Opened 26-й auction "twenty-first century. Contemporary Russian art"
ARTinvestment.RU   29 июля 2020

The catalogue contains artworks of Seeds Agroskin, Andrey Bisti, Vladimir Brainin, Lidia Vitkovskaya, Dima Goryachkin, Natalia Garnovskii, Igor Kislitsin, Alexander Savko, Andrey Chukanova, Natalia Turnovo.

the fee from buyers is 18 %.

Catalogue of the Auction No. 340 and 26-го auction "twenty-first century. Contemporary Russian art".

Lots 26-го curator of the auction "twenty-first century. Contemporary Russian art" presented in the exhibition online-выставки AI.

In the composition of the auction of 10 lots — seven paintings, one sculpture and one work, executed in mixed media.

Simon Agroskin. Apron. 2014

Things as witnesses themselves tell us, — says Simon Agroskin (, the author of still life "Apron" (2014). Work apron, from the pocket of which stick out washed the brush hanging on a nail in the workshop. Master came out. Without him there is silence, the paint dries on the canvas, just written images of yours, the canvas and the surrounding space. Old work apron, who remembers much... It is high time to replace, but the new will be desperate not to miss the familiar sensation of smell, already Philadephia and primerisima to the body folds, strap...

the Reality Agroskin poetic, but recognizable, it evokes immediate response in memory. The intimacy, the specificity of the perspective, the muted colour paintings give a sense of intimacy, sincerity shows of the moment. At the same time, these canvases contemplative, speculative, the artist removes all that is superfluous, focusing on the object of meditation, of feeling. He brings the images to the fine line between the image of the phenomenon and the thought of it: "subject and the visible world on the brink of extinction, dissolution and collapse before the inevitable end of civilization — that is, perhaps, a concept close to me" (

Andrey Bisti. Knight. 2018

In the childhood dreamed about-то heroic, so I wanted first to become a border dog, then a fireman and wear a shiny helmet... it never happened. Near the house was a vocational school, in the yard of which stood a box of waste products. It among the metal shavings were a lot of different metal stuff, which gradually migrated to my bed. Thus began a love of metal, which later turned into classes etching and welded iron sculpture. It's not metal, it's lovingly called "a piece of iron of the eighteenth century." I always found it strange that these things just lying around like trash. Rusty old thing is full of history. Her "second life" in the modern interior, new spaces, quite rightly, in my opinion... It's an antique, but Antiques of a different kind, of another property. In the small things that are important tactile memory, its accumulation in time: blacksmith, owner-другой, rust — as the touch of time, then I... (Andrey Bisti,

I find old, used, unwanted items and make them element of the sculpture. So I have, quite unexpectedly, things get a new reading. Thus, I give a useless item a new life. But suddenly, pairing it with than-то even born never existed. Formally, literary, and meaning.


Material, in this case — metal, youresist, and you're slicing it like butter. A pleasant sensation. But if b is now a real welder saw the exhibit, he would put me a deuce. From the point of view of compliance with technology, I do the opposite: I love squirt, especially strike the metal electrodes. But I achieve the desired texture. What to say —, I have artistic and not utilitarian approach to welding, and this is my only excuse (Andrey Bisti,

the Work Andrei in the good sense provocative: it excites even experienced visitors to art exhibitions a refreshing feeling, almost-детски direct interest (Konstantin Pobedin, Our warlike knight awakens research interest, and gives food for thought. If you look closely, it is easy to recognize than in a previous life was the items that compose it: a knife and an axe. The artist felt their spirit, their soul, if you like, and made of them a suit of armor, and the new life they have preserved its essence and felt in its place.

Vladimir Brainin. Summer. 2013

I write people, the city, what-то, I want it all did not die. Maybe that's why I focus on the moments of destruction, the effects of time — the paradox is that in my paintings continues to live. And always important for me that I did, because I spent part of the soul... (Vladimir Brainin)

a Constant theme of paintings-миражей Brainin — old Moscow, which will take no architectural transformations of the Soviet era. No one in the city and topographical accuracy, a sense which nevertheless manages to create artist. The streets and boulevards filled with fantastical creatures, half-real phantom architecture, fountains and gratings, with unexpected reflections of buildings ( But for fans and connoisseurs of Moscow, his works are always recognizable — even if not a specific address, but the characteristic and familiar from childhood in Moscow, features and images. But in our work even recognizable place. Such a kind of sculpted lions as on canvas "Summer", perhaps more in Moscow "pride" can not be found anywhere (and Pushkin's "the...lions at the gate..." — is about them, too): lion sitting against the wall of the former Palace of count Razumovsky on Tverskaya street, famous Moscow English club. (About the artist on AI: "Person of week: Vladimir Brainin".)

Lydia Vitkovskaya. Stay hungry. 2018

... Any work of art, be it a book or a movie to be-настоящему interesting, must tell the story of; to create peace in the moment, at times more difficult than to create a world inside of three hours: and that's how I find their form and contents: history becomes form, and the composition and color — content (Lidia Vitkovskaya).
fragments of an interview with Lydia Vitkovskaya

— ... When I was at your show in St. Petersburg... remember how he stood up between monitors: right from the tellyshoot, and the telly left of the panel are torn cans, bottles, watermelons, whatever. And I stand, and I want to duck from the shots. It turned out, the installation is called "In the line of fire". Lydia, and tell me how You came to such an unusual for a normal person art?

— Eeeeeee! You know, for me, this whole video-арт — is a kind of replacement of cinematography. Because I when-то have finished the course of directing at VGIK and understand how hard it is to be an interesting Director. You shoot or cranberries, or about cops, or sit without money. So I think, such "small forms", live-арт give me the opportunity to Express themselves and not to be like the others. That's why all my art is solely the plot. "Line of fire" — is a clear plot.

— In which, incidentally, involved the viewer.

— yeah, Yeah!

— And where to draw inspiration and imagination for creativity? Sit and fantasize?

— You know, on-разному. Sometimes sitting in front of the exhibition completely empty and realize that nothing comes to mind, and it is necessary. Begin to read, I really always read what-то see what other people do, it is, in fact, useful. Inspiration is very much dependent on the internal state at the moment. Can't say for sure.

— And what you think is important in life?

— Love! And everything: to work, to life in General, to male, of course. Because without love, the eyes do not glisten, and have no desire what-то to do! (

In his works the artist uses a complex combination of video, new media and objects, its position is always intelligent and interactive. She invites the viewer experiments a basic understanding of their own place in the world in the form of vivid and ambiguous objects. Each interactive — the audience are involved in the process of creating and modifying works of art (Lisa Plavinskaya, curator, art historian, critic).

Dima Goryachkin. Head Of Aphrodite. 2017

Critic Alexander Panov gave a very accurate definition of my work: "You're trying to recover your missing memories." The fact that physiologically I have a very bad memory. I have almost no background in the childhood, teenage memories. But I was always interested in my past, the past of the ancestors, the relationship between ages, societies, spaces. And since I'm quite a big egoist, I was wondering, first of all, as it is all caught up in me. And since I can't remember...

— Is not the memories themselves, but their symbols?

— It. I restore not specific memories, and their importance to me (Dmitri Goryachkin,

My photographic work is fundamentally uneven as if they cleaned the parts of the image removed the strong strokes of a dry brush. For me this is an important detail. This is an internal plastic game with my own memories, and not even a game, it's more of a struggle for them, against them, the restoration of internal connections, not in the literal sense of the word, but as a symbol of my relationship with the past, even I don't know. Because I strongly believe that we live not one life but several, that attempt to pass through our consciousness and, maybe, to know where I'm — not in a literal sense, what I was, a shepherd or someone-то others, and what was my mind at that time twenty years ago, fifty, a hundred, and as it happened my inner rebirth (Dmitry Goryachkin,

Natalia Zhernovskaya. Greek cottage. 2019

Natalia Zhernovskaya the artist is famous. <...> And every time a faithful follower of the precepts of Timur Novikov and the New Academy of fine arts (which was founded in 1989), Natasha makes us Perfect vaccine.

Painting Natalia Zhernovskoe carries the tradition of the we also have taken the course on "classics and beauty", and claimed the neoacademism direct successor of the traditions of preservation and revival of classical art in the modern world. The picturesque "Greek cottage" (2019) in the ancient surroundings refers to photos artist — "standard ideal of classical culture of a pan-European ideal of the city, where... sailors and the architecture of columned porticoes — all is beauty and feeling beauty, in dreams and reality, as infinite in Shakespeare's Midsummer night's dream" (Lisa Plavinskaya, curator, art historian, critic).

Igor Kislitsyn. The black palette. 2000

National roots of art today involve all professionals, but not all of them can rise above simple arrangement or stylization. Igor Kislitsyn were able to confidently translate, "recode" in a new quality standard structure of ancient compositions. Gradually he revealed the deep-shaped "ornament" of the archetype: the role of field lines and nodes, rhythmic pauses and accents, "eternal" translational or circular motion, a healthy harmony of pattern and color, the signification and the symbolism of the figures (Lev Diaconicum,

In his works, the artist often refers to the sacred artistic traditions of bygone eras: the ancient and Byzantine iconography, Romanesque frescoes, Gothic stained glass, etc. Confidently rising above any imitation of the Canon, an artist immersed in the study of multidimensional plastic codes of the ancient images. The movement from surface to depth, to the attainment of internal art forms is not without the active interpretation of the lessons of the Russian classical avant-garde.


Kislitsyn undoubtedly colorist, colorassigned considerable role — and as a tool to enhance the creative impact of the painting at the viewer, and as the carrier of his ideas. The author is confident and expressive colourful work surface, using multiple linings and glazing; complicating and compacting the color relationships that achieves the effect of precious flicker. This painting, which certainly is able to please not only the spirit but also the eyes (Vera birthplace).

Alexander Savko. Feeling. 2020

...I believe that the most important weapon of the artist is his irony. And well when she dressed in such good clothes, when it attracts attention, looks like just such malevolence street (Alexander Savko,

If the viewer has the ability to develop — then he will be able to see the source, to get acquainted with what was originally laid down in this work, to immerse themselves in the culture and see all of the wretchedness of these modern heroes whom he admires and touches, which are the attribute and the surroundings of his daily life. He'll understand then what a simple and simplistic world he implanted (Alexander Savko,

Andrew Toucans. White road. 2019

as a result of years of research, the artist came to the idea that the space of the picture should be dissected and re-arranged according to the movement of the eye in space. For example, with respect to space architecture.

, And if the architect comes from the plane drawing to the construction of buildings in space, Andrew Toucans, taking a spatial pattern (visible world) as the stability and reality, and thus in some sense the plane, "launches" her (forcing move) in a mathematically constructed space psychological perception, in the field of work of the optic nerve: surprise, recognition, memories and finally of looking. Result — synthetic picturesquely-пространственная Fugue, communicating the world to the way he is eye.

the Paintings like abstraction, fascinate classic beauty and richness that can give a painting (

Andrew Toucans interesting primarily to the fact that working in the genre of easel painting (genre notoriously conservative), he develops the traditions of Russian avant-garde. In his works, the artist successfully combines two things, seemingly incompatible, giving the avant-garde content of their work is quite traditional form. Interestingly, the original and the conscious rationality of the avant-garde art in the works Tukanova acquires a pronounced emotional coloring. The task of the avant-garde was an analytical destruction of visual forms, leading ultimately to the destruction of the unity of the artistic image. Any analysis of the devastating, for any analysis of the essence of the dissection or separation. In particular, the Department of emotional in its essence, the creative impulse fromthe final formal aesthetic result. Andrew Toucans in his art seeks to collect dismembered the forefront of the artistic image, to synthesize it again, but of another, "solicitor algebra" plastic level, restoring honed by many years of experiments of fine form its natural emotional intensity (Olga Yablonskaya,

Natalia Turnova. Gilles Deleuze. 2007

Portrait of — genre Turnov prefers many others. It isn't the portrait of a specific person, but rather a portrait of a-то social phenomena, or feelings, experiences. The face of the man in most cases appears in the form of an oval spot, color-coded, where the color — is a synonym of psihologicheski, complexity of emotional experience. Hence comes the sense of new reality. "personally, I a human face the most interesting. This very ductile material with which it is possible to show very much. So for me portrait — fertile ground, if you know how to use it. Can't say that I know how, but trying" (

Turnov — sensitive colorist, endowed with a powerful and beautiful gift. In her paintings a decisive role — and semantic, and emotional — is color. Turnov gradually realized that for her as an artist main goal is to transfer the internal state of man, and in painting most of the opportunities this gives the portrait image. This genre allows the artist to communicate directly to the viewer-собеседнику, and intrigued by his charm, the conditional, but never overact picture of a famous character, to encourage contemplation scenic fabric works — beauty of applying a brush stroke, textured sculpting forms, modulation, colors. Among the well-known portrait series of turnaway — "Generals", "Love", "old Age", "Aggression" (

good luck on the auction, "twenty-first century. Contemporary Russian art"!

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