ONLINE-CATALOG
International exhibition of contemporary art
International exhibition of contemporary art
The Skin of Time
07 - 13 of May. 2023
Culture center-Magacin OSTAVINSKA, Belgrade, Serbia
Culture center-Magacin OSTAVINSKA, Belgrade, Serbia
We express special thanks to the invited specialists who participated in organizing the exhibition and working on the online-catalog
- Julia ShlenskayaArt ProducerArt Producer, Curator, Conceptual Artist, Belgrade
- Anastasia SklyankinaInvited participant: Art CriticArt Critic, Specialist in Contemporary Art,
Belgrade - Anna GenbaInvited participant: Art MediatorArt Historian, Art Mediator,
Belgrade
CONCEPT
Some of these changes are obvious, while others are almost imperceptible. Erich Maria Remarque once wrote that everything looks the same as before, but it feels like everything is no longer the same. But what exactly has changed? And what has not? What can be seen, and what can only be felt with the skin?
The contemporary art exhibition "The Skin of Time" is dedicated precisely to these changes. The exhibition features works by modern artists from Moscow and Belgrade, reflecting their view on the changes and their experience of adapting to them.
One of the exhibition's goals is to promote cultural rapprochement and mutual penetration. Just as an individual cannot exist without communication with other people, culture cannot exist in isolation from other material and spiritual achievements of other nations.
Belgrade is the best proof of this. It is a real cultural crossroads. For centuries, all sorts of people have come here, enriching each other with the values and traditions of their nations. But these values did not always coincide. And the city has become a symbol not only of synthesis but also of the cultural conflict.
Traditions never arise out of nowhere. The culture of the people is formed under the influence of many factors — from geographical to religious and political ones. It is not surprising that interaction of peoples always faces the problem of perceiving other cultures.
The contemporary art exhibition "The Skin of Time" is dedicated precisely to these changes. The exhibition features works by modern artists from Moscow and Belgrade, reflecting their view on the changes and their experience of adapting to them.
One of the exhibition's goals is to promote cultural rapprochement and mutual penetration. Just as an individual cannot exist without communication with other people, culture cannot exist in isolation from other material and spiritual achievements of other nations.
Belgrade is the best proof of this. It is a real cultural crossroads. For centuries, all sorts of people have come here, enriching each other with the values and traditions of their nations. But these values did not always coincide. And the city has become a symbol not only of synthesis but also of the cultural conflict.
Traditions never arise out of nowhere. The culture of the people is formed under the influence of many factors — from geographical to religious and political ones. It is not surprising that interaction of peoples always faces the problem of perceiving other cultures.
Therefore, it is not enough to simply show interest in other cultures - it is necessary to take into account the conformity or nonconformity of spiritual, ethical, and aesthetic coordinates. This will determine how the perception of another culture will be — whether it will be assimilation, complementarity, or rejection.
And now, as Belgrade becomes once again a point of attraction and collision of cultures, it is important not to repeat the mistakes of the past. After all, today culture is playing an even more important role in society, trying to protect it from destructive centrifugal forces.
By incorporating our historical past and present reality into the general context of global development processes, we give a unique character and multiple variations to the ethno-cultural image not only of a particular society, but of the world as a whole.
"The Skin of Time" is not just an exhibition of works of art. It is an opportunity to reflect on our place in a rapidly changing world and how we can preserve cultural heritage and pass it on to future generations. It is an opportunity to better understand the world in which we live.
Visual aids are often used to help audiences of informative and persuasive speeches understand the topic being presented. Visual aids can play a large role in how the audience understands and takes in information that is presented.
And now, as Belgrade becomes once again a point of attraction and collision of cultures, it is important not to repeat the mistakes of the past. After all, today culture is playing an even more important role in society, trying to protect it from destructive centrifugal forces.
By incorporating our historical past and present reality into the general context of global development processes, we give a unique character and multiple variations to the ethno-cultural image not only of a particular society, but of the world as a whole.
"The Skin of Time" is not just an exhibition of works of art. It is an opportunity to reflect on our place in a rapidly changing world and how we can preserve cultural heritage and pass it on to future generations. It is an opportunity to better understand the world in which we live.
Visual aids are often used to help audiences of informative and persuasive speeches understand the topic being presented. Visual aids can play a large role in how the audience understands and takes in information that is presented.
REVIEW
The contemporary art exhibition "Skin of Time" represents a unique artistic event dedicated to the subtle changes that occur both on personal and cultural levels. This project, featuring seven artists from Moscow and Belgrade, showcases a diversity of artistic approaches and media, including paintings, sculptural installations, and other forms of visual art.
The central concept of the exhibition is based on reflections about the noticeable and unnoticed changes described by Erich Maria Remarque. The artists aim to express their understanding of these changes through the lens of adaptation and perception. The works in the exhibition provoke deep contemplation about what exactly has changed in the world around us and what remains constant.
One of the key goals of the exhibition is to promote cultural convergence and mutual influence. This statement is particularly relevant for Belgrade, which has served as a cultural crossroads for centuries, where the interaction of various traditions has led to both synthesis and conflict. The exhibition emphasizes that culture cannot exist in isolation; it develops and enriches through dialogue with other cultures.
The "Skin of Time" exposition allows viewers to see how personal and collective changes are reflected in contemporary art. Artists from Belgrade and Moscow offer their unique interpretations of these changes, using various artistic techniques and materials. The paintings, sculptures, and installations presented at the exhibition act as bridges, connecting the past and present, the local and global.
The works of Marija Djuricic and Sofija Milovanović, for example, demonstrate opposing approaches to the theme of changes. Marija Djuricic, using abstract forms and textures, creates works that convey a sense of the continuous flow of time and its impact on human life. Sofija Milovanović, on the other hand, explores specific moments and places, capturing them in detailed and emotionally rich canvases.
The installations and sculptural objects by Anna Koroleva explore space and materiality, offering viewers a physical sensation of interaction with a changing environment. These works are not only visually impressive but also evoke tactile and emotional responses, which corresponds to the overall theme of the exhibition — feeling changes "in the skin".
Special attention is deserved by the work of curator Julia Shlenskaya, who also participated as an artist. Her dual role added additional depth and coherence to the exhibition. Shlenskaya, in organizing the exposition, managed to harmoniously combine diverse works, creating a unified space. As an artist, she presented video art, where each participant was asked to select video materials reflecting their unique life experiences. The resulting video art encourages viewers to explore their own emotions and life experiences, prompting them to think about the connection between psychological and physical states. Shlenskaya's work invites viewers to imagine how their emotions would look if they had a physical manifestation.
Thus, "Skin of Time" is not just an exhibition but an important cultural event that promotes a deep understanding of our place in the world. It reminds us of the importance of preserving cultural heritage and the need to adapt to new conditions without losing our identity. The exhibition offers viewers an opportunity to better understand the complex processes taking place in the modern world and to see how art can become a tool for their comprehension.
This exhibition deserves attention not only for its artistic value but also for its contribution to cultural dialogue and mutual understanding between different peoples and generations. "Skin of Time" successfully fulfills its task — making viewers think about the profound and often invisible changes occurring around us.
The central concept of the exhibition is based on reflections about the noticeable and unnoticed changes described by Erich Maria Remarque. The artists aim to express their understanding of these changes through the lens of adaptation and perception. The works in the exhibition provoke deep contemplation about what exactly has changed in the world around us and what remains constant.
One of the key goals of the exhibition is to promote cultural convergence and mutual influence. This statement is particularly relevant for Belgrade, which has served as a cultural crossroads for centuries, where the interaction of various traditions has led to both synthesis and conflict. The exhibition emphasizes that culture cannot exist in isolation; it develops and enriches through dialogue with other cultures.
The "Skin of Time" exposition allows viewers to see how personal and collective changes are reflected in contemporary art. Artists from Belgrade and Moscow offer their unique interpretations of these changes, using various artistic techniques and materials. The paintings, sculptures, and installations presented at the exhibition act as bridges, connecting the past and present, the local and global.
The works of Marija Djuricic and Sofija Milovanović, for example, demonstrate opposing approaches to the theme of changes. Marija Djuricic, using abstract forms and textures, creates works that convey a sense of the continuous flow of time and its impact on human life. Sofija Milovanović, on the other hand, explores specific moments and places, capturing them in detailed and emotionally rich canvases.
The installations and sculptural objects by Anna Koroleva explore space and materiality, offering viewers a physical sensation of interaction with a changing environment. These works are not only visually impressive but also evoke tactile and emotional responses, which corresponds to the overall theme of the exhibition — feeling changes "in the skin".
Special attention is deserved by the work of curator Julia Shlenskaya, who also participated as an artist. Her dual role added additional depth and coherence to the exhibition. Shlenskaya, in organizing the exposition, managed to harmoniously combine diverse works, creating a unified space. As an artist, she presented video art, where each participant was asked to select video materials reflecting their unique life experiences. The resulting video art encourages viewers to explore their own emotions and life experiences, prompting them to think about the connection between psychological and physical states. Shlenskaya's work invites viewers to imagine how their emotions would look if they had a physical manifestation.
Thus, "Skin of Time" is not just an exhibition but an important cultural event that promotes a deep understanding of our place in the world. It reminds us of the importance of preserving cultural heritage and the need to adapt to new conditions without losing our identity. The exhibition offers viewers an opportunity to better understand the complex processes taking place in the modern world and to see how art can become a tool for their comprehension.
This exhibition deserves attention not only for its artistic value but also for its contribution to cultural dialogue and mutual understanding between different peoples and generations. "Skin of Time" successfully fulfills its task — making viewers think about the profound and often invisible changes occurring around us.
Data: 15th of May, 2023
Autor: Art critic, specialist in contemporary art and the art market,
member of Art Critics and Art Historians Association (AICA), Anastasia Sklyankina
Anastasia Ryzhikova
CONTEMPORARY ARTIST, MOSCOW, RUSSIA
Born in 1989 in Baikonur, currently residing in Moscow.
Education
2021–2023 Moscow School of Contemporary Art (MSCA), department of contemporary art
2007–2013 Moscow State Academic Art Institute named after V.I. Surikov, department of graphics and print
2000–2007 Moscow State Academy Art Lyceum of The Russian Academy of Arts
Education
2021–2023 Moscow School of Contemporary Art (MSCA), department of contemporary art
2007–2013 Moscow State Academic Art Institute named after V.I. Surikov, department of graphics and print
2000–2007 Moscow State Academy Art Lyceum of The Russian Academy of Arts
Selected exhibitions.
2022 “Apartment 17”, U Contemporary, Winzavod Center of Contemporary Art, Moscow, Russia
2022 “Transformation”, U Contemporary, Winzavod Center of Contemporary Art, Moscow, Russia
2022 Performance “2022 Cycle”, “Big Space“ Winzavod Center of Contemporary Art, Moscow, Russia
2022 Nationwide exhibition of contemporary design “Tryn*Trava” (“All the same”), Muravyov-Apostol Estate, Moscow, Russia
2022 Solo exhibition “The Age of Pioneers”, Youth Center, Korolyov
2022 “Wow”, Here on Taganka gallery, Moscow, Russia
2021 “Women’s attributes”, III Eurasian, Saint-Petersburg, Russia
2022 “Apartment 17”, U Contemporary, Winzavod Center of Contemporary Art, Moscow, Russia
2022 “Transformation”, U Contemporary, Winzavod Center of Contemporary Art, Moscow, Russia
2022 Performance “2022 Cycle”, “Big Space“ Winzavod Center of Contemporary Art, Moscow, Russia
2022 Nationwide exhibition of contemporary design “Tryn*Trava” (“All the same”), Muravyov-Apostol Estate, Moscow, Russia
2022 Solo exhibition “The Age of Pioneers”, Youth Center, Korolyov
2022 “Wow”, Here on Taganka gallery, Moscow, Russia
2021 “Women’s attributes”, III Eurasian, Saint-Petersburg, Russia
“...My creative work stems from a combination of my art background and experimenting with modern media.I focus on observing the ever-elusive moments of life, turning them into objects much like a photo captures that brief instant where time and space freeze forever. I transform the conventional into something new and imbed familiar fragments into a different reality — for instance, I humanize flowers by attributing skin to them, or make an invisible talisman from mistakes. A separate piece or an ornament made from a throng of pieces are equally important to me. The starting point for every project is my inner state that interferes with various entities and imperceptibly connects with an endless universe of my own imagination — from understanding my limits to new opportunities…to discover the next step.
I create sculptures from different materials, also work with photo, video and “performance” media, usually using the idea as a build-up...”
I create sculptures from different materials, also work with photo, video and “performance” media, usually using the idea as a build-up...”
ETUDE №1, 2022
Wire rod, feathers, stool
40 х 32 х 14 cm, 120 х 40 х 40 cm
40 х 32 х 14 cm, 120 х 40 х 40 cm
Flight is what both inspires and frightens me from an early age, that’s why my summer collection started with feathers. For me it’s a symbol of freedom, purity, levity and new life.
Spending summers at my grandmother’s as a kid, I used to watch swallows learn to fly. I also remember my brother learning to walk — the sheer amount of scuffed knees…I was unconsciously watching him recognize his own sense of self and sense of balance in space.
It’s incredible how as kids we discover the world and ourselves through scratches and wounds and as we get older we do the same, but through emotional wounds.
Mistakes are not a negative experience. It’s a valuable lesson that becomes an invisible talisman
Spending summers at my grandmother’s as a kid, I used to watch swallows learn to fly. I also remember my brother learning to walk — the sheer amount of scuffed knees…I was unconsciously watching him recognize his own sense of self and sense of balance in space.
It’s incredible how as kids we discover the world and ourselves through scratches and wounds and as we get older we do the same, but through emotional wounds.
Mistakes are not a negative experience. It’s a valuable lesson that becomes an invisible talisman
FEEL, 2022
Wire rod, feathers, stool
40 х 32 х 14 cm, 120 х 40 х 40 cm
Human body is protected by skin. It is the contact between the body and environment.
In addition to being an essential part of breathing, thermoregulation, etc., it is a huge receptive field through which we explore the world and ourselves in it.
In this project I wanted to look into perception of the subject via attributing human skin — in this case to the flower. Humans, designed to feel pain, cold, emotional sensations through skin, won’t wish to pick (appropriate) the flower covered by it. They will automatically translate their feelings onto the flower.
In some way this is also a metaphor of worries about a child — you expect, raise, take care of it only for someone to “pick” it like a flower one day. I thus try to rethink and show the familiar from a fresh angle and make viewers feel something different
In addition to being an essential part of breathing, thermoregulation, etc., it is a huge receptive field through which we explore the world and ourselves in it.
In this project I wanted to look into perception of the subject via attributing human skin — in this case to the flower. Humans, designed to feel pain, cold, emotional sensations through skin, won’t wish to pick (appropriate) the flower covered by it. They will automatically translate their feelings onto the flower.
In some way this is also a metaphor of worries about a child — you expect, raise, take care of it only for someone to “pick” it like a flower one day. I thus try to rethink and show the familiar from a fresh angle and make viewers feel something different
Anna Koroleva
CONTEMPORARY ARTIST, MOSCOW, RUSSIA
Born in 1998 in Baikonur, currently residing in Moscow.
Education
2021–2023 Moscow School of Contemporary Art (MSCA), CPD Contemporary Art
2015–2019 Moscow State Stroganov Academy of Design and Applied Arts (Stroganov Academy), Interior Design
Education
2021–2023 Moscow School of Contemporary Art (MSCA), CPD Contemporary Art
2015–2019 Moscow State Stroganov Academy of Design and Applied Arts (Stroganov Academy), Interior Design
Selected exhibitions.
2022 Humgat , Cube Moscow, Moscow, Russia
2022 Apartment 17, U contemporary, Winzavod , Moscow, Russia
2022 Transformation, U contemporary, Winzavod , Moscow, Russia
2022 Now and Here, MSCA, Moscow, Russia
2021 Москва Private and Public, MSCA, Moscow, Russia
2022 Humgat , Cube Moscow, Moscow, Russia
2022 Apartment 17, U contemporary, Winzavod , Moscow, Russia
2022 Transformation, U contemporary, Winzavod , Moscow, Russia
2022 Now and Here, MSCA, Moscow, Russia
2021 Москва Private and Public, MSCA, Moscow, Russia
“...I've been interested in turning to materials related to ecology. In my opinion, it is important to sort waste and recycle it. In highlighting this issue, I create works from plastic and cardboard. Also a separate role in my practice is played by such material as wax. It has the ability to transform as it interacts with heat. Most of my work consists of objects created through various life practices: friction, melting, recycling of material at home, daily note taking...”
BURNOUT, 2022
Installation
Plastic bottles, 7 pieces
Plastic bottles, 7 pieces
150 х 50 х 40 cm
Often in the modern world we are in a perpetual hurry and lose the skill to analyze our current state, both mental and physical. The aim of this project is to study such phenomenon as emotional burnout. As a rule, it is accompanied by endless work, in which a person does not see the value. On the example of a plastic bottle an experiment was conducted.
What happens if you do a useless activity over a bottle for 30 minutes, an hour, an hour and a half, etc.
What happens if you do a useless activity over a bottle for 30 minutes, an hour, an hour and a half, etc.
Luby, 2022
Video art, 34 minutes
"Luby" is a mix-media installation, which was created in collaboration with a contemporary artist Anna Koroleva for an exhibition in Cube gallery, Moscow. This project consists of a video-art performance and sculptures, created by Anna. My role was to direct and produce an installation that would enhance visual experience and support the main idea through the video means.
This project is a study of human experience of love in its various forms. Passion, tenderness and goodness are three highlighted sensations, which are experienced and expressed through the performative practice of melting wax by human body. The result is a series of sculptures and a video-art that focuses on emotional and physical states during the performance.
The choice of wax is a reference to Ancient Rus' people's belief that wax is capable of cleansing spaces from negative energy, removing damage and jinx's, attracting prosperity and love. It was also widely used in various rituals. "Luby" adopts this belief to modern problems and realities. It attempts to consider love as a physical space that you can enter to close yourself from external negativity.
In search for light and love, it is particularly important to turn your attention inward.
This project is a study of human experience of love in its various forms. Passion, tenderness and goodness are three highlighted sensations, which are experienced and expressed through the performative practice of melting wax by human body. The result is a series of sculptures and a video-art that focuses on emotional and physical states during the performance.
The choice of wax is a reference to Ancient Rus' people's belief that wax is capable of cleansing spaces from negative energy, removing damage and jinx's, attracting prosperity and love. It was also widely used in various rituals. "Luby" adopts this belief to modern problems and realities. It attempts to consider love as a physical space that you can enter to close yourself from external negativity.
In search for light and love, it is particularly important to turn your attention inward.
NEW LIFE, 2022
Sculptures-Casts, 12 pieces
Pulp cardboard
120 х 80 х 4 cm
The life of a thing ends when it loses its function. From here on, it is garbage. Comparing the life of man and the life of a used thing, we can see how stable and unchanging the process of destruction is in relation to everything. What is it in man's power to apply to prevent destruction? Probably nothing. But, what if life and soul could be nurtured where it no longer exists? I truly believe that man can love and create, giving a second, third and subsequent life to the lost. Recycling is an activity that involves handling waste in order to ensure its reuse in the national economy and obtain raw materials, energy, products, and supplies. This project is made of recyclable materials and has the ability to be submitted for recycling.
Ilmar
CONTEMPORARY ARTIST & PHOTOGRAPHER, BELGRADE, SERBIA
Born in Russia, currently residing in Belgrade.
Education
2013 British College of Design and Art in Moscow, departments of fashion photography
Education
2013 British College of Design and Art in Moscow, departments of fashion photography
Selected exhibitions.
2013 Conversion, Muzeon, Moscow, Street Gallery, Belgrad, Dukli, Montenegrin
2015 Press Photo Serbia, winner in the category of portrait
2017 Serbia's Craftbeat, Russia House, Belgrade, Serbia
2021 Lepota starenja, Cultural Center "UK Parobrod", Belgrade, Serbia
2021 Svedoci tradicije, Culture center of Zrenjanin, Serbia
2021 Artist's monologue, Centar gallery, Belgrade, Serbia
2013 Conversion, Muzeon, Moscow, Street Gallery, Belgrad, Dukli, Montenegrin
2015 Press Photo Serbia, winner in the category of portrait
2017 Serbia's Craftbeat, Russia House, Belgrade, Serbia
2021 Lepota starenja, Cultural Center "UK Parobrod", Belgrade, Serbia
2021 Svedoci tradicije, Culture center of Zrenjanin, Serbia
2021 Artist's monologue, Centar gallery, Belgrade, Serbia
“...What are photographs? They are an opportunity to transport oneself to another place, to see what is already difficult to see here and now. Photographs enable the viewer to observe the details of handiwork and immerse themselves in the traditional culture of Serbia, prompting the viewer to consider how diverse ethnic groups seek balance between their traditions and modern trends, thereby creating new forms of art and expression. This artwork invites the viewer to reflect on how to preserve one's cultural identity and find one's place in a world where social norms and cultural values are constantly changing...”
Serbia's CraftBeat, 2018
Photo series
Serbia's CraftBeat is a project that provides the opportunity to get in touch with Serbian culture, visit wonderful landscapes and get to know interesting people and their customs. It is inhabited by many peoples who have lived side by side over the centuries, preserving their own traditions but also accepting the experience and customs of their neighbors. Today, this incredible combination of different ethnicities represents a hidden treasure on the cultural map of the world.
The project Serbia's CraftBeat was created with the aim of discovering and showing all the beauty of the Serbian soul. And, the viewer will see it, and will learn more about the traditional crafts of the inhabitants of Serbia, where even the simplest objects of domestic craftsmanship can tell us the story of their creators.
The project Serbia's CraftBeat was created with the aim of discovering and showing all the beauty of the Serbian soul. And, the viewer will see it, and will learn more about the traditional crafts of the inhabitants of Serbia, where even the simplest objects of domestic craftsmanship can tell us the story of their creators.
Jilia Shlenskaya
CONTEMPORARY ARTIST, BELGRADE, SERBIA
Born in 1993 in Moscow, currently residing in Belgrade.
Education
2023–2024 HSE, Product Development and Portfolio Management, Qualification Enhancement
2021–2022 British Higher School of Design, Contemporary art
2022 British Higher School of Design, “Trends, partnerships, strategies in art and culture”
2020–2022 MSNC, Film Editor, Sergey Ivanov’s graduating class
2020–2021 MSNC, Film Director, Dmitry Mamuliya’s graduating class
2019 Benefis, Acting classes
Other Education
2019–2021 HSE, Psychoanalysis and Psychotherapy, Master Degree
2010–2014 HSE, Mathematics, Bachelor Degree
2010 Mathematics Lyceum “The second school”, School Education
Education
2023–2024 HSE, Product Development and Portfolio Management, Qualification Enhancement
2021–2022 British Higher School of Design, Contemporary art
2022 British Higher School of Design, “Trends, partnerships, strategies in art and culture”
2020–2022 MSNC, Film Editor, Sergey Ivanov’s graduating class
2020–2021 MSNC, Film Director, Dmitry Mamuliya’s graduating class
2019 Benefis, Acting classes
Other Education
2019–2021 HSE, Psychoanalysis and Psychotherapy, Master Degree
2010–2014 HSE, Mathematics, Bachelor Degree
2010 Mathematics Lyceum “The second school”, School Education
Selected exhibitions.
2024 Echoes of Family Relations 202, installation titled “Identification”, KC Dorćol, Belgrade, Serbia
2024 The Choice of Art Bureau 15, photographs with alternative printing titled “Moscow” and “One life story...”, KC Dorćol, Belgrade, Serbia
2023 Go to The Next Level, installation titled “Migrant”, Cumicevo sokace, Belgrade, Serbia
2023 The Skin of Time, video installation titled “Inscrutable ways”, KC Magacin Ostavinska, Belgrade, Serbia
2022 Humgat, video and sculpture installation titled “Luby”, Cube, Moscow, Russia
2022 Transformation, video installation titled “Inscrutable ways”, Winzavod, Moscow, Russia
2022 Fairy tales about tomorrow, performance “Nothing will be changed tomorrow”, Moscow, Russia
2022 Ontology, film “A little bit about vital”, Artplay, Moscow, Russia
2022 Here and now, installation “Destruction and resurrection”, Artplay, Moscow, Russia
2021 Personal and social, installation “Mirror of a compulsive overeating disorder”, Artplay, Moscow, Russia
2024 Echoes of Family Relations 202, installation titled “Identification”, KC Dorćol, Belgrade, Serbia
2024 The Choice of Art Bureau 15, photographs with alternative printing titled “Moscow” and “One life story...”, KC Dorćol, Belgrade, Serbia
2023 Go to The Next Level, installation titled “Migrant”, Cumicevo sokace, Belgrade, Serbia
2023 The Skin of Time, video installation titled “Inscrutable ways”, KC Magacin Ostavinska, Belgrade, Serbia
2022 Humgat, video and sculpture installation titled “Luby”, Cube, Moscow, Russia
2022 Transformation, video installation titled “Inscrutable ways”, Winzavod, Moscow, Russia
2022 Fairy tales about tomorrow, performance “Nothing will be changed tomorrow”, Moscow, Russia
2022 Ontology, film “A little bit about vital”, Artplay, Moscow, Russia
2022 Here and now, installation “Destruction and resurrection”, Artplay, Moscow, Russia
2021 Personal and social, installation “Mirror of a compulsive overeating disorder”, Artplay, Moscow, Russia
“.....Every person goes through a journey of internal and external changes between birth and death. This journey includes experiences such as socialization within the family, school, university, work and emigration. Throughout this journey, people encounter various relationships such as friendships, love, and betrayal, THIS ALL leave a trace on them....”
Inscrutable ways, 2022
Video art
The artwork reflects the emotions of four individuals:
● Melancholy brought on by the experience of emigrating;
● Falling in love and experiencing rejection, related to adaptation to a new place;
● Resentment caused by an unsuccessful experience;
● Anger directed towards sudden changes in life circumstances, based on a sense of powerlessness and the inability to resist them.
Each person was asked to select videos that represent their unique life experiences. The resulting video art encourages viewers to explore their own emotions and life experiences, prompting them to consider the connection between psychological and physical states. The artwork invites viewers to imagine what their emotions would look like if they had a physical manifestation.
Maria Djuricic
CONTEMPORARY ARTIST, BELGRADE, SERBIA
Born in 1988 in Belgrade.
Education
Bachelor and master's studies at the Faculty of Fine Arts in Belgrade.
Education
Bachelor and master's studies at the Faculty of Fine Arts in Belgrade.
Selected exhibitions.
Božidar Adžija solo exhibition, Belgrad Cultural Center
2020 "Centar" Gallery program
2021 "Čumić Art Festival"
2022 Member of the Association of Fine Artists of Serbia
2022 group exhibition of new members of ULUS, "Cvijeta Zuzorić", Art Pavilion
Božidar Adžija solo exhibition, Belgrad Cultural Center
2020 "Centar" Gallery program
2021 "Čumić Art Festival"
2022 Member of the Association of Fine Artists of Serbia
2022 group exhibition of new members of ULUS, "Cvijeta Zuzorić", Art Pavilion
“.....I rely on the internal sensations and emotions that overwhelm me. My artistic practice expresses those feelings and experiences that cannot be conveyed through words. Using various techniques and materials, I strive to create pieces that evoke a deep emotional response in viewers and provoke thought.
For me, art is an intuitive and spontaneous process where every stroke and detail reflects my inner states. It serves as a bridge, connecting me with the world and others, and helps explore both the external and internal realms. Through art, I aim to better understand myself and those around me, finding a common language and experiencing unity...”
For me, art is an intuitive and spontaneous process where every stroke and detail reflects my inner states. It serves as a bridge, connecting me with the world and others, and helps explore both the external and internal realms. Through art, I aim to better understand myself and those around me, finding a common language and experiencing unity...”
The Birth, 2022
Paper, graphite pencil
35 x 27 cm
35 x 27 cm
A human torso emerges from an abstract mass resembling the body of a
snake. The flow of one form into another is reminiscent of the cycle of death, rebirth and transformation of living beings, emotions and ideas. In this work, I explored an approach to graphics in which repeating lines form into dynamic, organic shape.
Tissue, 2022
Canvas, oil
30 x 25 cm, 30 x 25 cm
30 x 25 cm, 30 x 25 cm
30 x 25 cm, 30 x 25 cm
30 x 25 cm, 30 x 25 cm
An abstract image slightly tree dimensional, these are emarginated organic forms completing each other in an emarginated space like vacuum. The size of the painting is small and that also implicate that is not enough space.
Woman, 2022
Canvas, acrylic
90 x 100 cm
90 x 100 cm
An abstract image slightly tree dimensional, these are emarginated organic forms completing each other in an emarginated space like vacuum. The size of the painting is small and that also implicate that is not enough space.
Pavel Astrakhov
CONTEMPORARY ARTIST & PHOTOGRAPHER, BELGRADE, SERBIA
Born in Moscow, currently residing in Belgrade.
Education
Art school.
Technical School, Department of Graphic Design.
Advanced training, online training High Light School (more than 15 classes).
Attending lectures and personal classes with such photographers as Oleg Doe, Bogdan Zvir
Education
Art school.
Technical School, Department of Graphic Design.
Advanced training, online training High Light School (more than 15 classes).
Attending lectures and personal classes with such photographers as Oleg Doe, Bogdan Zvir
Selected exhibitions.
2011 Artist of the International Federation of Photographic Arts AFIAP
2010 Member of the International Union of Photographers UPI
2011 Artist of the International Federation of Photographic Arts AFIAP
2010 Member of the International Union of Photographers UPI
“...Participation in competitions and exhibitions brought a big breakthrough in the career of a photographer — it became an opportunity to find my audience. Soon, photography became the main job, and design training helped to expand the functionality and tools. Creativity helps to get to know people and reveal the personality of the characters in a new way. I think that in the modern world it is necessary to periodically go beyond the usual perception. It is necessary to strive for new discoveries, constantly conducting creative experiments. So we learn more about ourselves and about our common WORLD...”
State, 2022
Series of paintings
Acrylic and oil painting
30 x 30 x 2 cm, 30 x 40 x 2 cm
Acrylic and oil painting
30 x 30 x 2 cm, 30 x 40 x 2 cm
The series of paintings on the theme of «State» represents a visual exploration of emotional instability and internal experiences related to external events. Intense emotions that can arise during various processes can be stronger than physical reality and, due to their strength, can begin to destroy a person from within, both physically and mentally.
Fears, 2022
Acrylic and oil painting
100 x 80 x 2 cm
100 x 80 x 2 cm
This series of works is a discourse on the nature of fear, a journey through its stages, from inception to release. Biomechanical figures refer us to the interaction of the physical and emotional, because fear is strongly reflected in the body. Feelings of stiffness, numbness, or, on the contrary, excessive mobility and nervousness are companions of fear, familiar to everyone.
In our complex reality, in which we encounter everything from natural disasters to human cruelty, can we avoid fear? Or is it worth meeting him face to face and learning how to fight?
In our complex reality, in which we encounter everything from natural disasters to human cruelty, can we avoid fear? Or is it worth meeting him face to face and learning how to fight?
Sofija Milovanovic
CONTEMPORARY ARTIST, BELGRADE, SERBIA
Born in Belgrade, currently residing in Belgrade.
Education
2021 Academy of Applied, module contemporary design
Education
2021 Academy of Applied, module contemporary design
Selected exhibitions.
2021 solo exhibition of aquarelle drawings, in gallery Centar
2021 solo exhibition of aquarelle drawings, in gallery Centar
“.....Life itself is the most precious gift we receive by being born into this world, therefore, we should try to live in gratitude day by day, to learn both about ourselves and to others because all the relationships we create begin with our relationship with ourselves. If we don't understand ourselves, we can never understand another. As a product of technology and growing up with it, we care less and less about other people. But what do we have in this world besides each other? Who else can share our joys and sorrows, understand our experience, sympathize with our pain like no other person, the same as we are?”
Adam and Eve, 2022
Paper, watercolor
72 x 100 cm
72 x 100 cm
Over the centuries Adam and Eve were symbols of man and woman, examples of humanity and preservation of values, of the creation of a new life and survival in a world in which we have lost not only humanity but also empathy and above all awareness for the world around us.
New life, 2022
Paper, watercolor
75 x 43cm, 29 x 23 cm, 29 x 23 cm
75 x 43cm, 29 x 23 cm, 29 x 23 cm
Watching the birth of a new life is always accompanied by a whole range of different emotions. Fears, anxieties, hopes — everything gets mixed up in a complex ball.
Life is a wonderful gift, but how will the future person use it? Will he be able to appreciate it or will he spend it in vain?
We ourselves were once like that — small lumps of boundless potential. Mentally, we are trying to return there, to the first days of our existence, in order to find answers to questions about the deep foundations of our personality, about our true self, есt.
Life is a wonderful gift, but how will the future person use it? Will he be able to appreciate it or will he spend it in vain?
We ourselves were once like that — small lumps of boundless potential. Mentally, we are trying to return there, to the first days of our existence, in order to find answers to questions about the deep foundations of our personality, about our true self, есt.
Figures, 2022
Paper, watercolor
45 x 35 cm
45 x 35 cm
For me as an artist, life, human relationships and our emotions are an inexhaustible source inspiration. The role of women and men, as well as how our roles are subject to change through everyday life, is like the questions and answers that man constantly puts himself before.
All rights to the artworks belong to their authors.
Any reproduction without the authors' consent is prohibited.
Exhibition photographs were provided by photographers and friends for free use.
Any reproduction without the authors' consent is prohibited.
Exhibition photographs were provided by photographers and friends for free use.
©JuliaShlenskaya, 2023
shlenskayajulia@gmail.com
shlenskayajulia@gmail.com
