(E-E) Ev.g.e.n.i.j ..K.o.z.l.o.     Berlin                                                  


      Exhibitions


Egbert Baqué Contemporary

Fasanenstr. 37 • 10719 Berlin

26. April 2018

Panel discussion in Russian / English

Russian Art Galleries after 1990. History and Outlook.


From left to right: Kristina Tarnarutskaya, Olga Osterberg, Hannelore Fobo, Anna Matveeva

Camera: (E-E) Evgenij Kozlov

The panel discussion is part of the exhibition programme for

(Е-Е) Evgenij Kozlov «USA-CCCP-CHINA»
works 1980-1989

Painting on the wall: (Е-Е) Evgenij Kozlov "CCCP - CHINA", 1987



Russian Art Galleries after 1990. History and Outlook.

Participants:

Olga Osterberg, gallerist, Saint Petersburg, Kristina Tarnarutskaya, "Frida beauty&art atelier" art space, Volgograd, and Anna Matveeva, art-critic, Berlin
Presenter: Hannelore Fobo, curator, Berlin
Languages: Russian / English

Olga Osterberg opened the D137 Gallery in Saint Petersburg in 1996, which makes her one of the most experienced professionals in the field of contemporary Russian art in her country. She currently runs it as a private space and art-centre. She focuses on art from the late 1980s and the 1990s, as well as on young Russian artists.

Kristina Tarnarutskaya worked for the D137 Gallery from 2006 to 2010. After relocating to Volgograd, she founded the “Frida beauty & art atelier“ – inspired by Frida Kahlo – for artists working in a variety of fields, such as visual art, photography, and tattoo-art. Supporting important local art-events, she is now collaborating with several art groups in search of a large exhibition space to be run as a creative hub for contemporary art.

Anna Matveeva worked for Russia's leading national newspapers (Kommersant, Izvestia) and was a staff art columnist for Time Out, St. Petersburg, as well as for the professional art publications ArtChronika and ArtGuide. She is now working as a free-lance journalist in Berlin.

Hannelore Fobo is a curator (since 1989) and researcher in the field of the Leningrad avant-garde of the 1980s (“New Artists“). She closely works with (E-E) Evgenij Kozlov and has curated his current exhibition at the Egbert Baqué Contemporary “USA-CCCP-CHINA. Works 1980-1989” (catalogue).

Topics include:

Saint Petersburg: New clusters of art activities in the 1990s: Borey Gallery, Art-Centre Pushkinskaya 10; the formation of a collector's scene in the 2000s; commercial vs social goals in art and why D137, Saint-Petersburg's first professionally run gallery, is now operating as "D137 Art Club".

Volgograd: the city's unknown avant-garde scene in the 1980s and 1990s; the impact of privately founded festivals in recent years; the absence of a commercial gallery system and its consequences for artists; the need to join the city's independent creative forces to build up a reliable, long-lasting cluster for contemporary art.

The Russian art market: the small number of commercially successful galleries in Russia, operating only in Saint Petersburg and Moscow. The high (and rising) costs of participating in international art fairs which makes it increasingly difficult to establish Russia-based artists internationally. The limited number of collectors; collecting art is considered as an extremely expensive hobby for the wealthy. The problem of stimulating the "middle class" to start a collection with less expensive art, such as photography, graphic works or works by young artists.

The role of the State: The National Centre for Contemporary Art (Государственный центр современного искусства) with its branches also outside Moscow and Saint Petersburg, such as Nizhny Novgorod and Yekaterinenburg, is forming highly qualified art managers and curators. On the other hand, unlike Germany with the Goethe Institut or France with Alliance Française, the Russian government does not finance any large-scale contemporary art projects outside the country. As a result, artists wanting to enter the international art world must rely exclusively on their own contacts – however, in view of the current political situation in Russia, for many artists government support would not even be desirable.

Questions / contributions by Katya Belyaeva, Russian Art and Gallery, London, and artist (E-E) Evgenij Kozlov, Saint-Petersburg / Berlin about the possibilities to promote contemporary Russian art outside Russia.

From left to right: Kristina Tarnarutskaya, Hannelore Fobo, Olga Osterberg, Anna Matveeva, Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989, Egbert Baqué Contemporary

From left to right: Kristina Tarnarutskaya, Hannelore Fobo, Olga Osterberg, Anna Matveeva
Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989
Egbert Baqué Contemporary
From left to right: Katya Belyaeva, Anna Matveeva, (E-E) Evgenij Kozlov, Hannelore Fobo, Kristina Tarnarutskaya, Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989, Egbert Baqué Contemporary

From left to right: Katya Belyaeva, Anna Matveeva, (E-E) Evgenij Kozlov, Hannelore Fobo, Kristina Tarnarutskaya
Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989
Egbert Baqué Contemporary
From left to right: (E-E) Evgenij Kozlov, Hannelore Fobo, Olga Osterberg, Egbert Baqué, Sergey Sergeev, Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989, Egbert Baqué Contemporary

From left to right: (E-E) Evgenij Kozlov, Hannelore Fobo, Olga Osterberg, Egbert Baqué, Sergey Sergeev
Exhibition (Е-Е) Evgenij Kozlov «USA-CCCP-CHINA» – Works 1980-1989
Egbert Baqué Contemporary
EGBERT BAQUÉ CONTEMPORARY
Fasanenstrasse 37 | 10719 Berlin
www.berlin-contemporary-art.com
uploaded 28 April 2018



Last updated 25 April 2018