. INQUIRE