The 180 m² gallery. 2014 — 2016. Painting exhibitions
«Phillowna and others»
Exhibition of works by special artists. The authors are autists and people with mental development characteristics. Nikolai Bondarenko, Roman Gorchenin, Andrei Demin, and Marcus Martinovich are participants in the exhibition with an amazing understanding and sense of the real world. By e-mail or social media, texting isn’t gonna do them any good, it’s often impossible. These artists urge us to remember that we are human beings and that the world around us is a chaotic reality in which it is high time to establish order.
Sasha Naumov exhibition
Julia Cleiman Exhibition
Paul Nightingale’s exhibit. «Parts of light»
«Field surgery. Paul Nightingale cuts, sews, and rabbits. Suprematism in 2015 is illegal, prohibited admission, and ancient knowledge. The middle — century bloodbath did not save lives, but it did save spirit, and Paul today does not cure, but saves. I cut myself about the Soloviev painting last year, but at an exhibition at the 180 m² gallery, I was shredded with surgical precision and re-wrapped into coloured bandages.
Solovyev in each of the 13 cartin invites the spectator to talk that can end with a neat slice of ego and hordes, and now 5 the patient surrenders and asks: What am I what am I who am I so in this great hierarchy of the universe?
The desire for the perfection of the Nightingale is contagious, and the principle of honesty is strongly opposed to cynicism and sweet-haired partyers. Red and the blue pill of Soloviev’s soupermatism divides the world by « do» and « after& raquao; creating an illusion of choice, because as we now know, there is no choice. There’s only a stairwell, a non-monetized light in the a gate and a pair of legs that would go to the Paul Soloviev exhibition in „180m2“. I recommend that the viewer not engage in mathematical calculations of Soloviev’s symbols, it’s his personal file, his own language, which he speaks to God, not c we. But you should be grateful that this frank conversation was recorded in detail on the holst, now we have a sample with the which we can equalize.'
Constantin mustko exhibition «Women, they,»
A series of paintings, «Women, They,» filled with oil on 6 canvass, 160 centimeters high and 90 centimeters wide. The paintings themselves can be described as abstract expressionism, but in fact they are the artifacts of a series of performances performed between 2014 and 2015, which were an improvised dance of fingers covered with paint on the surface of the canvas. The purpose of these works is to express as much as possible the specific set of emotions that a person has at the moment of recognition of love. Various right-hand painting and meditation techniques were used to achieve close contact with the painting. At the same time, work was under way to create an image that did not contain any form or image. The conscious rhythmic creation of coloured stains on the canvas in an effort to avoid any image and at the same time any thought in order to reveal in the movements and traces of these movements an all-absorbing feeling that could be expressed by the words «I love you». Author
«It was yesterday at the Constantin Mustko exhibition, the strongest impression. It’s like a famous exhibition of Yves Klein (to which everyone came and there was nothing), but vice versa: Bones had everything and no one came--
And the artist himself is happy: the void and the lack of people in the exhibition space is the essence of the exhibition. Kostyan wanted no one to come. It’s true that his only address came inside two or five random bodies belonging to pretty random people, if by conscience. Curiously, by the way, for example, my exhibition was in the area reserved for food, so it became a celebration of body, gratitude, and digestion — and Bones had a pure sign in the void that no one would read: platoon, dam, and gnosticism. The exhibition lasted exactly one evening.» Oleg Pashchenko
