News Archive

• 29.06.2010  National Navy Museum will open in Sevastopol

  • The National Navy Museum will open in Sevastopol on July 4th. The opening is dedicated to the Day of the Army Forces of Ukraine. The museum is located in the 19th Century Fort – Mikhailovsky Ravelin. The exposition of the museum will occupy 30 gallery halls with the total area of 2000 square meter (20,000 sq ft). On display will be periods of history of Sevastopol that include World War I, Civil War, tragic exodus of White Army from Crimea, and first years of Soviet government. Rare documents and objects have been preserved to become a part of the exposition. Among others, original drawings by Totleben, personal seal of Admiral Lazarev, original telegrams from Frunze to Wrangel commanding to surrender, documents pertaining to the second defense of Sevastopol, ammunition, navy tunics. A separate room will be dedicated to Kachinsky aviation school that was founded in Sevastopol. The project is supported by a Ukrainian philanthropist and collector, member of the British Historic Society of Crimean War - Alexey Sheremetiev. Mr. Sheremetiev stresses that “This is a truly unique historic fortification that will be preserved down to every little detail. It is our goal to keep the structure, building materials and architectural details intact”.

• 17.06.2010  The Glory of Ukraine: Sacred Images from the 11th to the 19th Centuries

  • TREASURES FROM THE CAVES OF UKRAINE >>> MAKE U.S. DEBUT AT THE MUSEUM OF BIBLICAL ART >>> Uniquely Ukrainian Approach to Iconography Featured in The Glory of Ukraine >>> NEW YORK, May 28, 2010—The Museum of Biblical Art presents The Glory of Ukraine: Sacred Images from the 11th to the 19th Centuries, a collection of approximately 60 icons and rare objects from Kyiv’s famed Monastery of the Caves and the Lviv National Museum, from June 18 to September 12, 2010. Seldom seen by the outside world, the collection includes one of the oldest Ukrainian icons in existence together with an 11th century cross as well as textiles, chalices and other liturgical objects. Characterized by vivid hues and shimmering gold leaf, this distinctive school of icon painting persevered for a thousand years, blending Eastern and Western influences while stretching back from the Renaissance and Baroque periods to its early Byzantine roots. Delving into the rich history that forged a united national identity, the exhibition reveals how Ukrainian icon painters maintained their exacting tradition throughout centuries of political and religious strife. The show, organized by the Foundation for International Arts & Education (FIAE), makes its United States debut at MOBIA. “Ukrainian icon painting is striking in its originality,” notes Dr. Ena Heller, Executive Director of the Museum of Biblical Art. “It was nourished by Eastern and Western artistic and religious practices, by themes drawn from the Orthodox and Catholic faiths as well as legends and folklore. We’re excited to be the first venue in the country to offer museum-goers the chance to see these magnificent works which, with one exception, have never been seen in the United States. With the rebirth of political independence, Ukraine’s cultural and religious history takes on added significance.” Greg Guroff, President of the Foundation for International Arts & Education and organizer of the exhibition, commented: “It has been a life-long goal to bring these exquisite works to the United States for audiences to enjoy firsthand. One can simply marvel at the masterpieces....Figures in Ukrainian iconography are more human and more emotional than in the stricter canonical forms of their northern neighbors, especially in facial features where they are less severe and elongated.” >>> Exhibition Background and Highlights >>> Known as the Kyiv-Pechersk Lavra, the Monastery of the Caves is an historic Orthodox Christian monastery located in Kyiv, Ukraine. Founded in 1051 by Saints Anthony and Theodosius, it is the oldest Orthodox monastery in Eastern Europe. Over the years, it attracted thousands of pilgrims from all corners of the Russian Empire. The Monastery’s vast tunneling network of subterranean caves contains living quarters and underground chapels. Only one of these objects from the Monastery of the Caves’ collection, to be displayed at MOBIA, has previously been exhibited in the United States. The dominant feature within Ukrainian icons is the use of three colors: Gold represents the radiance of heaven, bold reds signify divine life, and bright blues symbolize human life. White stands for the essence of the divine and was reserved for exclusive use in depictions of the Resurrection and Transfiguration of Christ. The Glory of Ukraine features one of the oldest existing Ukranian icons, the Mother of God Hodigitria, dated 1370 from the Lviv Region. The half-figure of Mary and the small figure of Christ are highly expressive. Mary is depicted with broad sloping shoulders, wearing a mantle with deep geometric folds, visually anchoring the icon, while the figure of Christ is rendered with freedom and confidence. The elongated bodies are out of proportion with the size of the heads, hands and feet. The faces are painted with great skill and delicacy. Other notable works on display include the Cross of the Holy Monk Mark of the Caves (Encolpion), which has not been on view in the United States since 1997 (The Glory of Byzantium, The Metropolitan Museum of Art). This rare pectoral reliquary cross dates back to the 11th-century founding of the Monastery of the Caves during the pre-Mongol period of Kyivan Rus’. Unusually large, with Greek inscriptions and intersecting bars at right angels, it is considered to be very distinctive and is believed to have belonged to one of the early monks of the Monastery, Mark, who was responsible for burials in the Caves. He died in the late 11th century and is buried in a grave in the Caves that he dug himself. Also of note is a rare icon portraying the Congregation of All the Saints of Pechersk Lavra, (late 18th-early 19th centuries, Kyiv). The icon portrays the numerous saints of The Monastery of the Caves, monks and ascetics whose stories are described in the Kyiv-Pechersk Paterik at the beginning of the 13th century. The icon was created to honor the official canonization of these 118 saints, whose remains are kept in the Caves of the Lavra. A 176-page hard-bound exhibition catalog features full-page illustrations and individual annotations for each of the 77 objects in the exhibition. The Glory of Ukraine: Sacred Images from the 11th to the 19th Centuries features two essays written by Ukrainian scholars that explore the “Ukrainian School of Iconography” along with an historical overview of “The Kyiv-Pechersk National Historical and Cultural Preserve.” Additional information online at www.mobia.org

• 31.05.2010  ЯКЩО/ ЕСЛИ/ IF Ukrainian Art in Transition

  • On May 21, a major exhibition of Ukrainian contemporary art opens at the PERMM Museum of Contemporary Art in Perm, Russia. `ЯКЩО/ЕСЛИ/IF` will be the first large-scale show of Ukrainian art beyond that country`s borders, and is the brainchild of the museum and the Moscow-based curator Ekaterina Degot. The exhibition features art that reflects the distinctive contours of Ukrainian life after the Orange Revolution – an unstable but productive ferment, full of contradictions, promises from politicians, hope for a new post-Communist footing, and disenchantment with neoliberalism. Ukrainian art of that period is one facet of an outpouring of revolutionary and creative energy. The main part of the exhibition showcases around 100 works by 30 artists. They are grouped into 4 sections: `Maidan` focuses on political and public art. `Wonderland` includes critical reflections on nationalism and bureaucratic notions of ethnic identity. `Phantoms` shows visionary painting, and `Dreamers` is for reflections on the social and emotional underpinnings of contemporary Ukraine. Participating artists include Sergei Bratkov, Olexandr Gnylytsky, Arsen Savadov, and younger talents such as Zhanna Kadyrova and the R.E.P. and Soska groups. A special section of the exhibition – `Histories` – explores unofficial Soviet art from the 1980s until the beginning of the 1990s, a formative time for today`s artists. There are Ukrainian paintings from the collection of Marat Guelman, conceptual and naive art from the collection of the Odessa- and Kiev-based artist and curator Alexandr Roytburd, and an exposition of the Kharkov school of underground photography, which gave rise to Boris Mikhailov and Sergei Bratkov. The show opens with lectures and discussions with Ukrainian artists. Some elements of the project will be staged in the city itself, and there will be a catalog in Russian and English.

• 23.04.2010  Alexander Melamid OH MY GOD

  • Russian painter and conceptual artist Alexander Melamid is to have a solo exhibition of thirty paintings at Phillips de Pury & Company in London. Including the now renowned series of life-size portraits of hip-hop stars such as Snoop Doggy Dog, 50 Cent and Kanye West, the paintings then shift from ‘fame’ to the ‘mundane’, with a further group of works from 2008 that have so far remained unseen, including portraits of priests and rabbis, Russian oligarchs, sculptures of ancient Roman figures, animals and stones. Melamid himself is the first to point out the incongruity and irony of these more recent portraits, including within the selection a self-portrait of himself as ‘God’: the ‘artist creator of confusion, incomprehension and absurdity’. For Melamid (an artist who whilst still living in the Soviet Union saw his works being bulldozed by the state), the repercussions of the fall of communism became clear only after the collapse of the Russian Communist Empire and were mainly connected to the failure of the officially stated goal of the Soviet regime: the creation of a ‘New Man’. In the twenty years since Perestroika, Marxist philosophy, the teachings of Freud, theories of existentialism and many of the other -isms and ideologies that exerted influence in the post-war world have disintegrated, leaving a void of fragmentation and pluralisms in their place. For many people of Melamid’s generation, this void and lack of belief is accompanied by a sense of guilt, that they had perhaps been the ‘jihadists’ for the wrong cause. In a world where art is judged by how well it reaffirms the preexisting beliefs of its consumers, the role of the artist seems also to be shifting from that of being the ‘messenger’ to being the ‘creator’. Melamid’s portraits speak not only of Shelley’s Ozymandias notion of a previous glory now only existing through its decaying monuments, but also of the processes of growth, change and decay that exist in the world, such as religious and political beliefs, fame, philosophies, beauty, bling and the natural world. In his performance at Phillips de Pury & Company, Melamid will show the tangible benefits of good (actually, great!) art for arts sake - his own included - and furthermore will demonstrate art’s healing power and medicinal properties for the treatment of physical and mental maladies. Melamid begs the question: Should the judgement for the works of Lucien Freud be Are they good for your liver? Alexander Melamid (b. 1945) first became known in the USA when still working as part of the duo Komar & Melamid after their emigration from the Soviet Union in 1977. Together they were known for their creation of Sots Art, a Russian version of pop art that satirized Soviet Socialist Realism and later was used throughout the post-communist countries. During their almost 40 year collaboration, the duo were noted as revolutionaries and, at times, rebels. Their work was often compared to that of Pop artists Andy Warhol and Roy Lichtenstein. Komar and Melamid`s career began in Soviet Russia, where they met during an anatomy drawing class in a morgue. They started working together almost immediately, exhibiting first at the Blue Bird Café in Moscow in 1967. Komar and Melamid often faced government opposition and harassment. In 1974, they exhibited Paradise, a Moscow apartment covered with light fixtures and small sculptural figures in various historical styles and movements; audience members were locked inside and forced to listen to official Soviet radio. The installation was demolished on state order shortly after it opened. Just one year later, they participated in the Bulldozer Show, an outdoor exhibition that was also bulldozed by the government. These and other occurrences resulted in their expulsion from associations such as the youth section of the Moscow Artists Union and the Graphic Artists` Association. In February of 1976, Komar & Melamid`s first U.S. exhibition opened at Ronald Feldman Fine Arts in New York. Biography of Our Contemporary garnered rave reviews and launched the artists into the international spotlight. Following this success, they applied for exit visas to enter the U.S but were twice denied by the Soviet government. In response they declared they had created their own "state," entitled TransState, with a constitution, alphabet, language, passport, currency, and border post. Eventually, they were allowed to emigrate to Israel and moved to New York shortly thereafter. That same year, 1978, their first museum exhibition, Komar & Melamid: Matrix 43, opened at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut. In 1982, they mounted another show at the Feldman gallery Sots Art which resulted in critical success, and within the year The Museum of Modern Art, New York, and The Metropolitan Museum of Art, New York, had acquired their work. Acquisitions by the Solomon R. Guggenheim Museum, New York, and The Victoria and Albert Museum, London soon followed and the pair subsequently had more than sixty solo exhibitions worldwide. Among their most famous works together was People’s Choice, a piece of consumer research in the late 1990s where they hired a consumer research company to conduct a poll of seventeen countries to investigate their tastes in art. In 2003, very soon after Komar & Melamid began to work separately, Melamid’s son Dan, introduced him to the world of hip-hop, which included his clients and close friends Whoo Kid and 50 Cent. Melamid was intrigued by hip-hop society because of its rich history and world appeal, and began to paint the portraits in this exhibition. In 2008 Melamid stayed in Rome for eight months and his exposure to the portrait busts and sculptures of Ancient Rome of people so long gone but still ubiquitous became a defining inspiration for the latest portraits. Whilst acknowledging the strength of the beauty of the works, he was also fascinated by the fact that one so rarely knows, or indeed cares, whom they depict. For further press information or images please contact: Rhiannon Pickles PR rhiannonpickles@mac.com

• 15.02.2010  The Christian Brinton Collection of Russian Art

  • In 1941 the noted art critic and curator Christian Brinton (American, 1870-1942) donated to the Philadelphia Museum of Art an important collection of modern art from Eastern Europe, some of which is on view at the museum now. Over the course of his thirty-five-year career, Brinton wrote more than two hundred articles and organized numerous exhibitions that introduced American audiences to prominent Russian artists, such as David Burliuk, Boris Grigoriev, John Graham (born in Ukraine, Ivan Dabrowsky), and Viktor Palmov. By 1932, when Brinton curated a large exhibition of modern Russian art in Wilmington, Delaware, many progressive artists from the Soviet Union had been forced into exile in the United States for their opposition to Joseph Stalin’s ruthless totalitarian regime. In the exhibition catalogue Brinton claimed that the work of these émigré Russian artists “seldom disassociates itself from nature and from life,” which they sought to “intensify” and “magnify” through their dreamlike paintings. Brinton was attracted to brightly colored, folkloric compositions, which explain why he also championed the work of the Hungarian painter Bela Kadar, the German Expressionist Heinrich Campendonk, and the African American artist Horace Pippin, who painted Brinton’s portrait in 1940.

• 03.01.2010  Museum of Modern Art of Ukraine

  • The first private museum dedicated to modern and contemporary Ukrainian art has opened in Podol district of Kyiv. The Museum of Modern Art of Ukraine was founded by a businessman, the president of Jewelers Association of Ukraine, Serhiy Tsupko in June of 2005. Yet, only now the museum has re-opened in its new building. The new address of the museum is Hlybochytska Street 17. The museum occupies a newly renovated space of 3,500 sq m (approximately 35,000 sq ft). Works by 500 Ukrainian artists are represented in the museum’s collection. The collection reflects upon the artists, art schools and art periods that were active in Ukraine during 20th through early 21st Centuries. In its collection the museum has over 4,500 works of art comprising one of the largest Ukrainian art collection of paintings, works on paper, sculpture and decorative art. It represents the largest private Museum collection in Ukraine that was assembled over the period of 20 years. The museum is actively acquiring new works at the market, from artists and through field research in all regions of Ukraine. The museum is a private, non-commercial entity. Its goal is to research, collect and preserve works by Ukrainian artists in Ukraine and in all other countries where Ukrainian artists lived and worked. On view at the museum’s permanent collection are works by such artists as: V. Khmelko, I. Kavaleridze, I. Pleshynsky, I. Trusz, O. Novakivsky, A. Erdeli, Tatyana and Olena Yablonsky, V. Bernadsky, K. Zvirynsky, R. Selsky, M. Hlushchenko, M. Vanshtein, V. Zaretsky and others. A separate exposition room of the museum is dedicated to the Ukrainian Icon of the XVII – XIX centuries. At the opening reception of the museum there was a “street art” performance done by a young artist from Odessa, Oleksandr Milov – study for the monument of Stepan Bandera made out of scotch tape, wire and water pipes. The museum occupies a three story building. On view on the first floor are works from the project “Art map of Ukraine” by artists from Odessa. Second and third floor galleries are dedicated to the museum’s permanent collection. In the near future the museum plans to open chambers dedicated to unique Ukrainian gemstones and precious stones, a room for children organized in collaboration with the Astrid Lindgren Foundation, exhibition of Kharkiv artists, personal exhibitions of young Ukrainian artists. The museum will also feature an art research library with a lecture hall for 50-60 seats where activities such as master classes, seminars, round tables, conferences and symposiums will be organized. General admission to the museum is 10 hryvna for adults and 5 hryvna for students. Children under 16 and seniors – free.

• 13.12.2009  The Conversations

  • Works by Ukrainian artists are on exhibit at the Acqualine Resort & Spa on the Beach, a luxury hotel in Miami, Florida. Exhibition is open for private viewing only at the hotel’s penthouse daily from 4:00pm till 7:00pm. The exhibition is organized by Mironova Gallery, Kyiv jointly with Firebird Group and Acqualine Resort & Spa on the Beach in cooperation with Karen Lynne Gallery and International Art Centre Maecenas. For more information please call 305-918-8000.

• 08.11.2009  OVER THE WALL FOR THE 20TH ANNIVERSARY OF THE FALL OF THE BERLIN WALL

  • NEW YORK, 10/18/09 - Art Next Gallery is pleased to announce a group exhibition of contemporary Chinese, Russian, Ukrainian, German, and New York based artists “Over the Wall”. The exhibition will be held from November 12 to December 30 at Art Next Gallery, located at 530 West 25th Street, 3rd Floor. Opening reception will be on Thursday, November 12th, from 6-8pm. From Perestroika to Global Financial Crisis, From Berlin Wall to “Great Wall” of China, From Sots Art to Pop Art, and from Socialist Realism to Political Pop Art – the show for the first time brings together works by most distinguished contemporary artists whose artistic careers skyrocketed as a result of the geopolitical changes that occurred over the last 20 years. The show not only focuses on the tangible and visible Berlin Wall that has become a relic of history, but takes a broader viewpoint on historical events of the last few decades. Today one can witness the presence of an invisible wall – as a symbol of brutality, rape, authoritarian regime and human ignorance. It is a wall that deprives our freedom of choice. It had not been easy to dismantle the visible wall but to let the invisible wall go down may be even harder. Events of the last twenty years, after the fall of the Berlin Wall, have changed the way we live and think. The destruction in 2001 of the World Trade Center in New York City and the beginning of the War on Terror, followed by the World Financial Crisis of 2008 are only some of the events that have created boundaries to our freedom and lifestyle. Art, as the most deliberate and complex means of communication, can help nations overcome long histories of reciprocal distrust, insularity and conflict. Featured works in the exhibition visually explore an array of multifaceted political and social events, the leap from communism to capitalism (and back), the political and cultural boundaries that separate unified nations, and the roles of influential political leaders of both the West and the East. The show will feature works by such well-known artists as Alexander Melamid, Ai Weiwei, and for the first time works by world renowned fashion designer Marc Ecko. Overall, seventeen artists from six different countries will be represented in the exhibition, including Alexander Melamid, Anton S. Kandinsky and Marc Ecko (New York), Ilya Chichkan, Alexander Roitburd and Yuri Solomko (Ukraine), Yuriy Balashov and Alexey Salmanov (Russia), Ai Weiwei, Lao Liu, Zheng Lianjie, Zhang Hongtu, Zhang Dali, Ji Shengli and Chen Weiming (China), Lorenz Haarmann (Germany) and Robert Bery (Israel). The show was organized by Art Next Gallery in collaboration with artfira.com. Art Next Gallery is dedicated to creating an East-West discourse by spotlighting the greatest artistic talents ascending across Asia and emerging here in New York. By featuring both emerging and established artists from Beijing, Shanghai, Seoul, Tokyo, and New York, Art Next offers the Chelsea gallery community a unique confluence of cross-cultural vitality, shifting perspectives, and the newest voices of artistic identity. Art Next Gallery, located in the heart of Chelsea, functions as a gallery and event venue for artists, auctions, and various private events. Over the Wall exhibition is curated by David Rong and Alex Demko. A catalogue in English and Chinese will accompany the exhibition. For additional information, please contact Gallery Director, David Rong at 212-206-1668 or artnextgallery@gmail.com for up to date information please visit www.artnextgallery.com

• 01.11.2009  "B/W.5x5"

  • On October 21, 2009 in Lviv opened a photo club “B/W.5x5”. Its goal is to become a center for enthusiasts of photography. The photo club opened with an exhibition of Igor Haidai “Ukrainians. Beginning of the Third Millenium,” featuring five photographs on the façade of the building and five in the gallery of the club. Igor Haidai became the first member of the club and thirty other people joined. The photo club will show photographs and video presentations. It will hold photo-art discussions, lectures, master classes, slide-shows and gatherings for those, who have interest in photography. The exhibition will change every month. Address of the club-café is Koliyivshyny Square 2, one block away from the Market Place.

• 09.10.2009  Arts Lottery by CEC Arts Link

  • Arts Lottery – a drawing by lottery for original works by a brilliant array of international artists. The event will take place at Ronald Feldman Fine Arts at 31 Mercer Street, New York City on Thursday, October 29, 2009 at 6:30pm. CEC ArtsLink is an international arts organization. Its programs encourage and support exchange of artists and cultural managers between the United States and Eastern and Central Europe, Russia, Central Asia and the Caucasus. CEC ArtsLink believes that the arts are a society’s most deliberate and complex means of communication, and that artists and arts administrators can help nations overcome long histories of reciprocal distrust, insularity and conflict. With solid expertise and lasting partnerships in 30 countries, CEC ArtsLink promotes communication and understanding through innovative, mutually beneficial collaborative projects. CEC was founded in 1962 to enable citizens of the United States and the Soviet Union to accomplish what their governments could not – opening doors, sharing ideas and building mutual trust. In today’s transformed and complex world, citizen diplomacy is still urgently needed. For additional information call Zhenia Stadnik at 212-643-1985x26. www.cecartslink.org

• 13.09.2009  Dance | Trash | Glamour Photographs by Alexey Salmanov

  • Sputnik Gallery is pleased to announce its Grand Opening celebration featuring Alexey Salmanov’s debut exhibition in the United States, Dance | Trash | Glamour. Dance | Trash | Glamour consists of select works from All God’s Children Can Dance, a project that explores what remains when the material world collapses around us and all that is left is a meaningless pile of debris. All God’s Children Can Dance features two accomplished dancers, the Ukrainian Dancing with the Stars it‐girl Alyona Shoptenko and break dancing star Maxim “Cat”. The subjects are freed from the gloss, glamour and fashion of the magazine cover and are instead surrounded by a destroyed material world. The debris exposes the fragility and impermanence of glamour, and we wonder what, if anything, remains when all of our comforts and possessions are taken away. As the finite nature of the material world becomes evident, personal relationships intensify, and loneliness, intimacy, domination, submission, fear and liberation reveal themselves. The pair’s style and grace conflict with – and persist in spite of – the ruins surrounding them. Human spirit and determination triumph. We soon discover that the subjects are not trapped in the emptiness and decay surrounding them, but rather that they have been freed from the trap of material desires. Although Dance | Trash | Glamour is Alexey Salmanov’s first show in the United States, his work has been exhibited and well received in Russia and Ukraine. In fact, he has recently made the shortlist for the 2009 PinchukArtCentre Prize for contemporary art by young artists. The winner will be announced in October. Alexey was born in Rostov‐on‐Don, Russia in 1976. He currently lives and works in Kiev, Ukraine. The exhibition will continue through October 10, 2009. Sputnik Gallery is located at 547 West 27th Street, 5th Floor, New York, NY 10001. Telephone: 1 212 695 5747. www. sputnikgallery.com

• 03.09.2009  NOW - ART OF THE 21ST CENTURY

  • London – July 6 – Phillips de Pury & Company announces today the launch of a new series of themed auctions of contemporary art and culture to be held in London and New York. Each sale will be a considered selection of quality property in a range of values to reflect the chosen theme and will draw upon the expertise of the Contemporary Art, Photographs, Design and Editions departments. Simon de Pury, Chairman Phillips de Pury & Company says: “Phillips de Pury& Company has consistently been staging the most pioneering sales of contemporary art, design and photography and this new dynamic platform will enable each department to interpret a given theme and express their curatorial strengths. These sales will be ground-breaking and taste-making and be a great compliment to our core auction programme.” Commencing with the first sale of the season, Now: Art of the 21st Century, in London on September 12, a further three sales will take place alternatively between New York and London at the Phillips de Pury galleries in London at Howick Place, SW1 and in New York in Chelsea. Now: Art of the 21st Century will offer the most exciting works of art, design and photography to be made since the Millenium and that will come define our current epoch. A new catalogue format that builds upon each theme of each sale with articles is being developed and will be released to the public two weeks before the sale. In addition to this schedule of new sales, this fall season, Phillips de Pury & Company will conduct classic sales in Contemporary Art, Design, Photographs and Editions in concentrated blocks in London during October’s Frieze Art Fair week and in New York in November to coincide with traditional contemporary art sales week. More information onlite at www.phillipsdepury.com or over the phone at +44 20 7318 4071.

• 24.06.2009  THE NEW BLUE RIDERS. Anton S. Kandinsky, Sophie Matisse, Laurance Rassin and David Noah Burliuk

  • NEW YORK, June 23, 2009- Art Next Gallery is pleased to announce the first exhibition of The New Blue Riders, a newly formed group, taken from the historic Der Blaue Reiter (The Blue Rider). The exhibition will be held from June 23 to July 18th at Art Next Gallery, located at 530 West 25th Street, 3rd Floor. The New Blue Riders exhibit is a multifaceted and multidisciplinary event, showcasing the works of Anton S. Kandinsky, Sophie Matisse, and David Noah Burliuk and Laurance Rassin, founding members of the group. Displaying inherited styles of artistic expression by Wassily Kandinsky, Henri Matisse, David Burliuk, these four leading New York-based artists merge their talents to create the group, The New Blue Riders. Illustrated in the members’ art work you will see references of impressionism, expressionism, contemporary-expressionism, neo-fauvism and gemism. “Collectively, we anticipate our work to inspire and challenge traditional forms,” said Laurance Rassin, artistic director of the group. “Our purpose is to exhibit new forms of expressionism in a group setting and plan on growing the group, welcoming other artists that have the same goals.” The artists will showcase works including traditional oil paintings, bronze sculpture, photography, ceramics, tapestries, furniture and music. To accommodate such variety, three events with the artists will take place on June 23rd, July 2nd and July 16th. Der Blaue Reiter (The Blue Rider) was originally founded in Munich, Germany by a group of artists including led by Wassily Kandinsky, and lasted from 1911 to 1914. The group was formed in response to the rejection of Kandinsky`s painting Last Judgement from an exhibition. Anton S. Kandinsky is known for his “Gemism” paintings, works inspired by and decorated with gem stones. Kandinsky declared Gemism as a new independent movement in contemporary art. He founded Gemism in New York in 2004. In 2007-2008 Kandinsky showed paintings from his series “Meditation of Weapons” in New York, Chicago, Beijing and Kiev. Six new paintings by Kandinsky from his new series “Chinism” and “I don’t want to be a Russian artist” will be shown at the exhibition. Laurance Rassin with his works creates a sumptuous and color filled world, enveloping his audience in signature large scale impasto oil paintings, bronze sculptures, ceramics, tapestries, and textiles in a way that is uniquely Rassin. Weaving an over-arching narrative with over 500 original works of art, Laurance fuses humor to his whimsical characters and interior scenes allowing his fictional almost cinematic stories to unfold. With Rassin`s work now featured regularly at Bonhams & Butterfields, 20th Century in Manhattan, he has shown not only auction house appeal, but also terrific pop appeal. David Noah Burliuk, founding member of “The New Blue Riders” is a New York artist. He was born in 1983 in New York and studied architecture at SUNY Delhi where he earned his bachelors degree in 2009. Currently he works as an architectural designer for Lobas architects. As the Great Grandson of Russian Futurist David Davidovich Burliuk, David Noah Burliuk continues the family tradition of producing futuristic works of art in sculpture, watercolor, oil, and architecture. His oil paintings and ceramic pieces were featured in the 2008 Hamptons Designer Showhouse, as well as other charitable events in the Hamptons. Sophie Matisse studied at the Massachusetts College of Art in Boston, as well as at the École des Beaux-Arts in Paris, but her career as a painter began in 1997 when she showed a painting called Be Back in Five Minutes in the vault of a bank in New York City. The painting was a painted replica of Leonard da Vinci’s Mona Lisa with one noteworthy difference: she removed the female figure, La Jocconda, leaving visible only a balustrade and the background landscape. The picture was followed by an entire series of pictures where figures and animals—all living things—were removed from famous paintings (a series that later became known as the “removal series”). Her next series involved interweaving well-known historical paintings in a zebra-stripe pattern with colorful images excised from notebooks that she kept over the years (resulting in pictures that are now referred to as the “Zebra Stripes”). Her work has continued in a similar vein to this day, but she has recently branched out to utilize vivid color patterns reminiscent of Matisse (her great-grandfather) on wine and perfume bottles, which she is currently planning to execute on a grand scale in a series of monumental sculptures. About Art Next Gallery Art Next Gallery is dedicated to creating an East-West discourse by spotlighting the greatest artistic talents ascending across Asia. By featuring both emerging and established artists from Beijing, Shanghai, Seoul, Tokyo, and beyond. Art Next offers the Chelsea gallery community a unique confluence of cross-cultural vitality, shifting perspectives, and the newest voices of artistic identity. Art Next Gallery, located in the heart of Chelsea, functions as a gallery and event venue for artists, auctions, and various private events. The exhibition will continue through July 18, 2009. For additional information, please contact Gallery Director, David Rong at 212-206-1668 or artnextgallery@gmail.com >>> www.artnextgallery.com

• 09.06.2009  TARAS POLATAIKO at Volta 5, Basel, Switzerland

  • PRISKA C. JUSCHKA FINE ART exhibits works by Ukrainian conceptual artist, Taras Polataiko at "Volta 5" Art Fair in Basel at Booth K1. Polataiko is known for his paintings, photographs, sculpture, videos and performative installations. The artist deals with the history of the medium and develops projects that favor interactions. These pieces form a critique of societies` control over their citizens, giving concrete shape to the imperceptible, just as they speak to us about intellectual contamination and transformation – about what spreads and seeps into the collective unconscious. More information about the show at http://voltashow.com

• 31.05.2009  Cell Memory. BABA. Works by Valya Roenko.

  • CELL MEMORY by Valentyna Roenko Simpson. OMA Parker Gallery, May 4 – July 2, 2009. Artist Valentyna Roenko Simpson has created a fiber installation that addresses the potential that DNA holds for unlocking the secrets of human ancestry. Roenko Simpson’s fiber media portraits appear individualized, yet they are also universal, suggesting a link reaching back to the origins of human history. Themes of identity, ancestry, science and memory permeate her artistic vision. Cell Memory will be on view in the Parker Gallery May 4th through July 2, 2009. “Meet the Artist” Valentyna Roenko Simpson on Saturday, June 20th at 2:00 p.m. and hear her talk about the universal thread of humanity that lies within our DNA. “Meet the Artist” is free with museum admission and complimentary for members of Oceanside Museum of Art as a benefit of membership. “Each face is a symbol of mother eve” according to Roenko Simpson whose portraits are embroidered with wrinkles to symbolize the story that lies deep within the lines of a person’s face. Each portrait will be graphically designed by Roenko Simpson, hand felted with merino wool and machine embroidered. Roenko Simpson was born in the Volyn Region, Ukraine and earned a Masters of Art and Design from Lviv Academy of Decorative Art in 1978. She has experimented in many different fields of fiber art including silk tapestries and silk paintings. Since 2000, Roenko Simpson has been living and exhibiting in California discovering the amazing possibilities of quilt and felt art. More information at www.oma-online.org

• 28.04.2009  Russian Art Week in New York

  • Russian Art Week in New York is over. Sotheby’s sale took place on April 22 and Christie’s on April 24. With sales rooms’ half empty, prices lower than last year and fewer lots offered – both sales proved to be firm and successful.

• 01.04.2009  Best 100 works from private Ukrainian collections

  • Works from private collections as well as collections of art galleries will be provided for public view. Featured will be works by Ukrainian and Russian artists of the 19th and 20th Centuries. A catalogue to accompany the exhibition will be available. The exhibition is organized by Ihor Ponamarchuk, the head of the Antiques Guild of Ukraine. The exhibition is open to the public.

• 27.03.2009  Peasant portraits by Panas Yarmolenko

  • Proun gallery (Moscow) in collaboration with Rodovid Gallery (Kyiv), Ukrainian Center of Folk Culture “Museum of Ivan Honchar” (Kyiv) and Multimedia Complex of Contemporary Art, Moscow present exhibition of Ukrainian artist Panas Yarmolenko (1886-1953). On exhibit 25 paintings by Yarmolenko as well as early 20th Century photographs. Special thanks to the Konstantin Hryhoryshyn for his support of the exhibition.

• 08.03.2009  The Armory Show, New York

  • The Armory Show in New York provides an interesting look at today’s art world. Huge number of collectors and art lovers attended the show at piers 92 and 94. Other fares – Bridge Art Fair, Fountain Art Fair, Pool Art Fair New York, Scope New York and Volta NY. All together seven different and very exciting art fairs happening in New York between March 5 and March 8, 2009.

• 23.02.2009  The Krychevskys’ Artistic Dynasty

  • “The Krychevskys’ Artistic Dynasty” will be exhibited at the Ukrainian National Museum of Chicago The Ukrainian National Museum of Chicago, located in the heart of the Ukrainian Village, is proud to present an exhibition of works of four generations of the renowned Krychevsky family. This is the first opportunity for the public to view, in a single location, the works of Vasyl H. Krychevsky alongside that of his daughter, grand daughter and great granddaughter. The opening of the exhibit is March 6, 2009 at 7:00 pm at the Ukrainian National Musuem. The exhibit will continue through April 26, 2009. Showcased in the exhibit are works from the famous Ukrainian artist, Vasyl H. Krychevsky, his daughter, Halyna Krychevska-Linde, his granddaughter, Oksana Linde de Ochoa, and his great-granddaughter, Blanca M. Linde. Watercolors and oil paintings from the collection of Vasyl Linde Krychevsky will be featured. The Krychevsky family of artists has created a rich and abundant inheritance that is treasured by Ukrainians and art lovers alike. Included in this exhibit are oils, watercolors and mixed media art works that weave a tapestry which spans four generations. An outstanding and dynamic personality in his own time, Vasyl Krychevsky was an architect, artist, scholar, educator, father of the “Ukrainian National Style” and founder and President of the Ukrainian State Academy of Arts. A prolific artist, Vasyl Krychevsky left his imprint on Ukrainian art and culture. His prizewinning designs in architecture initiated an entire movement in Ukrainian architecture. As a painter, Krychevsky was one of the founders of contemporary book design reviving woodcut techniques producing over 80 cover designs. After World War II he and his family lived in Paris and later emigrated to South America. His legacy lives not only in his contributions to Ukrainian art, architecture, and culture, but also in the works of his talented and gifted progeny. Halyna Krychevska-Linde was, in her own right, a talented artist and an intellectual luminary. She was a freedom fighter who led anti-Nazi resistance efforts and fought for the preservation of Ukrainian national art, architecture and ideals. She is credited with the foresight to preserve her father’s art by sending it beyond Ukrainian borders to safe locations in Paris and finally in Venezuela. A prolific artist, Halyna Krychevska-Linde, created elaborate embroidery pieces, hand-made tapestries, ceramics and paintings. Oksana Linde De Ochoa, the granddaughter of Vasyl H. Krychevsky, is a multi talented artist and music composer. A chemist by profession, she has participated in many group, solo and virtual art exhibitions since 1968. Oksana Linde de Ochoa has worked in media including oil, watercolor, acrylic, ink, mixed media, collages and ceramics. Blanka M. Linda, the great granddaughter of Vasyl H. Krychevsky, has inherited the talent that runs in her family. She has worked in acrylic, ink, watercolor, applied arts, ceramics, and mixed media. She has had solo and group exhibits in Washington DC, Virginia, Maryland and Missouri since 1991. She has also completed multiple commissioned paintings and murals. The Ukrainian National Museum is located at 2249 West Superior Street in Chicago. Hours: Thursday through Sunday, 11:00 am to 4:00 pm, and Monday through Wednesday by appointment only. Admission: Adults $5.00, Children under 12 – Free. For more information please visit the museum’s website: www.ukrainiannationalmuseum.org. For further information, contact Anna Chychula at (312) 421-8020 or email to admin@ukrainannationalmuseum.org

• 05.12.2008  ARTemigrants exhibition

  • The idea to show works by Ukrainian artists who live outside of Ukraine appeared to the exhibition curator, Mychajlo Schevchenko while visiting Moscow. Two of his old friends, Sergei Bazelev and Sergei Geta have moved to Moscow in the late 1970s where they became well known artists. In fact, well know Russian artists, whose works are in a permanent collection of the Tretyakov Museum. Yet, those who followed art related events of the late 1970s and early 1980s remember Bazelev and Geta as very active artists of Kyiv art scene. Many of the artists who moved out of Ukraine did so in search of artistic liberties and free artistic expression not allowed in Kyiv at that time. The fact is that many talented and promising mid-career and well established artists of Ukraine of the 1980s and 1990s, now live and work in places like Moscow, Paris and New York. The good news is that The Museum of Contemporary Ukrainian Art in Kyiv with its series of ART emigrants exhibitions wants to show works by such artists in Ukraine. On view paintings, sculpture, photographs and works on paper by Anton Solomoukha (France), Sergei Bazelev, Sergei Geta, Sergei Sherstiuk (1951-1988) (Russia), and Yevgeniy Prokopov, Anton Skorubsky, Eugene Gordiets (USA). Curated by Mychajlo Schevchenko, director of the Museum of Contemporary Ukrainian Art in Kyiv. A full color, 194 pages catalogue is available for sale. For more information please email to musom@isv.com.ua or call +380-44-463-7669. Address: 14 Bratska Street, Kyiv 04070, Ukraine. The museum is open daily from 11:00am – 7:00pm. Closed on Mondays. Admission is free.

• 27.10.2008  Futurism and after: David Burliuk,1882-1967

  • THE UKRAINIAN MUSEUM PRESENTS FUTURISM AND AFTER: DAVID BURLIUK, 1882-1967 >>>ARTIST CONSIDERED THE FATHER OF UKRAINIAN AND RUSSIAN FUTURISM >>>FIRST BURLIUK SURVEY OF ITS KIND IN THE UNITED STATES IN NEARLY HALF A CENTURY (New York, NY) -- Futurism and After: David Burliuk, 1882-1967, a large-scale exhibition with more than a hundred works, along with photographs of the artist and some of his personal belongings, provides an overview of the most important periods in the life of famed Futurist David Burliuk. The exhibition opens to the public October 31, at The Ukrainian Museum, a state-of-the-art, 25,000-square-foot facility located at 222 East 6th Street, in Manhattan’s East Village. The exhibition will be on view through March 1, 2009. Admission: $8.00 adults; $6.00 seniors; $6.00 students (with valid ID); children under 12 - free; Museum members - free. Additional information can be found at www.ukrainianmuseum.org/burliuk or by calling the Museum at 212.228.0110. The exhibition is the first major U.S. show of Burliuk’s art in nearly half a century. Internationally renowned as the father of Futurism in his native Ukraine and in Russia, Burliuk was a major contributor to the seminal period of modernism in the early decades of the 20th century. He was the last living contributor to Germany’s Blaue Reiter movement, one of the first modernist movements in art. With reference to an exhibition at the American Contemporary Artists Gallery in New York in 1967, the year of Burliuk`s death, The New York Times wrote: “the paint meets the spectator half-way, for it’s loaded on almost to the depth of bas relief to give the bright landscapes and flowers a reality that occasionally becomes a sur-reality – this is painting at its most high-spirited; as such it communicates the great vitality that obviously went into making it.” “Many of these works have not been exhibited in New York City, so this is a unique opportunity to take a close and rare look at the whole career of one of the 20th century’s important avant-garde artists through the prism of his own collection, now in the possession of his granddaughter,” said Professor Jaroslaw Leshko, President of the Board of Trustees of The Ukrainian Museum. Futurism and After: David Burliuk, 1882-1967, is made possible by the generosity of Mary Clare Burliuk, the artist’s granddaughter, who lent works of art and archival material from her extensive personal collection. The exhibition at The Ukrainian Museum is an expanded version of the traveling show organized by the Winnipeg Art Gallery, curated by Dr. Myroslav Shkandrij, Professor of German and Slavic Studies at the University of Manitoba. It includes examples of Burliuk’s work during his early years in Ukraine and Russia (1907-1918), his travels through Siberia (1918-1920), his time in Japan (1920-1922), and his life in the United States, both in New York City (1922-1941) and on Long Island (1941-1967). At The Ukrainian Museum, the approximately 70 works displayed in Winnipeg are being supplemented by an additional 40 paintings from Ms. Burliuk’s collection. A richly illustrated catalogue accompanies the exhibition; it includes a lead essay by Dr. Shkandrij and contributing essays by Dr. Myroslava Mudrak, Professor of Art History at Ohio State University, and art and social historian Ihor Holubizky at the University of Queensland. David Burliuk was born in 1882 near the city of Kharkiv in eastern Ukraine. He studied in Odesa and Kazan, at the Munich Royal Academy of Arts (1902-1903), and at the École des Beaux-Arts in Paris (1904). His exuberant and extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a “wonderful wild steppe horse.” Burliuk’s art during his historically important early period was an amalgam of Fauvist, Cubist, and Futurist influences, which he absorbed and combined with his love of nature, a fascination for the forms and designs of Scythian culture (he formed and named the literary-artistic group “Hylaea” — the Greek name for ancient Scythian lands), and especially his admiration for Ukrainian folklore. Among his favorites was the legend of Mamai, a Cossack who embodied Burliuk’s own vision of bravery, self-sufficiency, and rugged individualism. During these years, Burliuk was an active participant in important avant-garde exhibitions in Kyiv, Moscow, St. Petersburg, and Munich. Dr. Shkandrij writes: “From December 1913 to April 1914, the notoriety of the Futurists reached its peak as Burliuk, [Vladimir] Maiakovsky, and [Vasily] Kamensky toured 17 cities in the [Russian] Empire. The appearance of the Futurists (they liked to wear gaudy waistcoats, sometimes painted animals on their faces and wore carrots in their lapels) and their ‘performances,’ which included drinking tea on stage under a suspended piano, drew packed audiences, scandalized many, but also won converts to the new art.” Burliuk’s life-affirming energy, his creative force, and his celebration of the new – all left a lasting impact on the history of modernism. Burliuk’s art and life after his tumultuous early period would take him to many and varied places. During the revolutionary years 1917-1920, he traveled to Siberia, where he gave Futurist concerts and sold his art. From 1920 to 1922 he spent time in Japan painting, organizing exhibitions, and promoting Futurism. Ihor Holubizky writes in the exhibition catalogue: “Japanese modernist art history . . . has attached much greater significance to his stay in Japan [than have Western accounts] and to the enthusiastic critical reception that he received there.” In 1922, Burliuk arrived in the United States, settling first in New York City, where he lived from 1922 to 1941, and then in Hampton Bays, Long Island (1941-1967). The inspiration for Burliuk’s later career is found in his love of vitality in all its forms – biological, psychological, and cultural. Whether he was painting his native Ukrainian steppe, Japanese landscapes, Long Island fishing villages, or the streets of New York, he searched for the energy that vibrated and flowed through scenes. They suggest the existence of hidden patterns just beyond human perception. “He was, in the end, a worshiper of the earth’s abundance and glory as much as a Futurist scandalizer of public taste,” notes Dr. Shkandrij. It is not surprising that one of his favorite artists was Vincent van Gogh, whose impassioned vision of nature, tendered with brilliant color and vigorous strokes, Burliuk admired greatly. Burliuk’s deep involvement in the world also manifests itself in his important works focused on ideological, philosophical themes dealing with war and the human condition, an example of which is his 1944 painting Children of Stalingrad. According to Dr. Myroslava Mudrak, “Burliuk’s immigrant perspective on the working classes of the 1930s and 1940s in lower Manhattan offers a unique, and still largely unstudied, contribution to American Social Realism.” Katherine S. Dreier, who along with Marcel Duchamp and Man Ray founded the Sociétié Anonyme, found Burliuk the embodiment of the creative spirit. In her 1944 monograph on Burliuk she wrote of his “power of the dynamic creation … which burst all prisms.” David Burliuk died on Long Island in 1967. That same year he was honored posthumously by being inducted into the American Academy of Arts and Letters. Examples of Burliuk’s work are in the collections of most major museums, among them the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, the Whitney Museum, and the Brooklyn Museum in New York City; the Museum of Fine Arts in Boston; the Smithsonian American Art Museum in Washington, D.C.; the State Russian Museum in St. Petersburg; the National Art Museum of Ukraine in Kyiv; and the National Museum of Modern Art in Kyoto. His works are also included in numerous private collections. This exhibition follows a major show from the National Museum of Ukraine in Kyiv, Crossroads: Modernism in Ukraine, 1910-1930, shown at The Ukrainian Museum in 2006/2007, which included a work by Burliuk produced in Ukraine. The Ukrainian Museum 222 East 6th Street New York, NY 10003 T: 212.228.0110 F: 212.228.1947 info@ukrainianmuseum.org www.ukrainianmuseum.org Museum hours: Wednesday through Sunday 11:30 a.m. – 5:00 p.m. For Immediate Release Press Contact: William Murray, 212.254.1357 or wilmurray@aol.com

• 16.10.2008  Matviy Vaisberg, landscapes «80х100»

  • On October 16, 2008 the Tryptych gallery, Kyiv in association with art magazine Aura, is opening the exhibition entitled Landscapes «100х80» by Matviy Vaisberg. The series of works depicting non-translucent skies is an attempt by the artist to understand the time as the catastrophic surrounding of the human existence. The exhibition will continue through October 29, 2008. More information at www.triptych-gallery.org

• 09.10.2008  Alexander Archipenko exhibition

  • As home to the estate of the sculptor Alexander Archipenko (Kyiv 1887 – New York 1964), the Saarlandmuseum possesses a collection of works unique in Europe, comprising original plasters, bronzes and drawings from one of the foremost pioneers of 20th century sculpture. Resorting essentially to its own works, the Saarlandmuseum will be staging, from October 2008, the most extensive retrospective of the works of Alexander Archipenko of recent decades. The young Ukrainian settled in Paris in 1909. Like other progressive sculptors of his generation, Archipenko developed a strong interest in the sculpture of extra-European cultures, abundant examples of which were available for inspection at the Louvre and in the ethnological collections of the French capital. At the same time, his work reflects contact with the formal experiments of the Cubists that took place at the beginning of the 20th century in Paris. Starting in his early works with the mighty, block-like proportions of the represented bodies, his figures became more expressively elongated from about 1912 onwards. Inventing highly contrived dynamic motifs, the sculptor engaged throughout his life in a playful and diversified exploration of the inherent laws of the static. With unprecedented radicalism, Archipenko invested the sculptural form with deliberately shaped voids and penetrations, initiating a new kind of dialogue between mass and space. The works in Saarbrücken will be supplemented with international loans. Covering about 130 works from over five decades, the exhibition retraces the key lines of Archipenko’s development. The exhibition will be accompanied by a catalogue and an extensive program of events. More information at Tel. +49 (0) 681.99 64-0 or online at www.saarlandmuseum.de

• 05.08.2008  Vasyl Hryhorovych Krychevsky, publications

  • Catalogue published for the personal exhibition in Kiev, 1940. Editor G. Radionov; cover and design by O. Ruban; prepared to print by Y. Kolada and I. Volokidina; photos by I. Kasperovich. 300 copies published. Size 15.6x11.6cm. 92 pages. 18 black and white illustrations. List of works comprising paintings, drawings, architectural renderings, theatre and film design studies and works of decorative art – total of 1055 works on exhibit.

• 09.07.2008  RCS – Contemporary Russian Show

  • The splendid Hermitage and grandiose Red Square tells Russia`s long history and great past. The Russian art performs as the fire frozen in the ice. Not even the most adventurous and optimistic art historian could have imagined such a success of the Russian contemporary art today. Inherited with the spirit of extension from the Slav people, the cultural toleration and art concept of the Russian contemporary art is absolutely no inferior to other European countries. HAN JI YUN Contemporary Space [Beijing] invited nine Russian artists and art groups from all over the world and brought their works to China for the first time. In this thousand-square-meter space the quintessence of the Russian contemporary art is thoroughly revealed. Video, installation, oil painting, photography, depicted the inspirations of the artists jumping from the court of Peter the Great and the battlefield of Stalingrad to express a delightful elegance and humorous satires. They watch with their own eyes, feel with their own hearts, paint with their own hands, the Russian expression style is dignified with passion, and magnificent with grace. Artists: Anna Sokolova Anton S. Kandinsky Blue Noses Evfrosina Lavrukhina Petr Axenoff Revision Sergei Kiryuschenko Tyminko & Mitrichenka Curators: Lioudmila Voropai & Han Jiyun More information at www.hanjiyun.com

• 30.04.2008  Afrika (Sergei Bugaev) Good ballerina is always right

  • This is the fourth exhibition of Afrika at I-20 gallery. It presents an installation of a ship’s mast bearing three sail crowns. The installation is made out of stylish two-seat turn of the 19th century Siberian sleigh with flags and metal sheet representing the sails. The sheet is a door part removed by Afrika from the Vera Mukhina sculpture Worker and Kolkhoz Woman. It was removed during the Donald Destruction performance of 1987, Moscow. The flags were produced during the other performance that took place in Crimea and was entitled Krimania in 1995. In the concept of obsessional representation Afrika stayed for one month at the psychiatric clinic with aphasic (loss of comprehension of language) inmates. The inmates, insensitive to the hierarchy of linguistic elements, worked on the flags. The objective was to illustrate the collapse of the Soviet Union in the form of aphasic incoherence of post-Soviet traumatized consciousness. The art produced by both performances was utilized to produce the installation, now on exhibit at I-20 gallery. Afrika (Sergei Bugaev) was born in Novorossisk in 1966. In the 1980s and 1990s, he founded with Timur Novikov the New Artists Movement in Leningrad. They also founded the Soviet band Popular Mechanics which was led by experimental composer Sergei Kurhokhin. In 1987 Bugaev starred in Serrgei Soloviov’s ASSA, one of the most significant Russian film of the Glasnost era; and in 1989, he was commissioned by John Cage to design sets and costumes for the Merce Cunningham Dance Company’s August Pace. Bugaev lives and works in St. Petersburg.

• 25.04.2008  New Ukrainian Painting

  • On exhibit works by: Juri Solomko, Alexander Roitburg, Nikita Kadan, Ilya Chichkan, Andriy Sahaidakovsky, Maxim Mamsikov, Nikolai Matsenko, Lesya Khomenko, Konstantin Reunov, Vlada Ralko, Arsen Savadov, Sergei Zarva, Katya Solovieva, Vasily Tsagolov, Alexander Gnylitskiy, Pavel Makov. Curated by Marat Guelman; organized by Juan Puntes. Last in a White Box series exploring different methods of art production in Post-Soviet territories and Greater Russia begun in 2005 with Russia 2: Bad News from Russia, New Ukrainian Painting premiers a disparate group of artists – springing from the land of the great modernist painters Malevich, Rodchenko and Kandinsky – who after working in different media, resolved to return to painting as their instrument of artistic exploration and expression. The latest rehabilitation of Ukrainian painting has taken place in the media age, inevitably reflecting on its mutated features. Dealing with post-colonial issues like transculturalism while maintaining the belief that cultural systems of exchange evolve, New Ukrainian painters are no longer constrained by outdated boundaries and regulations. While they remain faithful to the figurative and the narrative, postmodern appropriations of art history direct a trans-media flow of mixed screen and glossy-magazine manipulation. The correlation seen in new Ukrainian painting of the modern context to the return to the “real” and the documentary is not simple abbreviation of the pre-media ages. The need to regain a grip on some “real reality” is more than just an alternative to the growing sensations of artificiality in today’s world and the virtualization of everyday life. These Ukrainian painters express a sense of both liberation and anxiety. As the former institutions that once defined their identity have been challenged, they now explore what is to be Ukrainian today. For more information visit: whiteboxny.org

• 04.04.2008  Odessa Artists of the second half of the 20th Century

  • Come and enjoy the exhibition of non-conformist artists of Odessa on display at the Kyiv National Russian Art Museum, Tereshchenska St. 9; telephone 234-6218. Works by the following artists will be presented: V. Strelnikov, A.Atzmanchuk, K.Lomykin, Sviatoslav Bozhiy, D.M.Frumina, O.Sleshinskiy, G.Garmider and other. The exhibition is curated by Vyacheslav Vyrodov; foreword for the catalogue – Sergei Kniazev. To view the collection online please visit: http://slav-nonart.com

• 28.03.2008  Yuriy Savchenko

  • Zorya Fine Art will host an exhibition of paintings by renowned Ukrainian artist Yuriy Savchenko. The show is a retrospective of the artist’s work from the 1980s to 1990s, opens April 3 at the gallery, 38 E. Putnam Ave. Curated by Alexander Demko, the art will be on view through May 16. Savchenko’s paintings are strong and evocative, yet their subject matter is very simple. His still lifes capture village roads, peasant life, birch trees, autumn and field flowers. They reflect the emotional attachment Savchenko has for ordinary scenes. The artist skillfully creates medium to large size oil paintings that are executed in heavy impasto. These works engage the viewer with laconic compositions and masterfully mixed colors that are contrasted with warm and cold tones. Trained in an academic tradition, Savchenko graduated from the Kharkiv Academy of Art in 1957. He developed his own expressive yet impressionistic style in the early 1980s. American art lovers had the first opportunity to view his paintings in 1991, when he was invited to exhibit at the Montgomery Museum of Fine Art, Alabama and at a private gallery in Nashville, Tenn. The last exhibition of works by Savchenko - “Fifth Avenue and Central Park” - was organized by the Ukrainian Institute of America, New York in 2004. Now in his 70s, Savchenko continues his career, working in his studio in Kharkiv, Ukraine. Last year Savchenko held solo exhibitions in Kiev, Moscow and St. Petersburg. For more information, log onto the web site www.zoryafineart.com or call the gallery 869-9898. This article was published in The Arts section of Greenwich Time, Wednesday, March 26, 2008 – page A11.

• 03.12.2007  Ukrainian Artists in Paris - 1930

  • In the 1930s a group of Ukrainian artists settled in Paris. They joined the Association of Independent Ukrainian Artists (ANUM) in 1932 and provided theirs works for the exhibition of the association that took place in Lviv in 1935. On the photographs, from the archives of Severyn Borachok, depicted from left to right: First row – Oleksa Tretiakiv, Severyn Borachok. Second row – Mykhailo Andreenko, Klement Redko, Mykola Glutchenko, Vasyl Yemetz, Vasyl Khmeluk, Oleksandr Lahutenko, Mykola Krychevsky, Volodymyr Savchenko-Belsky, Roman Turyn. Third row – Vasyl Perebyinis.

• 12.09.2007  A Meditation of Weapons

  • A Meditation of Weapons >>> Art by Anton Skorubsky Kandinsky >>> Curated by Marc Eckō >>> AMERICA IS WHERE THIS COLLECTION ENDS. >>> However, this collection, and all of Anton Skorubsky Kandinsky’s work, begins in the former Soviet Union. It was there that Kandinsky used his Ukrainian lens to recast the regime of images propagated by Soviets. Today Anton presents us with (or confronts us with, depending on your vantage point) his articulation of the images of an America that found him. When we first met, Anton said, “Marc? Teach me Pop culture!” My vibe was that he was out to emulate Warhol. But I soon came to realize his genius would be more like Borat. And so Anton offers us a mirror, juxtaposing the hard mechanical beauty of weapons with our bejeweled tabloid culture. But it is not an indictment. Thus we stand here, naked in the glory of our egos, and reflect on our truths. Smile on the good parts. Frown on the ugly. Begrudge the bits you can’t quite see. As we approach the technological speed of light – thanks to the Internet – the measure of one’s 15 minutes of fame has slowed to near stand still. It seems even Andy’s maxim couldn’t stand the pressures applied by Moore’s law. Meanwhile, our understanding of the actual events of our day became an increasing abstraction, pacified in a diamond-encrusted-cocktail of media white noise and consumption hysteria. It’s the process of his exploration that best embodies the essence of Anton’s pursuit. No limits. No ideologies. No masters to serve. Maniacally free. >>> THIS COLLECTION IS WHERE AMERICA BEGINS. >>> Marc Eckō

• 27.06.2007  RAIDER ATTACK ON ART GALLERIES IN KYIV

  • Tonight, June 26 from 10:00pm to 1:00am, offices and gallery spaces of two Kyiv based galleries «Karas» and «Soviart» were seized by armed gangsters in a move to overtake the valuable space occupied by the gallery and the Association of Contemporary Ukrainian Art. Police and local government officials are not providing any support to the rightful business owners. We are looking for help. The galleries are located on Adriivsky Uzviz 22a. For more information and to provide your support please call us +38 044 2386531 or 4250247.

• 22.05.2007  Antiqvitas Nova

  • Antiqvitas Nova. Monograph. Oleh Denysenko. (Paperback) by Oleh Sydor-Hibelynda (Foreword), Oleh Denysenko (Author), Oleh Dergachov, Orest Holubec, Yaryna Koval (Contributors), Olexiy Iutin (Art photographs), Oleh Denysenko (Concept and design), ColirPRO (Setting), Illya Levin, ColirPRO (Scanning), ColirPRO (Prepress), printed in Ukraine by Novyi druk, edition of 1500. Special thanks to co-editors: artfira.com and Sergei Brodovich Publishing /Издательство Сергея Бродовича/. All rights reserved©Olden Studio. Paperback: 160 pages Publisher: Olden Studio www.olden.com.ua (April 2007) Language: Ukrainian and English ISBN-13: 9789668527401 Product Dimensions: 30 x 23.5 x 1.5 cm / 11.8 x 9.25 x 0.6 inches Shipping Weight: 1 kg / 2.2 pounds. Available in the United States of America with artfira.com at $25 plus shipping. For more information please e-mail: mail@artfira.com or by phone: 917-573-5688.

• 07.04.2007  Works from the Estate of Vasyl Hryhorovych Krychevsky

  • New York, March 23, 2007. An exhibition entitled Works from the Estate of Vasyl Hryhorovych Krychevsky will open at The Ukrainian Museum, 222 East 6th Street in New York City on April 13, 2007. The works – oil paintings and watercolors by the artist, are from the collection of Zorya Fine Art gallery in Greenwich CT. The exhibition will run through June 3, 2007. Vasyl Krychevsky (1873 – 1952) is considered one of Ukraine`s outstanding public figures of the 20th century - architect, artist, scholar, and educator whose remarkable accomplishments impacted greatly on the country’s cultural development in the early part of the century. A Renaissance man in effect, he was dynamic and innovative in his creativity. He pioneered a distinct Ukrainian style of architectural expression and brought new trends to the art of book design. He made notable contributions to scholarship, to the applied arts, theater production designs, and was distinguished as an art director in the Ukrainian film industry. As one of the principal organizers of the Ukrainian State Academy of Arts in 1917 (later its name was changed to the Kyiv Art Institute), its first president and a professor on the staff, Krychevsky played a major role in educating a generation of exceptional Ukrainian architects and artists Vasyl Hryhorovych Krychevsky was a celebrated artist. The collection of his paintings from the Zorya Fine Art gallery is presented in a most timely fashion – to run concurrently with the critically acclaimed (The New York Times) exhibition Crossroads: Modernism in Ukraine, 1910-1930, presently on view at The Ukrainian Museum and showing until April 29th. Here, Krychevsky’s paintings can be viewed within the context of one of the most exciting and innovative periods of art in Ukraine – the period of modernism, which is so aptly discussed in the “Crossroads” exhibition. Krychevsky, along with such illustrious contemporaries as David Burliuk, Alexandra Exter, as well as fellow faculty members of the Ukrainian Academy of Art – artists Oleksander Bohomazov, Abram Manevych, Hryhorii Narbut, Vadym Meller, and Kazimir Malevich among others, represented the vibrant voices in the Ukrainian world of art of that day. A 112-page exhibition catalogue in English and Ukrainian published by Zorya Fine Art contains a comprehensive essay on the life and work of Vasyl Krychevsky by Valentyna Ruban-Kravchenko, Doctor of Art History, Corresponding Member of the Academy of Fine Arts of Ukraine. Dr. Kravchenko divides the artist’s work represented in the show into “three thematic cycles”: paintings from before World War I and from the years before the start of World War II that project the natural beauty of Ukraine in compositions that embody joy and appreciation for the majesty of nature; works the artist created during his immigration period beginning with the final months of World War II, during which Krychevsky’s longing for his homeland is expressed poignantly in landscapes of Ukraine, which he painted from memory; and works in which the artist evokes Venezuela’s natural beauty and the urban environment of Caracas, where he lived the rest of his life and where he died in 1952. In the essay, Dr. Kravchenko best describes the essence of Krychevsky’s paintings. “In both peaceful and difficult times, Krychevsky returned again and again to the images dearest to his heart – tree-hugged peasant homes above quiet-flowing Ukrainian rivers, the changing colors of the sky above the open spaces of green fields, the powerful surge of Crimean mountains, or the boundless blue of the sea. These small-scale harmonious works are monumental in their imagery, perfect in their composition and color scheme. In them, the artist’s soul sings like an Aeolian harp, open to the expanses and colors of his native land.” Krychevsky was a very prolific artist. According to his biographer Vadym Pavlovsky, the artist “produced close to two hundred large paintings, several hundred of medium format, and several thousand small works.” Unfortunately, the bulk of his creative work was destroyed in a fire and only a small portion of his paintings are preserved in galleries, museums, and in private collections. Krychevsky’s media was watercolor and oil. In describing the artist’s work, V. Pavlovsky said, “His paintings, full of sunlight and air, express the mood of the moment at which the artist captures nature and recreates it with his brush. The harmony of light and transparent hues, a joyous, rarely pensive mood, and a sense of intimacy are characteristic of almost all his landscapes.” Pavlovsky identifies Krychevsky’s style as that close to Impressionism, but says that the artist “followed his own path.” Olha Hnateyko, President of the Board of Trustees of The Ukrainian Museum said that the Museum “is delighted to collaborate with Zorya Fine Art in displaying a selection of the vast artistic output of this distinguished artist, whose pioneering work in the name of Modernism helped change the face of Ukrainian culture in the early 20th century.” The Ukrainian Museum’s purpose is to share the breadth and wealth of the Ukrainian culture with the public. To that end the Museum organizes exhibitions from its collections or from loans, offers educational programming, and works in concert with other museums, institutions and organizations to provide excellence in substance, visual enjoyment, and a learning experience in all its endeavors. In 2005 the Museum relocated to its newly built facility, funded in total by the generous donations from the Ukrainian community in the United States. Exhibitions currently showing at The Ukrainian Museum: Crossroads: Modernism in Ukraine 1910-1930 until April 29 Ukrainian Sculpture and Icons; A History of Their Rescue until May 27 Pysanka: Vessel of Life until July 1 The Ukrainian Museum 222 East 6th Street New York, NY 10003 212-229-0100 info@ukrainianmuseum.org www.ukrainianmuseum.org

• 29.03.2007  Grapheion

  • Stredoevropska galerie a nakladatelstvi has reassumed its last year`s project and released another yearbook summarizing intresting events in the space of graphic art and printmaking in 2006. We would like to introduce Grapheion no. 19 to you. ------ LEADING ARTICLE Where is Print Going? (Richard Noyce, Wales) GRAPHEION‘S THEME A year of Rembrandt: Rembrandt and his prints (Martin Royalton-Kisch, British Museum, London); The history of the Rembrandt house; exhibitions guide WORLD TREASURES Print Collections in the Bibliotheque nationale de France FROM THE HISTORY OF GRAPHIC ART The Print Collection of Ferdinand Columbus (Mark P. McDonald, British Museum, London) CONTEMPORARY SCENE Franz Gertsch (Achim Gnann, Albertina, Vienna); Achille Perilli (Elisabetta Cristallini, Afredo Nicastri, Italy) 2006 TOP EXHIBITIONS Picasso – Painting Against Time (Albertina, Vienna); Eye on Europe (MoMA New York); Andy Warhol: Popstars (Albertina, Vienna); Kiki Smith (Walker Art Center, Minneapolis) THE WORK – THE PERSONALITY – THE TIME Vlastislav Hofman’s Prints 1884–1964 ART ASSOCIATIONS The Association of Czech Graphic Artists Hollar WORKSHOPS PaperGraphica, New Zealand; Tabor Presse, Berlin ART SCHOOLS Rorke’s Drift, Republic of South Africa; Printmaking in Malaysian Universities; Traditions reinterpreted in the Japanese hybrid INTERNATIONAL PERIODICALS Print Quarterly CHRONICLE Competitions, Exhibitions 2006 AUCTIONS ----- 152 full-colour pages on glossy paper, A4 format, perfect bound ----- price: EUR 11 or US$ 14 per piece + shipping postage EUR 10 or US$ 13.20 per piece or overseas airmail postage US$ 15.30 per piece ----- Grapheion, international review of contemporary prints, books and paper art has been published by the Central Europe Gallery and Publishing House in Prague, Czech Republic. This magazine comes out in Czech [ISSN 1211-6890] and English versions [ISSN 1211-6904] in A4 format on glossy paper. A single issue contains usually 88 full-colour pages, a double-issue 172 pages. This magazine was released quarterly from 1997 to 2000 [issues nos. 0–16]. There was one special issue in 2002 [no. 17]. We made a 2005 yearbook [no. 18] and a 2006 yearbook [no. 19] covering the most interesting events in the field of printmaking. ----- www.grapheion.cz

• 06.01.2007  Alexis Gritchenko (1883-1977)

  • The late works of the great masters have always had an air of liberty and maturity which dominated the world around them. They sum up and express the life of those endowed with a superior sensitiveness. This can be seen in the last productions of Titian, Rembrandt and Greco as well as in the music of Beethoven and Wagner. We find something similar in the paintings of Alexis Gritchenko, which were executed since the last war. Gritchenko, who is now eighty years of age, has continued to develop his art and to maintain his vigorous style, in which he has so admirably depicted the tumultuous aspects of nature. Throughout a variety of countries this “vagabond of Ukrainia” as he calls himself, has drawn inspiration from the vast open spaces of the plain; from the geological forms of great mountains ranges; from the rhythmic movement of the great waters; from the changing shape of the clouds in their perpetual drift from one season to another, and from the vegetation that is constantly springing up into life. Having never lost his youthful memories of the endless plains of the Dnieper, nor the flavour of the Slavonic earth to which he was always attached, Gritchenko with his extraordinary vitality never lived the nostalgic life of a refugee. He has a fraternal feeling for all the countries he has visited. In France he is in every respect at home, and he has also assimilated the natural beauties and the human characteristics of Greece, Spain, Italy as well as several of the eastern and northern lands. Born in the old world, he nevertheless succeeded in conquering the new. Welcomed by the USA in 1958, a Gritchenko Foundation was eventually set up there, to contain his paintings and writings where they await the time when someday they may return to his native land. His art which is profoundly rooted in Russia is nevertheless remarkably universal in its appeal. He loves the Russian Icons of which he is a connoisseur, and has studied them attentively and retained something of their sumptuous colours, their ample and majestic style. He is too much of a painter to remain shut up in any of the historic styles, as is often the case with some of his countrymen. Abandoning his early oriental manner which he once defined as “flat surfaces, reversed perspectives, in a light immaterial style” he assimilated all the modern movements in Western art, the vivid chromatic style of the Fauves, the constructive architecture of Cubists, from these he took what was useful to him for his own lyrical vision of life, without being absorbed by them. The intense blues of his mountains ranges are crystallizations of the earth, transformed by the atmosphere. From upright forms he evokes the mystical interior of a cathedral, where Faith floats high up above the miniature human figure. A worldwind of forms, which would, to-day, be called “gestual” evokes the powerful winds that blow through most of his paintings. Even the houses, such as those of the Basque country with great red roofs, or those of Corsica and Spain huddled together in a solid mass; ships with bellowing sails, or peasants going about their daily work, seen along with all the other features which make up the immense play of life, the fragility of which, like vegetation, covers the rough surface of the globe. The still-lives of Gritchenko are very much alive. They consist of common objects, of fiery-coloured flowers, especially wild flowers discovered in Provence or Limusin and gathered by the artist, or sea produce, ursins, shrimps, starfishes and lobsters of strange forms for which he has a strong predilection. In all of these one finds a continual strain of warm palpitating colour, powerful and all inclusive like nature itself. Before these sumptuous works one recalls the art of Rubens or Delacroix, or a phrase of Virgil or Baudelaire who also felt and evoked the inner soul of things. In this way, Gritchenko painting goes far beyond the shallow researches and the pretentious simplifications of a purely intellectual order which os many of our contemporaries imageine to be new. Gritchenko’s art is united to the earth in a mystic marriage where all the sentiments and sensations take fire and invite us to share in a healthy joyful existence which the narrow utilitarian nature of modern life excludes. Invincible in its reaction to the social and technical sclerosis of our time, Gritchenko has rediscovered the real vocation of art which is to make humanity conscious of its greatness and high standing in the cosmos.

• 26.09.2006  Upcoming auctions to watch

  • Auctions to watch this season >>> Sotheby’s The Russian Sale 28 Nov 06, London, New Bond Street Sale L06111 >>> Christie’s Russian Works of Art 29 Nov 06, London, King Street >>> Bukowskis International Autumn Auction 12 – 13 Dec 06, Helsinki Sale 132 >>> Bonhams Russian Sale 27 Nov 06, London, New Bond Street Sale 14219 >>> MacDougall’s Russian Art Auction 27 Nov 2006, London, St. James`s Square >>> Boisgirard Russian Painters 11 Oct 2006, Paris, Drouot Richelieu (correction – moved to 20 Oct 2006) >>> Tajan Russian Art 21 Dec 2006, Paris, Espace Tajan Sale 6663 Auction results will be published on artfira.com For additional information please contact us at mail@artfira.com or by phone at 917 459 3248.

• 27.03.2006  “Eurointegration through Art”

  • ARS DOR Association with the support of the International Fund for the Promotion of Culture (UNESCO) invites visual artists* from Romania, Ukraine and Moldova to participate at the International Art Campus ”Eurointegration through Art” that will take place in Moldova, during June 14 – 20, 2006. Only 18 artists will be selected to become Ambassadors for Eurointegration through art. They will express their vision on importance of culture in the International Diplomacy process of Eurointegration. During the international art camp two seminars will be delivered to participants: “Eurointegration through art” “Art promotion through Internet” At the end of Art Campus painters will exhibit their artworks in the National History Museum of Moldova. Later exhibition will be presented in other European countries. Also exhibition will be placed online for one year what will make your works easily searchable on the Internet. Organizers will cover living expenses, meals and partially painting materials. Participants will cover travel expenses to/from Moldova. Participation fee is: 20 USD. Eligibility and Submission criteria · Artists from Romania, Ukraine, Moldova*, 18-35 years old · Motivation Letter · Artist CV (or resume) with contact details (may be presented in English, Romanian or Russian) · 5 artwork photos 10x15 cm, of professional quality, without dust or scratches, or CD-ROM (with artist’s name, title of work, medium, size, year) All materials for application must be sent to the address: ARS DOR Association, of. 109, 59/1 Calea Esilor str., Chisinau, MD 2069, Moldova. Materials can also be submitted electronically to: ghenador@yahoo.com (with images as jpegs). Applications for ”Eurointegration through Art” will be reviewed by ARS DOR selection committee. Only accepted artists will be announced. Calendar Dates May 15, 2006 Application deadline May 31, 2006 Accepted artists informed June 14 - 20, 2006 International Art Campus June 20 - July 15, 2006 Exhibition in the National History Museum of Moldova June 20, 2006 - June 20, 2007 Exhibition continues online *Visual artist from countries different from Romania, Ukraine and Moldova can also apply, with their own support of campus expenses. If you would like to be a part of this adventure, do not hesitate to contact us. For further information please contact: ARS DOR Association of. 109, 59/1 Calea Esilor str. Chisinau, MD 2069, Moldova Phone: +373 79574875; +373 22 759413 E-mail: ghenador@yahoo.com Web: www.ghenador.com

• 14.03.2006  Picasso, Warhol Top List of 2005`s Actively Traded Artists

  • By Linda Sandler March 14 (Bloomberg) -- Pablo Picasso, who painted the world`s most expensive picture, held his place as 2005`s most actively traded artist, and Andy Warhol bumped Claude Monet from No. 2, said Artprice.com, a French data service. Canaletto`s Venetian views propelled him to fourth place from 239th. Picasso collectors raised $153.2 million last year from 1,409 works sold at auction, Artprice said. Owners of Warhols realized $86.7 million from 660 images, while 22 Monets took $61.5 million and 18 Canalettos $55.5 million, it said. Auction volumes are a guide to which works are becoming more liquid or expensive and which may be harder to buy and sell over time. Three Chinese painters, including Zao Wou-Ki, born in 1921, jumped onto Artprice`s top 50 as Christie`s International and Sotheby`s Holdings Inc. expanded Asian auctions. Henri Matisse fell to 13th from sixth as his best bright-patterned works became scarcer. Artprice published its ranking of artists by auction volume on its Web site as part of a survey of market trends in 2005. Fine-art auctions last year raised $4.2 billion, an increase of 15 percent from 2004, as the hammer came down on 477 lots priced at $1 million or more. Artprice excludes cars, furniture and collectibles that make up $2 billion of auction sales. About a third of fine-art lots failed to sell in 2005, including Monet`s ``Waterloo Bridge,`` valued at as much as $6 million. New York, where the billionaire Eli Broad paid $23.8 million for David Smith`s ``Cubi XXVIII`` sculpture at Sotheby`s in November, was expensive in 2005. Values swelled 35 percent in the biggest market. Art prices in London increased 4.8 percent. New York Gains The U.S. was catching up with an earlier surge in the No.2 market, Artprice said. From 2002 to 2004, London auction prices shot up 87 percent, dwarfing New York`s gains of 28 percent. Prices in Paris, the No. 3 market, were little changed last year. For Hong Kong, which has overtaken Germany to become the fourth-largest market, Artprice said there`s insufficient monthly data to provide comparable numbers. However, China`s economic boom propelled indexes of the country`s contemporary artists and old masters about 80 percent higher at auctions worldwide, it said. Fine-art auction prices worldwide last year rose 10 percent, slowing from a 19 percent run-up in 2004. The hottest art movement in 2005 was Dada, an early-20th century group whose best-known work is Marcel Duchamp`s urinal, ``Fountain.`` An Artprice index of Dada works rose 137 percent. Italian futurists including Gino Severini added 93 percent. London Bombings New York took a 44 percent share of fine-art auctions. London`s auction totals swelled by one fifth, giving the U.K. capital 28 percent of the pie. A Canaletto painting of Venice took $32.6 million in a packed Sotheby`s London auction room after a day of bombings on July 7, making the 18th-century Italian artist the most expensive of the year. Hong Kong, which contributed more of Christie`s 2005 auction totals than Paris, had a 3.7 percent market share, while Paris took 6.6 percent. Publicly traded Artprice has headquarters in Saint-Romain- au-Mont-d`Or, France. *T Here are Artprice`s 10 most actively traded artists: Pablo Picasso Andy Warhol Claude Monet Canaletto Mark Rothko Marc Chagall Willem de Kooning Fernand Leger Jean-Michel Basquiat Lucian Freud *T

• 19.01.2006  JANUARY 19-28, 2006

  • CURATED BY LISA PAUL STREITFELD . WITH VINCENT BALDASSANO. MIKE BIDLO. ABRAHAM BREWSTER. LAUREL JAY CARPENTER . ARTURO CUENCA . RICHARD HUMANN . BAPTISTE IBAR . ANTON KORUBSKY KANDINSKY . MARNI KOTAK . PETER KREBS . YULIYA LANINA . D. DOMINICK LOMBARDI ABRAHAM LUBELSKI . RANAN LURIE . SOPHIE MATISSE . REUBEN NAKIAN . OLU OGUIBE KEVIN ROBINSON. GAE SAVANNAH. DONNA SHARRETT. ANITA STECKEL. MARGARET TSIRANTONAKIS. SUSAN WEINREICH. FRED WILSON. MYKOLA ZHURAVEL. Icons of the 21st Century presents a new movement in which contemporary artists explore the forms of the hieros gamos, or sacred marriage of the opposites. The exhibition seeks to extend the dialogue between Wolfgang Pauli and C.G. Jung, who believed this emerging archetype to be the icon of the 21st century.