The catalogue for Absolute Return: Drawings exhibition at Saint-Etienne Museum of Modern Art approaches Molodkin’s ideas as a developing system. For the first time in his artistic career, the publication has treated each project from beginning to end as a gesamtkunstwerk, revealing the artist-engineer as the creator of ‘the Soviet Utopia, belatedly realized.’ Returning to [...]

We are delighted to announce the publication of Chtak’s catalogue ‘Bits of Truth’. The catalogue will feature texts by Ekaterina Degot, Alexey Buldakov and Ilya Malkin and an interview with the artist, by Nikolai Oleinikov. The 165 page catalogue will coincide with Chtak’s exhibition at Paperworks Gallery, Moscow  and was published with support from Baibakov Art [...]

The UK press are quick to label Andrei Molodkin as the ‘bad-boy’ of Russian art, focusing at length on his macabre project of turning decomposing human bodies into crude oil. Yet they neglect to investigate the dualistic nature of his recent oeuvre.  At a time when Molodkin opens two exhibitions internationally, Transformer No. V579 at [...]

The New Museum, New York, took on a seminal task when it decided to exhibit and explore the work of Russian and Eastern European artists who were active around the time of the fall of Communism. The catalogue describes the premise of the exhibition as ‘not an authoritative history of the Communist period, but instead [...]

A recent trip to a neglected building in LSE where I watched Tom Hunter’s heart-warming film about the Woodbury Down Estate in Hackney. The film was originally commissioned by the Serpentine Gallery, London.

A brief overview of the symposia – Expanded Conceptualism – at Tate Modern, in association with the Courtauld Institute of Art.

It is comforting that there are exceptions to the cultural amnesia following post-Soviet iconoclasm, yet these pieces are more than physical fragments of memory. These pieces are true expressions of Marxist ideology in art, in that they are for the masses in their reproductive potential, socially progressive in their utility, and as every utopian ideology demands, beautiful in their execution.

The pieces on display at our December show transcend the boundary between the original work, with the authentic ‘touch’ of the artist, and the limitlessly reproduced work, as documented by photography and film. With the eradication of the original, then surely the print is the only remaining link between virtual and actual art-object.

Whilst opportunists actively remove graffiti artists’ stencils off of the street to sell them for their own profit on the secondary market, surely the artists’ move into the gallery setting is a logical, and wholly necessary, progression?

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