VI МЕЖДУНАРОДНЫЙ

Ф Е С Т И В А Л ЬЭКСПЕРИМЕНТАЛЬНОГО

И С К У С С Т В АV I I N T E R N A T I O N A L

F E S T I V A L

EXPERIMENT’S ART

12 � 24 АВГУСТА 2006КОМИТЕТ ПО КУЛЬТУРЕ ПРАВИТЕЛЬСТВА САНКТ�ПЕТЕРБУРГА

ЦЕНТРАЛЬНЫЙ ВЫСТАВОЧНЫЙ ЗАЛ “МАНЕЖ”

РАБОЧАЯ ГРУППА

Лариса Скобкина � куратор ФестиваляНиколай ВасильевАлёна Войнова

Максим Сурин (Эстония) � организатор проекта“Открытые пространства и их обитатели”

Henry Grahn � организатор проектаскандинавских стран

Наталья Жестовская � организаторроссийско�финской программы перформанса

BABASJANTS SERGOBARCZEWSKA ANATKABATALLER DANIELBELSER ANSELMBERKENHOFF ANABONTSUK ANDREYESTNA MERIKEGENNADIEV ANDREYGOLDBACH CLEMENS B.GRAHN HENRYGRANBERG URBANHENNINGS ROBERTHYRSKYLAHTI SAMIJÕGEVA SANDRAKURISMAA KAARELKALAMEES KRISTINKALDALU MEELISKAMINSKY NICOLE M.KELLER RAULKHATIB AMIRKIWAKIRBY LYNNKOCH MONIKAKUMELA KIMMOKURISMAA MARILÕO ANDRESMALKIA PASIMALKKI MERJAMARKOVSKI ANTONMcKENZIE ANDREWMIYAKAWA M. CHAPAOLE KAIDOPEDANIK MARTINPEHKONEN ANNEPIQUER JORGEPRAUST ARNOLDRINGDAL OLAVSAMMET KAARELSURIN MAKSIMTIITSMAA MARGUS S.TOOTS TIMOTREEPEE MAKSWOLFF KARL

ANSELM BELSERANSELM BELSERANSELM BELSERANSELM BELSERANSELM BELSERPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUP

FESTIVAL OF NON�FESTIVAL OF NON�FESTIVAL OF NON�FESTIVAL OF NON�FESTIVAL OF NON�EXISTING BANDS –EXISTING BANDS –EXISTING BANDS –EXISTING BANDS –EXISTING BANDS –PERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUP

NEFORMAT –NEFORMAT –NEFORMAT –NEFORMAT –NEFORMAT –PERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUP

PINK PUNKPINK PUNKPINK PUNKPINK PUNKPINK PUNKPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUP

С.П.О.Р.Т.С.П.О.Р.Т.С.П.О.Р.Т.С.П.О.Р.Т.С.П.О.Р.Т.PERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPPERFORMANCE GROUPTHE HAFLER TRIOTHE HAFLER TRIOTHE HAFLER TRIOTHE HAFLER TRIOTHE HAFLER TRIO

АНТИПОВА ЛИДИЯАФРИКА СЕРГЕЙБАРЫШЕВ СЕРГЕЙБАСКИН ИГОРЬБЕЛЯЕВ АНДРЕЙБЛОХИН АНДРЕЙБУГАЕВ ВЛАДИМИРБУКОВСКАЯ ТАМАРАВАСИЛЬЕВ НИКОЛАЙВАСИЛЬЕВА АЛИНАГАЛЕЧЬЯН ВАЛЕРИЙГЕННАДИЕВ АНДРЕЙГЕННАДИЕВА АЛИСА

ГОСУДАРСТВЕННЫЙГОСУДАРСТВЕННЫЙГОСУДАРСТВЕННЫЙГОСУДАРСТВЕННЫЙГОСУДАРСТВЕННЫЙУНИВЕРСИТЕТУНИВЕРСИТЕТУНИВЕРСИТЕТУНИВЕРСИТЕТУНИВЕРСИТЕТАЭРОКОСМИЧЕСКОГОАЭРОКОСМИЧЕСКОГОАЭРОКОСМИЧЕСКОГОАЭРОКОСМИЧЕСКОГОАЭРОКОСМИЧЕСКОГОПРИБОРОСТРОЕНИЯПРИБОРОСТРОЕНИЯПРИБОРОСТРОЕНИЯПРИБОРОСТРОЕНИЯПРИБОРОСТРОЕНИЯАННЕНКОВА ЕЛЕНАБЕЛОНЕНКО АЛЕКСАНДРИГНАТЬЕВ МИХАИЛКОВАЛЕВИЧ РОМАНЛЕКАРЕВ МИХАИЛМАКИН АЛЕКСЕЙМАКИН ПЕТРНИКИТИН АЛЕКСАНДРОВОДЕНКО АНАТОЛИЙТРОШИН СЕРГЕЙШАПОВАЛОВ ЕВГЕНИЙ

ГУСЕВА ЛЮДМИЛАЗАЙГОТТ ГЕРМЕСЗЮЛЬКОВ ВИТАЛИЙКОМЕЛЬФО ВЛАДИМИРКОПЫЛОВА КСЕНИЯКУЗНЕЦОВ ГЕОРГИЙКУЧКАРОВА РЕЗЕДАЛИТВАК СВЕТЛАНАМЕЛЬНИК АНДРЕЙ

BELARUSENGLANDESTONIAFINLANDGERMANYIRAQISRAELJAPANNORWAYRUSSIASCOTLANDSPAINSWEDENUSA

АНГЛИЯБЕЛАРУСЬГЕРМАНИЯИЗРАИЛЬИРАКИСПАНИЯНОРВЕГИЯРОССИЯСШАФИНЛЯНДИЯШВЕЦИЯШОТЛАНДИЯЭСТОНИЯ

ЯПОНИЯ

МИЗИН ВЯЧЕСЛАВМИНКЕВИЧ ОЛЬГАМИШИН ВАЛЕРИЙМИШИНА�ВАСЬКОВА АННА

МОСКОВСКИЙ МУЗЕЙМОСКОВСКИЙ МУЗЕЙМОСКОВСКИЙ МУЗЕЙМОСКОВСКИЙ МУЗЕЙМОСКОВСКИЙ МУЗЕЙСОВРЕМЕННОГОСОВРЕМЕННОГОСОВРЕМЕННОГОСОВРЕМЕННОГОСОВРЕМЕННОГОИСКУССТВАИСКУССТВАИСКУССТВАИСКУССТВАИСКУССТВА

НОМНОМНОМНОМНОМКАГАДЕЕВ АНДРЕЙКОПЕЙКИН НИКОЛАЙ

НОРИНА ЗОЯ

ODD�DANCE ТЕАТРODD�DANCE ТЕАТРODD�DANCE ТЕАТРODD�DANCE ТЕАТРODD�DANCE ТЕАТРЖЕСТОВСКАЯ НАТАЛЬЯГЛАЗУНОВ ГРИГОРИЙСЕМЕНОВА АННАИЛЬЯСОВА МАРИЯ

РУССКИХ МАРИНАСУВОРОВ ИВАН

ТЕАТР “САТУРН”ТЕАТР “САТУРН”ТЕАТР “САТУРН”ТЕАТР “САТУРН”ТЕАТР “САТУРН”ГУСЕВ АЛЕКСЕЙ

ТРАПЕЗНИКОВА ЕЛЕНАТРЕТЬЯКОВ ВЛАДИМИРУШКОВ ИВАНФРОЛОВ ДМИТРИЙЦЕРЕТЕЛИ ВАСИЛИЙЧЕЖИН АНДРЕЙШАБУРОВ АЛЕКСАНДР

SHAKIN MANASSHAKIN MANASSHAKIN MANASSHAKIN MANASSHAKIN MANASКАЗИМИРОВ ВАСИЛИЙКАЛИНИНА ЕЛЕНАЛЕВИН ЛЕОНИДОБЛАПЕНКО ПАВЕЛПАВЛОВА ОЛЬГАПОРОТИКОВ ЕГОР

EMPTY SPACES AND THEIR OCCUPANTSEMPTY SPACES AND THEIR OCCUPANTSEMPTY SPACES AND THEIR OCCUPANTSEMPTY SPACES AND THEIR OCCUPANTSEMPTY SPACES AND THEIR OCCUPANTS

We are a part of space and space is not somethingstatic and solid; it arises in a constant negotiationbetween space, object and viewer, time or dura�tion, the relational understanding of orientation,movement. This are some of the fundamental ba�sics for experiencing/understanding space � andthus ourselves.‘The space’, in most western societies is disappear�ing as a focus of the ‘person’,in favour of imaginedand imaginary ‘spaces’ that rely on temporal ratherthan physical, and that ‘the space’ can be said tobe living in the person.Our experiences, then, are constantly oscillatingbetween the expectations we bring with us;gestures,postures, language and movement suddenly cometo assume a very special form that seems to beguided and controlled by the institution’s demands.This enforced orthodoxy, which finds its parallel inthe consumer culture’s marketing strategies, wherethe standardizing regimentation of the consumerpromises greater profits to the market. But this doesnot stop the external spaces from being imprinted.Beauty is a question of interaction, not a fulfillmentof certain culturally valorizing expectations. We ex�pecting physical input from the audience, and usinvestigating the audience’s experience of naviga�tional interfaces. The atmosphere itself is nevercompleted, but constantly modified by those whoare present in a system of continuous feedbacks.Being made aware of the true nature of one’s sur�roundings is a first step towards a dialogue:and toenter into that means that an approach can bemade to see the self as it is, and not as it likes tothink it is. By moving towards this state, it can besaid that the breaking down of the habits, armourand illusory coatings of the self can begin, and thatthe possibility of a real ‘I’ begins to emerge.Andrew McKenzie and Maksim Surin

NEFORMAT: Arnold Praust,Maksim Surin, Andrey Bontsuk,Sergo Babasjants, Anton Markovski

MAKSIM SURINESTONIA

S U P P O R T : S U P P O R T : S U P P O R T : S U P P O R T : S U P P O R T : KULTUURMINISTEERIUM, KULTUURKAPITAL,

KAASAEGSE EESTI KUSTI KESKUS, ENTERPRISE ESTONIA

Since 90�ties started to investigate visualization of sound, workedwith real�time video improvisations and projections for theater, con�temporary dance, opera and wide range of electronic, jazz music.Organized series of open�platform experimental events exploringelectro�acoustic�visual space. Lately working on interactive objects,kinetics and light. Founder of independent film studio / neformat /,producing documentaries, video art, animation.

МАКСИМ СУРИНЭСТОНИЯ

Kiwa is an artist whose practice includes a wide range of media: music/sound�art, texts/books, performance, social sculp�ture, bad�painting, video, installation, critics, conceptual projects in media and public space. His art draws on pop�lifestyles,youth and club culture and the counter cultures as well as cryptic texts, multimedia lectures, theories and practices in thefield of micro�literature, pseudoidentities and mystical conceptualism. He is the organizer of noise/sound�art platform*metabor* and the Festival of Non�Existent Bands

KIWAESTONIA

КИВАЭСТОНИЯ

ЭНДРЮ МАККЕНЗИШОТЛАНДИЯ

ANDREW McKENZIESCOTLAND

THE HAFLER TRIO: The Hafler Trio is Andrew M. McKenzie (from Newcastle, England С currently residing in Tallinn,Estonia) working in the field of psychoacoustics and sonic research. Since 1982, The Hafler Trio has produced a prolific bodyof work involving art, science, sound, religion, comedy and philosophy С emphasizing a dynamic balance and interplay of‘body’ ‘mind’ and ‘spirit’ over any one of these. McKenzie has previously worked with members of Cabaret Voltaire, ClockDVA, Nurse With Wound, Psychic TV, Whitehouse and Zoviet France. Andrew has also collaborated with performanceartists John Duncan and Annie Sprinkle, ex�Fluxus artist Willem De Ridder, artist/designer Neville Brody, and sound/poetryartist Z’EV. Recently, The Hafler Trio are concerned with the ramifications of technology and the creation of the mostextreme, all inclusive experience as possible, that ‘resonates’ over a period of time lasting much longer than just the physicaltime it takes to apprehend it, and affects and engages all levels of being.

КАЙДО ОЛЕЭСТОНИЯ

Kaido OleArtist’s statementRhythm and routine, everyday life with all its forecast sides, exactness in details, long lastingprocesses, skills and experiences, focussing on something, humour and absurdity, restrictions and limits � if I try to nameonly some of my sources of inspiration or important parts of my way to make art.Lately I have recognized that ethics gives also the key to solve even esthetical problems. Things will become the same, if Istarted making art taking world apart now these different parts of the world would start to get back together again. Andthe most important answer will wait me in the very end of the whole trip, that’s what I’m sure of.

KAIDO OLEESTONIA

MARTIN PEDANIKESTONIA

МАРТИН ПЕДАНИКЭСТОНИЯ

Martin Pedanik’s brand characters have existed among us for a couple of years. Their first coming was on leaflets andposters but they did it powerfully: in large quantities, proliferating, billowing and bending, acquiring new faces and changingmasks. At first it seemed that it is just the cleansing of design – Pedanik drowned out the noise around the characters and wasconstantly moving towards the simplest possibilities. The front ground was stripped clean, the background was eliminated,the forms to be used where defined. But with the rap artist’s conviction, Pedanik started to repeat his characters methodically� he injected them into side projects, found foster parents for them, made an exhibition of them. With this kind of repetitiona question arises, are they really just design problems or are we talking about little devils, tricksters and werewolves? True,they do not act in secret and in the dark but in public and even noisily watching us from behind Pedanik’s back or from theurban space. But this doesn’t make a difference. Pedanik has encircled himself with rows of ghosts � mythological creaturesmaking it pointless to talk about functions any more, not even about what we can see (as customary in view of design) butabout that which Pedanik keeps quiet about. I really am not sure if it is a good idea to look those characters in the eye.

Kaarel Kurismaa has simultaneously cultivated kinetism and abstract painting thrughout his career. He has also worked asa decorator, an animator and teacher. The most original side of Kurismaa? work is his kinetic objects, although numberedamong those recluses who devoted themselves to abstract painting, he has been one of the most uncompromising artistsfrom the 1970 until the present. The artist almost always manages to realize his idea in his kinetic works with playful ease andwithout any visible effort. This is not always true of his paintings. One can sense tenseness, inner uncertainly and subsconsiousdissatisfaction with the result. The desire to achieve the same convincing result with brush and paint as by composing amoving, resounding object seems to be the impetus which brings Kurismaa to the easel time and again in order to expresshis moods through colours and forms.1939 � born in PЉrnu, Estonia1957 � 1959 Tartu Art School1963 � 1965 Tartu Art School, decorative design1966 � 1971 Estonian Academy of Arts, monumental paintingMEMBERSHIPS1987 Estonian Artists Association

KAAREL KURISMAAESTONIA

КААРЕЛ КУРИСМААЭСТОНИЯ

MERIKE ESTNAESTONIA

Estna has created a technique of her own by not fully developing the hyper realistic style but by expertly manipulating it.Iconographically, we can compare her style of working with Vladimir Dubossarski and Aleksander Vinogradov who synthe�size Sots Art, socialistic realism and the world of pictures in advertising and media industry. For the viewer to get the realfeeling, they exploit with child, animal and butterfly motifs in a paradise like milieu.At the same time, Estna«s works are not just decorative ornaments but very meaningful content wise. The titles havesometimes an even greater part to play than the visual language. . Exactly this kind of antagonism between sadness and joy,love and hatred creates the existentialistic question about the stability of the earthly world. Estna is detached from the vieweras a talented fairy story teller but not from the fairy tale itself because she is one of the main characters on these pictures. Todemystify the poetic childhood, it is necessary to distrust the present time.

МЕРИКЕ ЭСТНАЭСТОНИЯ

PINK PUNK performance group

SANDRA JÕGEVACollaborating in a range of disciplines and media, Sandra Jõgeva has performed and shown in festivals and exhibitions in Estonia,Germany, Hungary, Finland, Iceland, Romania, Slovenia, U.S.A. (New York, Chicago, Cleveland, Iowa) and New Zealand. Sheworks with photography, digital projection, video, telecommunications, performance, costume and even tattoo. Her distinctive‘pro�glam’ aesthetics deliberately contrast with a program of socially engaged works and a non elitist art philosophy whichendeavors to reach a wide audience. In 2004 she won the premier art award in Estonia for contribution to the field of visual art.PINK PUNK is a proglam�grouping from Tallinn. Their performances are usually accompanied by shine and tumult. Fansare asking for autographs and artists can not give away as many blown kisses as wished.“We have a feeling that art which turns itself into a rather elitist play will lose a great deal of its potential audience. We wantto find our way out from the self� contained galleries right into people’s hearts; to examine people’s willingness in raisingdifferent questions. The political display could be taken for a grandiose performance – or the other way around. “Art is acommunication between different values”, said Aldo Pellegrini. We regard art as something visionary. We believe in art thatcan create and mediate new values. The aim of art should not only be to set free of the artist, but of the audience”.

САНДРА ЙЫГЕВАЭСТОНИЯ

SANDRA JÕGEVAESTONIA

С.П.О.Р.Т. performance group

RAUL KELLERESTONIA

РАУЛЬ КЕЛЛЕРЭСТОНИЯ

My work is determined by the tension betweenthe inner and outer circumstances, how theyinteract, oppose and influence each other.Usually when this balance is off somehow, apotential for new work is created, when inharmony, usually no new work will emerge. Iconsider sound and visual stimuli equal andconstantly reconsider my positions. I am po�litically aware and responsive. I lack in thedepartment of teamwork but I am taking tripsto this mostly uncovered territory. Improvisa�tion and contemplation, nontextual and tex�tual are both welcome here. I like radio, I likeold electricity. The list is open.

Jorge Piquer � Spain Sami Hyrskylahti � Finland Ana Berkenhoff &Anselm Belser performance group�Germany

MARGUS SORGE TIITSMAAESTONIA

TRAPTrap is a trap. Forbidden for under 12 year olds.People are attracted to the trap by a decoy.Everybody has its own trap. People have messed up a bitwith each others traps and they love traps.For example: politics is a trap art is a trap heaven is a trap love is a trap etc.In this exposition I depict life in itself �with an artists pointof view. Exhibition “Trap” doesn’t have a specificaudience nor does it concern modern society troublespots ( carrot=food processor etc.) The substance of theexhibition addresses thus the psychological convictionsof mankind’s history through humorous solutions. Enjoy.

МАРГУС ЗОРГЕ ТИИТСМААЭСТОНИЯ

TIMO TOOTS & MEELIS KALDALUESTONIA

ТИМО ТООТС и МЕЕЛИС КАЛДАЛУЭСТОНИЯ

Timo Toots is a photographer and multimedia artist.Timo last works he uses un� & re�constructing slow tech gadgets.

Meelis Kaldalu is organiser of early avant garde festival Eclectica.....In his own production uses three art egos: Meelis from Tartu is a performance artist self�identified through IntelligentStriptease series; ParamAthman is a conceptual curator for social site specific sound art; Puddhist is a mass mediamanipulator and enviromental activist. Studies semiotics.

ANDRES LÕOESTONIA

A member of the Metabor Performance Group, curator of 1+1=1 Multimedia Research Lab and administrator of looming.orgweb�space, Tallinn. Has taken part in several sound art projects and installation exhibitions – personal exhibitions, ‘A�ruum’and ‘Allusioonid jхule’ included. He is now applying the experiences of his creative work to the development of the bravenew sound. At present, Andres is working on the theoretical and practical consequences of the emergence of the Non�Existent Bands Festival phenomenon (with Kiwa) and of 1+1=1. He is particularly interested in potential of vibration forenhancing transcendental communications, encouraging artistic expression and facilitating democratic participation.

When you take a stone and smash it on the wall, it’ll probably break into several pieces. Now let’s pretend this stone is thecultural phenomenon called Pop Music. The one who likes to break the core of that stone is Andres Lõo. He enjoyesthrowing stones on the wall of sonic embryo and he loves to perceive himself as a pedestrian in japanese garden — despitethe perspective he might have on all those stones in that garden, one of the stones always remains hidden. That can serveas for definition of Andres Lõo’s music — the genuinly percussive mass of subsonic quotations.

АНДРЕС ЛЫОЭСТОНИЯ

In Mauri Kuitula's latest paintings, the realistic touch isinterestingly combined with the occasional transformationof colour into an abstract element. By this double gesture,Kuitula paints in both realistic and non�representationalways. This dual illumination reveals a great deal to theviewer, but demands a lot as well.

The same situation is encountered when looking atan optical illusion of a rabbit�duck. The viewer sees eitherthe rabbit or the duck. Kuitula is not as absolute, for in hispaintings, the abstract elements converse dynamically withthe representations.

In his landscapes, Mauri Kuitula unravels the Finnishobsession to identify nature with nationalism. In his works,trees are simply called trunks, in which case banalities suchas Finland lives on its forests. Finnish art lives on its relationto nature, presented side�by�side, start to seem as hollow asthey truly are. Nature, as presented in the artist's work, isdefined in relation to culture instead of forming an auto�nomic independent entity out there. In this respect, Kuitula'slandscapes and nature portraits have a touch of ecology to

them. Kuitula's handsome urban landscapes, seen as de�fined by something threatening, sublime and devoid ofhumans, also verge on the theme of ecology. The urbanlandscape is portrayed as a visually impressive union ofconcrete steel. Both landscapes have an echo of GermanRomantic painting where the sublime and threatening na�ture herself found her justification as the main theme.

Kuitula's work is an interesting way to unravel theconcepts of abstraction and expressive. Expressive is oftenunderstood, at least through conventional colour�paintingpractice, as an intensive surge of emotion. Kuitula's workbrings out not only the expressionist colour scale but alsothe complex, nearly baroque�like composition where sud�den illusions of space create surprising impressions. Com�bining the near�abstract colour�paintings with three�dimen�sional illustrations of space is an interesting act, since ac�cording to the rules of abstract modernism, a three�dimen�sional painting is a definite no�no. In Kuitula's post�modernwork, taboos are deliberately broken and the outcome isnothing but uninteresting. Juha�Heikki Tihinen

Born in 1972 in Oulu, FinlandVisual artist, lives and works in Helsinki, Finland1995�2001 M.F.A�degree, Academy of Fine Arts, Paintingdepartment, Helsinki2001 The Royal Academy of Fine Arts, Copenhagen1994�1995 Liminka College, Fine Arts department, LiminkaPrivate exhibitions:2006 Gallery Bakeliittibambi, Helsinki2003 Gallery Huuto, Helsinki2001 Gallery Bakeliittibambi, Helsinki2000 Restaurant Kosmos, Art goes kapakka, Helsinki

1998 Academy of Fine Arts Gallery, Helsinki1997 Academy of Fine Arts Main Building, Helsinki1996 Gallery Midasis, Kuopio, FinlandGROUP EXHIBITIONS: Turkey, Germany, Denmark, FinlandCOLLECTIONS : Finnish Art Association, FinlandHelsinki City Art Museum, Helsinki, FinlandJenny and Antti Wihuri Foundation/Rovaniemi City ArtMuseum, FinlandSaastamoinen Foundation/Espoo City Art Museum,FinlandTuulensuu Art Foundation, Viitasaari, Finland

MAURI KUITULAFINLAND

МАУРИ КЮИТУЛАФИНЛЯНДИЯ

ART THAT SUMS UP WHOLE AND PARTS

Kimmo Kumela’s (b.1971) art work alternates between small�scale and massive. His small�scale drawings form a multi�partseries sometimes combined with large drawings where the footof the page is sometimes left unfinished. Add newspaper pageswith covered photos and texts as well as other surprising ele�ments and the work is complete.When Kumela covers words, one by one, in books and articles,he simultaneously leaves a mark and erases it. We have reachedthe essential sphere of drawing/writing/painting where the vis�ible becomes invisible and the re�emerges as a new percepti�bility. Maybe for this reason, Kumela’s art work has a melan�cholic feel, for what could be seen earlier has now disappearedunder a new surface. The viewer remains with a reference tothis preceding element, almost like a memory left behind. Inmelancholy, our previous object of love dies or disappears,making loving him/her/it impossible. In Kumela’s work, thecovered text is lost and all that remains for us is but a trace or ashadow of it.

Born in19712001 � Academy of Fine Arts, Helsinki, Finland, MA�studies1996 � Art Academy of Malmö, Sweden1994 �1998 � Academy of Fine Arts, Helsinki, Finland, BA�stud�ies, painting department1992 �1994 � Nordic School of Art, Kokkola, Finland1992 � Kanneljärvi peopleґs college, artstudies, Lohja, Finland1990 � Matriculation Examination, Riihimäki, FinlandSOLO EXHIBITIONS: VIRTA Gallery, “Drawings”, Vihti, Finland, 2006Cable Gallery, “Marras Kuu”, Helsinki, 2005

KIMMO KUMELAFINLAND

Gallery Huuto, Helsinki, with Heikki Veijola, 2003Kluuvi Gallery, Helsinki, with Markus Rissanen, 2002Käytävä!, “Drawings”, Helsinki, 1998Gallery Allinna, Riihimäki, Finland, groupshow, 1996Käytävä!, “Kesän viimeinen slovari”, Helsinki, 1995EXHIBITIONS: 1998�2006, FinlandLIVE�PERFORMANCES: 2002�2005, Finland, Russia, SwedenCOLLECTIONS: Helsinki City Artmuseum, SuomenTaideyhdistysMEMBERSHIPS: Finnish Painters Association Muu ry

When making drawings on a newspaper, the artist treatsthe fundamental issues of painting by being in directcontact with different layers, surfaces and coverage. Thefaintly visible base material adds another dimensionwhere viewers can interact with Kumela’s technicalchoices. The plain page of a newspaper featuring soon�to�be forgotten news and information transforms intosomething tragic, poetic, humoristic or, simply said, intosomething a lot more interesting than before.Despite the philosophical side, Kumela’s art work is notstaid but rather playful and slightly ironic with hints ofromantic emotionality. With several different displays,Kimmo Kumela portrays interesting and differing waysof expression and narrativity, even if the overall work ofart itself is formed of similar parts to a great extent. Thisway, individual works are the building elements of anarration, able to transform into something new fromsituation to situation. The fascinating puzzle put togetherby Kumela practically invites one to lose track of time.Juha�Heikki Tihinen

КИММО КЮМЕЛАФИНЛЯНДИЯ

Was born in 1972 in HelsinkiLives and works in Helsinki

1994�2000 Academy of Fine Arts, painting depart�ment, Helsinki, Finland, Master of Arts

1997 Akademie vytvarnych umeni v Praze(Academy of Fine Arts, Prague, Czech Republic)

1992 �1994 Vapaa Taidekoulu (Free Artschool), Helsinki

PASI MÄLKIÄFINLAND

ПАЗИ МЯЛКИЯФИНЛЯНДИЯ

I want to keep my drawings simple. First comes the question, “what do I want to draw, if at all?”. Then comes the question,“What next?”.Then I try to fit things together so that it looks natural and easy. It is not just about signs and symbols, but more as a stage set�up in a theatre.Everything (so it seems) means and tells something, all things relate to each other. Holistic perception of the world is a goalnever achieved (at least for me), but it remains a lovable goal.

SOLO EXHIBITIONS

2006, 2003 gallery Huuto, Helsinki2005, 2003 gallery Bakeliittibambi, Helsinki2002 MUU gallery, lightning project 9.12., Helsinki1999 Gallery Pintura, Helsinki1996 Ateljee�bar of Hotel Torni, HelsinkiWORKS IN COLLECTIONS

Helsinki City Art MuseumFinnish Art AssociationState of Finland

MITSUKO CHAPA MIYAKAWAJAPAN � USA

I was born an only child and grew up in Sapporo, Hokkaido,Japan. Hokkaido, the northern most island of Japan, is cov�ered with snow in the winter, cherry blossom and sweet lilac inthe spring, and golden autumn colored leaves in the fall.As a child,I loved to watch my father as he sketched. Once, hispencil ran all over his sketchbook. Adonises, the first springflowers in the snow filled garden,bloomed vividly on his whitepages. Sometimes as he drew, I would write poems in my ownbook about a father and a child.Back then, I expressed myself in words rather than colors. Iwasn’t a particularly athletic so I spent a lot of time at homereading books, especially Japanese translations of Russianliterature to children was my favorite, dreaming about livingabroad and becoming a novelist.My mother was a cheerful, pleasant and considerateperson.She had many life long friends and kept in contact withher school classmates. Her favorite sayings to me were ,” Earsof rice bend lower when it’s rich .” and “ Give your friend thebetter one when you have two apples .” I try to follow herwords of wisdom,but sometimes,like being honest, it’s difficultto do in this day and age.Early on, I fell in love with sounds and music. I studied the Kotoand Sangen�Shamisen,traditional Japanese musical instru�ments. In the school orchestra I played the cello. I was particu

МИЦУКО ЧАПА МИЯКАВАЯПОНИЯ � США

larly attracted to phonetics, the study of the sounds ofspeech,while learning the Russian language in Moscowand became fascinated by the different shapes of the Rus�sian alphabet characters. After graduation, I became aRussian interpreter.I’ve also worked for a broadcast station, a publisher, a filmmagazine and a university library,and throughout,I’veviewed these experiences with the eyes of a writer.I’ve lived in many different locations throughout Japanthanks to my husband’s employment at the time,whichrequired us to move frequently. I also had a lot of opportu�nities to visit many countries of the world by myself or withmy husband. This provided the opportunity to meet manydifferent people and learn about their localtraditions,language, culture and general way of life. Alongthe way, I’ve met many interesting people and have mademany good friends.Coming full circle, the little girl that dreamt of becoming awriter and living abroad, is now all grown up, lives in NewYork City and is not a writer, but as an artist that sculpturesand painting. Who would have imagined!

John Lennon was right : “Life is what happens to you whileyou are busy making other plans.

Visual ArtistBorn in 1971

1990 Savonlinna‘s High Schoolof Art: graduated. Specialization :Archittecture and Art graphic,extra courses in Sculpture andCeramics1992 North�Karelia Hand� andCraft Educational Institution:Artesan carpenter2000 North�Karelia NurcingCenters2000 Joensuun Univercity, FreeInstitute, Pedagogics2003 North Karelia Polytechnic:Bachelor of Visual and Media Arts. Specialization: Fine Arts

COURSES

2004 Kaija Juurikkala ”Croquismovie”

EXHIBITIONS

2003 Gallery Mystic , Jyväskylä2004 Atelier/Galerie Artistiek,Esrein, Hengelo , Holland2005 Kajaani Arthouse, Glubigallery2005 Talligallery , Revonkylä2005 Gallery Mystic, Jyväskylä2005 Artcenter Ahjo Joensuu

GROUP EXHIBITIONS

Finland, Slovenie, Holland

PERFORMANCE‘S

2005 Four Mind Seasonsperformance.” Seasons of mind”

MERJA MALKKIFINLAND

with Visuan and Dance Artist‘sand common people fromHolland and Finland

ART PROJECT‘S2002 Meadow Land Project inNiva, Enviromental�andCommunity Art Camp2002 Koli Culture Society/KoliCulture Project , Installation andArt workshop2005 Revon Haaskaa, Euro�pean Sosial Found Projectkoordinator2004�2005 The FourMindseasons, Enviromental ArtProject Leader2005 The Four MindseasonsWorkshops

WORK HISTORY

1997�1998 Eno NationalAcademy: Sculpture teacher inUimaharju1997�1998 Woodworksteacher in Eno1998�1999 Restoring teacherin Karhunsalo1998�1999 Woodworksteacher in Revonkylä2003 North – Karelian Occu�pation Institute in Joensuu,visual lesson teacher2004�05 Visual Art teacher, Eno

MEMBERSHIPS

Joensuu‘s ArtistsTrade Union of Education inFinland

МЕРЬЯ МАЛККИФИНЛЯНДИЯ

Visual ArtistBorn in Varkaus, Finland, 1954

2005 Documentary Film ProductionStudies, North Karelia University ofApplied Sciences2004 Video & Sound Workshops, NorthKarelia Open University of AppliedSciences2000 � 2003 Fine Art, B.A., North KareliaUniversity of Applied Sciences, Joensuu2002 Fine Art, State Academy of Art andDesign, St. Petersburg, Russia1999 Drawing & Painting, North KareliaOpen University of Applied Sciences,Joensuu1992�1993 Drawing, VapaaTaidekoulu, Helsinki, FinlandEXHIBITIONS, PERFORMANCES, ENVIRONMENTAL

ART & COMMUNITY ART:2000�06 � about 30 (Italy, Finland, Russia)Video Art: 2004, 2002ART COLLECTIONS:Joensuu Vapaaopisto CommunityCollege, Finland; SculptureRääkkylä municipality, Finland; Environ�mental ArtworkNorth Karelia College, Natural resourcesand the environment Kitee, Finland;Environmental ArtworkThe Museum of Nonconformist Art,St.Petersburg, RussiaAWARDS:2003 Student Thesis of the Year, NorthKarelia University of Applied SciencesARTIST’S GROUP:Verso Visual Artists: Countryside artists’group, Finland. Founding Member.Kipinä� group; consists of Finnish, Russianand Irish visual, dance and music artists.Founding Member.

ANNE PEHKONENFINLAND

I make performances, installa�tions, sculptures, paintings,prints, drawings, photographsand videotapes. Working withnature fascinates me. My en�vironmental works are mo�mentary in nature; they act astransient signifiers of the spaceand time with which they exist.Often I work with used and dis�carded materials and naturalmaterials. Working with naturefascinates me. My environmen�tal works are momentary innature; they act as transientsignifiers of the space and timewith which they exist.

The various techniques giveme the freedom to work in vari�ous ways, to open myself andto find new, fresh expressivepower every time. I also loveto make works of art in collabo�ration with other artists. At thismoment I have two interestingprojects with dance artists.So, I can’t call myself a repre�sentative of a certain artistictrend. For me it’s important topresent my thoughts and ideas,in this or that way. I want tospeak, to influence, to live withother people through my cre�ative work.

In my work I combine the aes�thetics of old objects and theirprevious histories with psycho�analytical interpretation of hu�man life.

АННЕ ПЕХКОНЕНФИНЛЯНДИЯ

Art photographerWas born in Israel and moved to Sweden at the age of five.Recieved masterdegree of fine art from the The Royal University College of Fine Arts in StockholmLives and works in Stockholm, Sweden

Growing up in exile and with a background as a light painter Barczewskasphotography is analysing the world around us with a painters pictorial language.

ANATKA BARCZEWSKASWEDEN

АНАТКА БАРЩЕВСКАШВЕЦИЯ

1978 � родилась в Ленинграде2001 � окончила СПбГУКиИ (режиссура)2003 � окончила ВГИК (актерское отд., факультативно занималась фотографией)с 2002 � член СПб творческого союза художниковс 2003 � член Союза художников РоссииС 2002 – участник выставок (более 20): Москва, СПбПЕРСОНАЛЬНЫЕ ВЫСТАВКИ2002 – Петербургский осенний фотомарафонЧайный домик Летнего сада, СПб.2003 – Персональная выставка в рамках международного фестиваля «Мастер класс».Выставочный зал Творческого союза художников, СПб.2003 – Чайный домик Летнего сада, СПб.2004 – Jam Hall Gallery, СПб.2004 – Дом скульптора, Москва.2006 – Арт�центр Пушкинская 10, галерея Фотоimage, СПб.МУЗЕЙНЫЕ СОБРАНИЯ:Московский музей современного искусстваМузей Данте, Флоренция

ГАРМОНИЧЕСКИЕДЕСТРУКЦИИ

Противоположениегармонии и хаоса –домыслы человека.В том, что окружаетнас, и, по нашемупроизволу, «мнится»природой, красотавозникает издеструкции, хаосищет новыегармонии.

ANNA MISHINA�VAS'KOVARUSSIA

АННА МИШИНА�ВАСЬКОВАРОССИЯ

Текстпонаты совместно со звуковым пространством „Stille�Fragmente, an Diotima“ образуют Белое пространство. Музы�кальное произведение Луиджи Ноно � переломный момент. Ещёникто не сочинял ничего загадочнее. Слово, глубоко погру�жённое в музыку, одновременно разрешается в звуке.Умалчивание слов есть противоположность демагогии. На местепылкой политической убежденности наступает прорыв внеопределённость, в открытость. Его „suono mobile“становитсяметафорой неуверенности в музыке, в политике, в жизни,стимулом против easy listening�culture, против экономизациикультуры и авторитарного, догматического мышления.КОНЦЕПЦИЯ ИНСТАЛЛЯЦИИ: Трагедия восприятия (Слуха, Зрения,Понимания, Сочувствия) пробуждет желание заостритьпосредством «дышащего ясного бытия», активного видения ислушания восприятие и мышление людей, обозначить правоиндивидуума на автономию, доверить ему самомутрансформацию от «Никто» к Личности.Внешний мир вошёл в белое пространство как отрицаниеотрицания. Идентичность объекта и субъекта, вырабаты�вающаяся в процессе их отношений, у Гегеля – познание.Все элементы инсталляции � эксперимент перехода границы, сразличными фрагментами, обломками, осколками мыслей,позволяющие соединить себя при помощи белого цвета в пони�мании Юкера и слов Эрнста Блоха. Они полагаются на талантвозможности, на слабый мессианский дар людей, который намнельзя потерять, на политическую сторону личного, на большое,мятежное высказывание при помощи самых малых средств.

Родился в1943, в Шварценгрунде в СилезииПоследетства и юности в Тюрингии оставляет ГДР1961 � занимается германистикой, славистикой и философиейв Марбурге и Тюбингене. После окончания Тюбингенскогоуниверситета с работой об О. Мандельштаме работаетпреподавателем. С 1974 живет в Мюнстере1998 � один из основателей и первый председательОбщества по развитию германо/российских отношенийОрганизует концерты русских рок�групп, выставки русских ху�дожников и чтения русских авторовПишет стихи, сценарии, переводит русскую поэзию и прозуЧлен Союза немецких писателей

БЕЛОЕ ПРОСТРАНСТВОБЕЛОЕ ПРОСТРАНСТВОБЕЛОЕ ПРОСТРАНСТВОБЕЛОЕ ПРОСТРАНСТВОБЕЛОЕ ПРОСТРАНСТВО

KARL WOLFFGERMANY

КАРЛ ВОЛЬФФГЕРМАНИЯ

1979 � born in Cologne. Since 2000 � lives in Muenstersince 2000 Student at the Academy of Fine Arts Muenster2001�04 Collector, Hunter and Texter with Pr. G. Keusensince 2004 � Masterstudent with Prof. Gunther Keusen,Magical Konzeptualism with Prof. Daniele Buetti, Tutorsince 2006 Masterstudent with Prof. Daniele BuettiSELECTED EXHIBITIONS:2002 � Museum Waldhof2003 � „Art & Media“, Bennohaus, Muenster2004 � Performance�Berufsbilder, Kunstakademie Muenster2004 � „1:1 gleich=raum gleich=zeit“, Manege, SPb;Stadthafen1, Muenster2004 � Dolmabahe�Museum, Istanbul2004 � Museum Kunstpalast, Duesseldorf2005 � Kuenstlerhaus Dortmund2005 � „Kunst spricht“ Performance�Berufsbilder during thelong night of museums, cuba�cultur, Muenster2005 � „Kunst spricht“ � monologen (soloexhibition),cuba�cultur, Muenster2005 � „Grosse Kunstausstellung NRW � Duesseldorf 2005”,

The work monologen is based on a text with the same titlewritten by Novalis (Early German Romanticism), on thespeach/language�scepticism around 1900 („The Letter ofLord Chandos“, written by Hugo von Hofmannsthal) and aquotation by J.W. von Goethe. Even this master of Ger�man language wrote: „We speak much to much at all ....This fig tree, this little snake, the cocoon lying in front of thewindow awaiting its future ... all this are signs rich in sub�stance. Really � the one who would be able to deciphertheir meaning would be able to dispense with all spokenand written words. ...“ Integrated in the installation is aperformative video�work titled „the occidental obsessionconcerning the mystery of materia II“. Part 1 „writing“ con�tains a performance of hanging up x�ray pictures of theauthors right hand, his heart/lungs and his head/brain �of writing a text/letter and of handling a tree. Part 2 „trees“shows some aspects of the mystery of materia � especiallyconcerning trees and it also describes in some way thejourney of a person following trees up to a mountain andbeyond the „border of trees“ (the border beyond whichnothing grows anymore) � to the final mystery � death.

CLEMENS BOTHO GOLDBACHGERMANY

КЛЕМЕНС БОТХО ГОЛЬДБАХГЕРМАНИЯ

Родился в 1987 в КраснодареОкончил лицей Художественно�промышленной академии КраснодараСтудент Художественно�промышленной академии Краснодара2004�2005 Участие в Молодёжных краевых выставках2006 Персональная выставка: проект «Птичий Грипп H5N1» в Digger�club2006 Участие в конкурсе «Молодая палитра»2006 Проект «Ночь музеев», Краснодар

АНДРЕЙ БЛОХИНРОССИЯ

ANDREY BLOKHINRUSSIA

Родился в 1985 в СтаврополеОкончил Ставропольское художественное училищеСтудент Художественно�промышленной академииКраснодара2001, 2002, 2003, 2004 Акция свободной творческоймысли, Ставрополь, 1�е место2001, 2002 “Молодость ставрополья”,“Рождественская выставка”, Ставрополь2002 Акция “Install объект”, Ставрополь, 2�е местоРегиональный фестиваль современного искусства “F�35”, СтавропольВыставка, посвященная 35�летию СХУ, 1�е место, 3�еместо (в разных номинациях), Ставрополь

ГЕОРГИЙ КУЗНЕЦОВРОССИЯ

“Ставрополь глазами молодых”, 3�е место“Солнечный квадрат 2002”, Вологда, Череповец2003 «Молодые герои», краевая выставка2004 Фотовыставка “Наши кадры, 1�е место, 1�еместо, 2�е место (в разных номинациях), Ставрополь“Свободный взгляд”, Ставрополь2006 «Молодая палитра», «Ночь музеев», Краснодар2004 Персональные выставки фотографии,Краснодар, Ставрополь2004 Персональная выставка фотографии иживописи, Ставрополь2004 Стипендиат федеральной программы «Одаренныедети» президентской программы «Дети России»

GEORGIY KUZNECOVRUSSIA

LYNN MARIE KIRBYUSA

ЛИНН МАРИЯ КЁРБИСША

1980 Master of Fine Arts: Film / San Francisco Art Institute1976 Bachelor of Fine Arts: San Francisco Art Institute1972 Harvard University, 1973�74 Stokholms Universitet1971�72 Ecole Superieure des Beaux Arts de Paris1970�72 La Sorbonne, ParisHONORS, AWARDS

2004 Semi�Finalist Fleishacker AwardNominated for Alpert Award in Filmmaking

1998 John Simon Guggenheim Fellowship1995 LAB Residency, San Francisco1989 National Endowment for the Arts Fellowship1988 Onion City Film Festival, Chicago / 2nd Place1985, 1986 National Endowment for the Arts Fellowship1984 San Francisco Art Institute Film Festival / Tiffen Award1980, 1983 San Francisco Art Institute Film Festival / First Place

Jerome Foundation / Emerging Filmmaker Award1981 Ann Arbor Film Festival and Tour / Judges Award1980 Big Muddy Film Festival / Judges Award

Kirby’s “Latent Light Excavations” series, a set of grace�fully knotty video improvisations, operate at the juncturebetween film and video. These works begin life ascameraless films, with Kirby exposing raw stock to theshifting available light at a predetermined location. Sheloads this information into a video synthesizer, where theraw stock encounters both the built�in settings of the ma�chine and Kirby’s live, real time performance�editing, inwhich she assigns durations to different segments of theoriginal footage and sculpturally shapes it in a single im�provisational pass. “I like to think of myself as a jazzmusician when I’m making these pieces”.Although some of the ideas and approaches that charac�terize Kirby’s creative practice have been “in the air” inrecent decades, hers is a unique conjunction of concep�tual rigor and investigative spirituality. This is one con�ceptual framework within which Kirby’s film and videowork could be said to “make sense.” Jeffrey Skoller

Born in 1961Living in Oslo1982�87 � The Academie of Fine Arts, Trondheim Norway1987�89 � Rijksakademie van Beeldende Kunsten,Amsterdam, NetherlandSELECTED SOLO SHOWS:2003/2004 Executive Airport Service, Gardermoen, Norway2001 House and Garden Gallery Trans�art, Trondheim, Norway1999 Green Art Gallery F 15, Moss, Norway1999 Drawings, Gallery F 15, Moss, Norway1997 Stories Henie�Onstad Art�center, Hшvikodden, Norway1997 Cafe Tamara, Oslo, Norway1996 LNM Gallery, Oslo, Norway1993, 1995 Nebb�X Galley, Oslo, Norway1990 Eclectic Garden, Trondheim Art Museum, NorwayGROUP SHOWS:Norway, Russia, Denmark, Germany, Netherland, Sweden

“Art for Painters”( Sweet Angels and other Objects)

My intention is to make an installa�tion with “physical” paintings anddrawings on the wall and the floor.The project will consist of drawings onpaper, paintings on irregular bendedStretcher Strips made of branchesfrom trees and prepared canvas onregular frames. It will be a mixture ofdifferent characters and sizes with ahigh temperament and visual power.

OLAV RINGDALNORWAY

ОЛАФ РИНГДАЛНОРВЕГИЯ

I Iearned my masters degree of arts at the Royal UniversityCollege of Fine Arts in Stockholm 2002. I started out as apainter but these last few years I have started to work withdigital content.Since examination I have been pursuing my career as anartist participating in exhibitions in Sweden. At the same timeI am working as a 3d graphics artist doing postproductionwork for music videos, architectural visualizations and adver�tisements for print and web. Currently I am teaching art andgraphic design at Blekinge Institute of Technology.I am interested in the way a computer and mathematics mimicnature. The computers have the ability to mathematically de�scribe intrinsic human characteristics such as how the skinscatters the light. Because of these phenomena I can turn thebody into a canvas, painting with materials rather than paint.

1998�2002 � The Royal UniversityCollege of Fine Arts in Stockholm1995�1997 � Idun Loven, Art School2005 � VII biennial “Dialogues”, “Manege”, St�Petersburg2003 � Odenplans Subway2002 � Royal Academy of Fine Art, Stockholm2002 � Gallery Mejan, Stockholm2002 � kulturhuset. Stockholm2001 � KTH, Cave2001 � Royal Academy of Fine Art, Stockholm2000 � Gallery Mejan, Stockholm2000 � Royal Academy of Fine Art, Stockholm1999 � Museum of modern art, Stockholm1998 � Reflexion Svartsjo slott, Stockholm

ROBERT HENNINGSSWEDEN

РОБЕРТ ХЕННИНГСШВЕЦИЯ

1996�97 Special studies in Painting, Videoart and Installation, Konstfack1991�96 Konstfack, Univeristy Collage of Arts, Crafts & Design Master of Fine Arts in Textil Art1997�2001 Project “Växthuset”As chairman and member of the board I have contributedto establishand organize a non�profit assosiation in Huddinge, Stockholm. Open studios forartists and musicians. Curator at the gallery of the assosiation during 1998�2000SEPARATE EXHIBITION: 2005 Konstens Hus central art hall in Luleå, SwedenGROUP EXHIBITIONS: 2006 Studio 44 Art�Gallery, “Landscape”, Stockholm2005 South Karelia Art Museum (sept.), “Complexity of life”, Lapeenranta Ars Nova & Aboa Vetus, “Complexity of Life” Åbo2004 Studio 44,“Sickness”, Art�Gallery, Stockholm2003 Manege, “Dialogues” VI, International Exhibition Biennal of Modern Art, SPb Stockwell Studios, London Konstakuten, Art�Gallery,Stockholm2002 Manege, IV International, Festival of Performance & Experiment’s, SPb

URBAN GRANBERGSWEDEN

УРБАН ГРАНБЕРГШВЕЦИЯ

A videoinstallation containing a couplepersons with monitors in a constantconversation, relating to each other’sdreams and thoughts. In order to com�bine emotional states with existentialissues. I want to communicate beyondconscious interpretations to disturb theviewer’s conception of what is beingexperienced. I want to penetratedeeper into my retranslated, filtrated,social constructed interpretation of theworld, in order to transcend my con�scious limits and face an emotionalexperience of perceiving the world asit is. Material: camera, dvd –player,monitors, clothes and plastic.

Г О Р О Д Х А Н Т Ы � М А Н С И Й С К . Д И Р Е К Т О Р М У З Е Я : С Т Е П А Н О В А Л . В .

ГОСУДАРСТВЕННЫЙ МУЗЕЙ ПРИРОДЫ И ЧЕЛОВЕКА

В БЫТИИ ПРИРОДЫ ЕСТЬ ОТБЛЕСК ВЫСШЕЙ ГАРМОНИИ,

ЕСТЕСТВЕННОЕ ДЫХАНИЕ ТОГО, ЗА ЧЕМ БЕЗНАДЕЖНО

ГОНИТСЯ ИСКУССТВО. ВЗГЛЯД НАБЛЮДАТЕЛЯ, ВОВЛЕ�

ЧЕННОГО В ПОСТОЯННО МЕНЯЮЩУЮСЯ СИТУАЦИЮ

ЖИЗНИ ПРИРОДЫ, ПРИОБРЕТАЕТ КОНЦЕПТУАЛЬНЫЙ

ХАРАКТЕР. ХУДОЖЕСТВЕННЫЙ ОБРАЗ БУКВАЛЬНО

ВЫРАСТАЕТ ИЗ ПРИРОДЫ. ТАКОЙ ПОДХОД, КОТОРЫЙ

МОЖНО НАЗВАТЬ ЭКОЛОГИЧЕСКИМ, МЕНЯЕТ ПРИВЫЧНУЮ

ПРИРОДУ ИСКУССТВА, ПРЕВРАЩАЯ ЕГО В КОММЕНТАРИЙ К

ИСКУССТВУ И ПРИРОДЕ. ОН ВЕДЕТ К ЛОМКЕ “ПРАВИЛ ИГРЫ“

ИСКУССТВА, НО НЕСЕТ В СЕБЕ ГЛУБИННЫЙ, БЫТИЙНЫЙ

СМЫСЛ, РАСШИРЯЮЩИЙ СФЕРУ ИСКУССТВА, ВВОДЯЩИЙ В

НЕГО РЕАЛЬНОСТЬ И, В КОНЕЧНОМ ИТОГЕ,

СПОСОБСТВУЮЩИЙ СБЛИЖЕНИЮ ИСКУССТВА И ЖИЗНИ.

Ц В Е Т Н А Я Р Е К АЦ В Е Т Н А Я Р Е К АЦ В Е Т Н А Я Р Е К АЦ В Е Т Н А Я Р Е К АЦ В Е Т Н А Я Р Е К А

В И Д Е О И Н С Т А Л Л Я Ц И Я , К О М П Ь Ю Т Е Р Н А Я Г Р А Ф И К А

А В Т О Р Ы П Р О Е К Т А : В Л А Д И М И Р Б У Г А Е В , Л И Д И Я А Н Т И П О В А

Э К С П Е Р И М Е Н Т А Л Ь Н Ы Й М У З Е Й Н Ы Й П Р О Е К Т

ВЕРЕТЕНО КИСТИВЕТРЕНО ЗАПУСТИТЬВ ВЫПЛЕСКАХ ТУШИ НЕВЕДЕНИЕ

СТРАСТЬ ЗАТУШИТЬ

Родился в 1947 году в Санкт�ПетербургеАвтор трех книг поэзии, трех романов и трехповестей. В 1995�2006 годах на персональныхвыставках и других экспозициях в Санкт�Петербургеи Москве представил более 400 произведений,выполненных в компьютерной графике

ВАЛЕРИЙ ГАЛЕЧЬЯНРОССИЯ

VALERIY GALECH'YANRUSSIA

Born in Iraq in 1961, lives and works in Finland since 1990 1993 �1994 Arts Management, Art Academy of Turku1996 Radio journalism. Turku, Finland1997 � 1999 MA Degree, Arts Management,Sibelius Academy, Helsinki, FinlandP E R S O N A L E X H I B I T I O N S 1992 City Cultural Center, Turku1995 The black Wall, Turku1997 CAISA, Helsinki1997 Library of Turku1999 City of Nermes2002 EU�MAN Gallery, Helsinki

AMIR KHATIBIRAK�FINLAND

АМИР ХАТИБИРАК�ФИНЛЯНДИЯ

G R O U P E X H I B I T I O N SFinland, Russia, Denmark, Poland, Austria, Sweden,Italy M E M B E R S H I P S IAA (International Association for the Visual Arts)UNESCO.EAJ � European Association de Journalists.EU�MAN (Chairperson) European Union MigrantArtists Network.Pand Board Member 2000�2002Member of the Cable Factory ArtistsIraqi Artists Union since 1983

ПЕСЧАНОЕ СТРЕМЯИнсталляция

ПамятиТретьяковой Евгении Ивановныпосвящается

Аксарайская степьЭкспедииясередина ХХ века

Жизнь человека уподобленажизни всадника, скачущего взавтра: то пустыня, то степь...Долго ли, коротко ли – каждыйобретает покой, мгновенноощутив, что бытие его не чтоиное, как песчаное стремя...

Песчаное стремя качаетсяи тает в песке бытия,песочное время блуждает,в тебя незаметно войдя...

Идея, концепция, графика,архив – В. ТретьяковКомпьютерный дизайн, звук –Н. Иванов�НоманИсполнение объекта –И. Макаров, М. Грязных,П. Куликов, С. Барболин

ВЛАДИМИР ТРЕТЬЯКОВРОССИЯ

VLADIMIR TRETYAKOVRUSSIA

МОЗАИКА МИРАМир вокруг нас, состоящий извоспоминаний, снов и мыслей обудущем, можно показать, собравего из ярких лоскутков ткани, кожии меха. Из окон своих квартир мывидим ровные линии крыш домовнапротив на фоне неба и заходя�щего солнца, выглядывающего из�за облаков. Приближающаясяночь окрашивает прямоугольникидомов в тёмные тона. Мы видимсиреневые квадраты с яркими пят�нами загорающихся от последнихлучей солнца окон. Капли дождя настёклах заставляют нас вспомнитьо первом весеннем дожде в парке.О мокрых дорожках, потемневшихот сырости деревьях и лужахсобранной в углублениях воды.Яркие краски лета – это, конечно,цветы: в вазе, в парке, в лесу илипробивающиеся сквозь асфальт.Где�то далеко на Севере в этовремя стада оленей бродят междукочками болот в поисках вкусногоягеля и ягод, и огромное незахо�дящее солнце светит им день иночь. Они знают, что скоро насту�пит осень, и первый снег покроетлистья деревьев и кустов такихярких цветов, какие могут бытьтолько на Севере.

ЛЮДМИЛА ГУСЕВАРОССИЯ

LUDMILA GUSEVARUSSIA

Родилась в 1958 в Евпатории1982 � окончила Севастопольскийприборостроительный институтРаботает в г. Надым(Ямало�Ненецкий округ)Автор фотопроектов,текстильных коллажей

Инсталляционный объект“КОСМОПОЛИТИКА ЖИВОПИСИ”Цвет, символ. Символика цвета � привязанность кпривычному, характерному, обычному.Цвет краски, цвет флага, цвет жизни, цвет глаз, цвет лица.Привязанность и отвязность.Оторваться, выйти за, выплеснуться. Цветом.Розовая трава, синяя “кока�кола”, чёрная звезда,зелёная кровь, белый квадрат.И собрать, соединить, построить.Построить башню. Уверенный жест, честное слово,верный друг, крепкое вино, высокая башня.

ВЛАДИМИР КОМЕЛЬФО (ФОМИЧЕВ В.М.)1953 � родился в Ленинграде.1976 � окончил СПб машиностроительный институт1983 � окончил ЛГПИ им. А.И. ГерценаС 1984 � участник выставок в России и за рубежом (более130 выставок, из них 18 персональные)С 1990 � член Союза художников России2000 � звание «Мастер» на Международном фестивалеискусств «Мастер�Класс»Автор проекта художественной выставки в Антарктидев Миллениум (совместно с Н.Мельниковой). Автор книги(с Н.Мельниковой) «Русско�Антарктический словарь»КОЛЛЕКЦИИ: Выставочный центр Союза художников, СПб;Центральный Военно�Морской музей, СПб; Музей хлеба, СПб;Новосибирский государственный художественный музей;Государственный музей Арктики и Антарктики, СПб; Музейискусств POCS, Рио�де�Жанейро, Бразилия; Музей Институтакультуры им. Ф. Альбукерке, Нитерой, Бразилия; Музейигрушки, СПб; Национальная библиотека Эстонии; Центрискусств им. Дягилева; Фонд фестиваля «Мастер�Класс”

ЗОЯ НОРИНА1957 � родилась в Ленинграде1983 � окончила ЛГПИ им. А.И.ГерценаС 1984 участвует в отечественных и зарубежных выставкахУчастница 5�ти персональных и более 30 групповых выставокС 2003 � член Союза художников РоссииКОЛЛЕКЦИИ: Новосибирский государственный художественныймузей; Центр искусств им. Дягилева; Фонд Международногофестиваля «Мастер�Класс»

ВЛАДИМИР КОМЕЛЬФОЗОЯ НОРИНАРОССИЯ

VLADIMIR KOMEL'FOZOYA NORINA

RUSSIA

ANDREY GENNADIEVFINLAND�RUSSIA

АНДРЕЙ ГЕННАДИЕВФИНЛЯНДИЯ�РОССИЯ

1947 – родился в Ленинграде1968 – окончил Ленинградское художественно� педагогическое училищеС 1978 – член Союза художников РоссииС 1990 живет и работает в Хельсинки, ФинляндияЧлен Европейского союза художников

МУЗЕЙНЫЕ СОБРАНИЯ:ГМИИ им. А.С.Пушкина;Метрополитен музей, Нью�Йорк;Кремона Фонд, Мириленд, США;Галерея изящных искусств, Лодзь, Польша;Гос. картинная галерея, Гейдельберг, Германия;Гос. картинная галерея Армении, Ереван;Государственная картинная галерея Грузии, Тбилиси;Музей Ф.М.Достоевского, СПб;Музей�квартира А.С.Пушкина, СПб;Музей изобразительных искусств, Архангельск;Картинная галерея, Вологда;Художественный музей, Ярославль;Художественный музей, Краснодар

ВЫСТАВКИ:1974 – выставка произведений ленинградскиххудожников. Дворец культуры им. И.И.Газа, Л.1975 – групповая выставка,Дворец культуры им.С.Орджогикидзе, Л.1975 � выставка произведенийленинградских художников, ДК «Невский», Л.1978�2006 – многочисленные выставки в России,Германии, США, Польше, Австрии, Финляндии

ПЕРСОНАЛЬНЫЕ ВЫСТАВКИ:1980 – Дворец молодежи, Л.1986 – Пенсильвания, США1989 – Вологодская картинная галерея1991 � Галерея Роя Майлса, Великобритания1992 – Галерея «Арт�контакт»; Хельсинки, Финляндия«Галерея Линдблом», Хельсинки, Финляндия1994 – Парк�галерея, Финляндия

Н.Жестовская и Г.Глазунов с начала 90�х, будучи актерамиИнтерьерного театра, осваивают искусство владениямаской и предметом и все больше уходят в сферусценического молчания. В 1996 Жестовская, Глазунов, Л.Левин, О. Павлова создают проект «Академия тишины», вкотором электронное звучание, тембровые и ритмическиеголосовые импровизации сочетались с танцевальнымиформами и элементами театра предмета и маски. В 2002А. Семенова, Г. Глазунов и Н. Жестовская создают проектOdd�dance театр. Слово odd в переводе с английскогоозначает не только странный, но еще и нечетный, непарный,что вполне соответствует стилю танцоров. Участники Odd�Dance театра занимаются преподавательскойдеятельностью в Петербурге и Финляндии,показываютперформансы на международных фестивалях, акциях в ЦВЗ«Манеж», на сценах Интерьерного театра, театра«Особняк», музея Ф.М. Достоевского.

ODD�DANCE ТЕАТРРОССИЯ

“Kipina” � это интернациональная группа художников,музыкантов и танцоров из Финляндии, России иИрландии, старающихся созднием совместногоперформанса пересечь границы междунациональностями, возрастами и видами искусства.Музыка на основе традионных мелодий Финляндии,Карелии, России и Ирландии.

МУЗЫКАНТЫ: Салла Сеппа,Тимо Сеппала, Аки Хиетала(Финляндия).ХУДОЖНИКИ: Мерья Малкки, Анне Пехконен (Финляндия),Онья Айверс,Патрик Вард (Ирландия)ТАНЦОРЫ:Эрика Аалто, Эмилия Вепсолаинен (Финляндия)Наталья Жестовская, Григорий Глазунов, АлексейЧеркашин, Мария Ильясова (СПб, “Odd dance theatre”)

1966 � родился в Ленинграде1990 � окончил Университет кино и телевиденияС начала 80�х снимает авторское киноСценарист, режиссер и оператор 25 короткометражных фильмов, принимавших участие в нескольких десяткахотечественных (Киношок в Анапе, Чистые грезы в Санкт�Петербурге, Сине Фантом Фест в Москве и др.) изарубежных фестивалей и биеннале (в Роттердаме, Штуттгарте, Мадриде, Гамбурге, Кельне, Дрездене, Париже,Лондоне, Нью�Йорке, Лос�Анджелесе, Хельсинки, Тампере, Сиднее, Мехико и др.). Автор музыкальных клипов длягруппы АукцЫон. В качестве оператора сотрудничает с петербургскими кинокомпаниями (СТВ и др.).Независимый режиссер

Документально�экспериментальный фильм «ДЕСЯТЬ МИНУТ ТИШИНЫ» является киновыражением тенденций,воплощенных в живописи Черным Квадратом Малевича, и 4.33 Дж. Кейджа в музыке. Зрителю предлагаетсяпопытка осознать реальность, отказавшись от слуха как основного канала восприятия. В основе фильма � историяХХ века, века мировых войн, катастроф и трагедий. Это беззвучный крик, бесшумный взрыв, молчаливая черно�белая бездна.Фильм участвовал в ряде отечественных и зарубежных кинофестивалей, в их числе Чистые грезы, ФестивальФестивалей и др.

ДМИТРИЙ ФРОЛОВРОССИЯ

DMITRII FROLOVRUSSIA

ЛЮБОВЬ В ЧЕРНОМ И БЕЛОМ

Фото � проектКонцепция, фотографии – Ольга МинкевичИдея, стихотворения – Ксения Копылова

2000 � 06 – СПбГУКиТ,факультет экранных искусств2004 � курс “Photography” (BostonUniversity � Massachusetts, USA)2005 � курс “Photo II” (Maine Photo�graphic Workshops � Rockport, USA)2005 � курс “Portfolio” (Maine Photo�graphic Workshops � Rockport, USA)

2000 � 05 –СПбГУвосточный факультет

2005 � 06 –СПбГУфилософский факультет

ОЛЬГА МИНКЕВИЧРОССИЯOL'GA MINKEVICH

КСЕНИЯ КОПЫЛОВАRUSSIA

KSENIYA KOPYLOVA

В настоящей любви не бывает полутонов:либо глубокое разочарование на грани самоубийства,либо безумная страсть, возвышающая до небес.Настоящая любовь –это любовь только в черном и белом.

2007VIII МЕЖДУНАРОДНОЕ БИЕННАЛЕ “ДИАЛОГИ”

VIII INTERNATIONAL BIENNIAL “DIALOGUES”www.artdialogues.narod.rularisa_golubeva@mail.ru

ДИЗАЙН � ЛАРИСА СКОБКИНА

ТИПОГРАФИЯ

ТИРАЖ 500 ЭКЗЕМПЛЯРОВ

САНКТ�ПЕТЕРБУРГ

2006