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Анатолий Осмоловский 1969 born in Moscow

Lives and works in Moscow



1990-92 leader of E.A.T. (Expropriation of Art Territories) Movement

1993-94 coordinator of Nezesudik revolutionary competitive program

          Radek magazine, editor-in-chief

1992  4th International Biennale. Istanbul, Turkey

1993 Aperto'93. La 45 Biennale di Venezia, Venice, Italy

1993 “Travel to the Brobdingneg Land” performance Mayakovsky Square, Moscow

1995 grantee of Berlin Senate at Kunstlerhais Betanien

1996 Steirische Herbst. Graz, Austria

1998 organizer of "Nongovernmental control commission" group

         organizer of "Vote against everyone! Now" Movement

2000 the founder of "Radek" community

2002 25 Bienal de Sao Paulo. Sao Paulo

2003 Berlin-Moscau/Moscau-Berlin 1950-2000. Martin-Gropius-Bau, Berlin

         Utopia Station. La 50 Biennale di Venezia, Venice, Italy

2005 Angels of History. MuHKA, Antwerp, Belgium

2006 Sotheby’s New York

2007 Dokumenta XII. Kassel, Germany

        “Kandinsky Prize”- “Best artist of the year”, Moscow

2009 Moscow Biennale III

2009  Lille 3000 EX|PO France

2010  Publisher and editor-in-chief artmagazine “Base”

          (the new publishing project of the theory of art)

          Auction Bric Philips de Pury

         “Modernikon” Fondanzione Sandretto Re Rebaudengo Torino, Italy

Selected curatorial projects

1990 Explosion of the "New Wave" (with Grigory Gusarov). French movies festival, Moscow

1993 War is Going On. Center of Contemporary Art, Moscow

1994 The Impudent, Insensitive , Ignorant... Regina Gallery, Moscow

1996 New Revolutionary Radicalism. Conference and seminar, Museum of Mayakovsky, Moscow

Anti-Fascism & Anti-Anti-Fascism. Center of Contemporary Art, Moscow

2001 Instead of art. Zverev Сenter for Contemporary Arts, Moscow

2002 100 % vision. Regina Gallery, Moscow

2004 Art With No Excuse. Shusev State Museum of Architecture, Moscow

2009 Rebellion Mausoleum Stella Art Foundation


Selected personal exhibitions

1991 The Day of Knowledge (E.T.A Movement with Konstantin Zvezdochetov). Regina Gallery, Moscow

1992 Leopards are Burstling Into the Temple... Regina Gallery, Moscow

1994 My Way. Marat Guelman Gallery, Moscow

1996 Situative Action fur PDS. Kunstlerhaus Bethanien, Berlin

My Bloody Love. XL Gallery, Moscow

1997 Order for the Army of Arts. XL Gallery, Moscow

2001 Workshop Art Moscow. Central House of Artist, Moscow

2003 Seven Deaths in Moscow. XL Gallery, Moscow

2004 Workshop Art Moscow. Central House of Artist, Moscow

The Way Political Positions Turn into Form. Stella Art Gallery, Moscow

Russian Pop-art. State Tretyakov Gallery, Moscow

2006 Nathalie Sarrante Golden Fruit. Contemporary City Foundation, Moscow

Elen's Shoulders (with Victor Alimpiev). Stella Art Gallery, Moscow

Hardware. Stella Art Gallery, Moscow

2008 New Works. M.Guelman Gallery, Moscow

Selected group exhibitions

1992 Multiplicity Culture. Itinerari dell arte in un mondo che cambia. Museo del Folklore, Rome

4th International Biennale. Istanbul, Turkey

Territoria Italiano. Magazine "Documentario 2", Milan, Italy

Liasons Dangereaux. Centre of Contemporary Art, Moscow

1993 Trio acoustico: Dmitry Gutov, Yury Leiderman, Anatoly Osmolovsky. Centre pour la Creation Contemporaine, Tours, France

Aperto'93. La 45 Biennale di Venezia, Venice, Italy

Labour and Capital. Central House of Artist, Moscow

Exchange. Moscow

1994 Identity and Selfhood. Museum of Contemporary Art, Helsinki

Fluchtpunkt Moskau. Ludwig Forum, Aahen, Germany

Exchange II/Datsja. Almere, Flevopolder, Netherlands

1995 No Man's Land. Nikolaj Contemporary Art Centre, Copenhagen

Conjugations: Moscow Art Scene Today. Kraftmessen. Kunstlerwerkstatten, Munich, Germany

Caravanserai of Contemporary Art. Assozione culturale Arte Nova, Pescara, Italy

1996 Steirische Herbst. Graz, Austria

2002 25 Bienal de Sao Paulo. Sao Paulo

Horizons of Reality. Museum van Hedendaagse Kunst, Antwerpen, Belgium

2003 Utopia Station. La 50 Biennale di Venezia, Venice, Italy

Berlin-Moscau/Moscau-Berlin 1950-2000. Martin-Gropius-Bau, Berlin

2004 Berlin-Moscau/Moscau-Berlin 1950-2000. State Historical Museum, Moscow

Za Czerwonym Horyzontem. Zamek Ujazdowski, Warsaw

2005 Accomplices. State Tretyakov Gallery, Moscow

Hope-Stop! Zverev Сenter of Contemporary art, Moscow

Love: between Europe and Asia. IV biennale of contemporary art in Shiryaevo. Shiryaevo, Samara region

Russian Pop-art. State Tretyakov Gallery, Moscow

Angels of History. MuHKA, Antwerp, Belgium

Contested spaces in Post-Soviet Art: Russia Redux #2. Sidney Mishkin Gallery, New-York, USA

2006 Russia! Guggenheim Museum Bilbao, Bilbao, Spain

Modus R: Russian Formalism Today. Newton Building, Miami, USA

2007 I Believe! Winzavod Contemporary Art Centre, Moscow

History of Russian Videoart - Volume I. Moscow Museum of Contemporary Art, Moscow

Urban Formalism. Moscow Museum of Contemporary Art, Moscow

Thinking realism. State Tretyakov Gallery, Moscow

On Geekdom. Benaki Museum, Athens

Progressive Nostalgia. Centro per l'arte Contemporanea Luigi Pecci, Prato, Italy

Dokumenta XII. Kassel, Germany

Who's got the Big Picture? MuHKA, Antwerp, Belgium

Selected performances

1989 Terrorism and Text. Theoretical seminar, Moscow State University, Moscow

1991 series of street performances-provocations (with E.A.T. Movement). Moscow

1993 Travel to the Brobdingneg Land (Mayakovsky/Osmolovsky). Mayakovsky Square, Moscow

1996 Tsereteli's Witnesses. Peter the Great Monument, Moscow

1998 Barricade. Gertsen street, Moscow

1999 Against Everyone. Lenin's Mausoleum, Red Square, Moscow


action—happening Barricade on Bolshaya Nikitskaya Street

May, 23, 17. 00: the action is over, a blocking of the street 150 meters from the Kremlin, which continued for two hours and was realized by more than two hundred artists, intellectuals and students. It was a protest against the increasing political and cultural reaction, which is manifest in the total breakdown of parliamentary democracy, society's unability to counteract the governmantal dictatorship, the distribution of nationalist ideology (erecting of official monuments, business-centers, the introduction of repressive laws, ignoring the protests of miners, teachers etc. )

Дан приказ

Елена Селина

Если попытаться проанализировать состояние московской художественной ситуации на сегодняшний день, то несмотря на объективные трудности (отсутствие моральной и материальной поддержки со стороны государства и частного капитала), и как следствие, несколько подвижнический характер существования актуального искусства — очевидно, что точку ставить рано. Жизнь продолжается, и думается, что будет продолжаться и дальше. Отсюда, задачу свою ХL Галерея видит в поддержке и стимулировании ЛЮБОГО свежего решения (совершенного или эскизного) как в области идей, так и новых форм высказывания.

Urban Art on the Move

The Moscow Tribune 1993, September 15
By Olga Listsova Special to The Tribune

Nezesudik - A revolutionary competitive program

The contemporary art process is the sum total of individual artistic programs which variously group together into competing collective programs, having destroyed the Great Myth of the New. The hegemony of the post-structuralist program deideologized art turning it into a sort of boring, lifeless entertainment.

Radical Artists Scream Out the Naked Truth

The Moscow Times. Tuesday, October 4, 1994 (Вторник, 4 октября 1994)

Press-release "The War Is Going On... "

The model of the aesthetic revolution in the contemporary social and cultural situation

The curator: A. OSMOLOVSKIJ
Sponsors of the exhibition: Join-stock venture "VITT"/Minsk/, Gallery "VITA NOVA"/Minsk/
The openning: 30th of March, 1993 at 6 p. m.

The exhibition is open till the 1st of May, 1993. every day - from 12 a. m. to 7 p. m. days off - Sunday, Monday

Contemporary Art: Here and Now (Rejection of museums)

"Artists, gallery owners, critics, and the public throng to wherever 'something is happening.' But the reality of this 'something happening' is the reality of money. In the absence of aesthetic criteria, it is possible and useful to determine the value of works of art on the basis of their profitability. This reality reconciles everything, even the most contradictory tendencies in art, provided that these tendencies have purchasing power."

Prolegomena for Methodological Constraint

The Necessity of a Method as a Basis for Forming a Culture of Left-Wing Opposition

It is widely known that from its very origins Moscow radical art (so-called "Moscow actionism") defined itself as left-wing art, following the great political tradition of the 20th century avantgarde. The absolute majority of texts, collective and individual declarations, manifestos, and interviews by almost all the main proponents of this movement contain an unmistakable left-wing political message. Almost no art critic took these political assertions seriously when they were made; instead, they were understood as rather obscure manifestations of artistic whimsy. In analyzing this strange tendency from today's perspective, it does not seem to be a great exaggeration to admit that a will towards method lies at the very basis of left-wing political choice, a wish to make one's own practice understandable and reproducible by others. In the past decade, this idea has passed through a thorny path of trial and error. At time, it has deviated from its main goal, but at other points, it has hit its mark, defining some of the central artistic events of the 1990s.

The ethical code of autonomy

The 1990s saw a drastic intensification of the problematical relationship between ethics and aesthetics. This comes as no surprise: as the symbolic order of previous decades headed for a total collapse, it dislocated older social and ideological points of reference, jumbling and tangling up new economic relations with behavioral ethics, and aesthetic values with one another.

„Wir sind in einer anderen Epoche angekommen…“ Ein Interview mit dem Künstler Anatolij Osmolovskij

„Wir sind in einer anderen Epoche angekommen…“ Ein Interview mit dem Künstler Anatolij Osmolovskij

Weniger politisch und skandalös als früher, und doch nicht weniger umstritten, ist die aktuelle Kunstproduktion Anatolij Osmolovskijs. Umgeben von einer kleinen Sammlung alter russischer Kultobjekte sowie den Objekten des Künstlers selbst, in seiner Wohnung, unweit der Krasnaja Presnja Straße in Moskau, fand dieses Gespräch über Kunst und Politik statt.

1994 г. Война продолжается

Война продолжается
Коммунизма никогда не будет

Периоды творчества

1987 – 1990 («Министерство ПРО СССР»)

1989 – 1992 (Э.Т.И.)

1992 – 1994 (Necesiudik)

1992– 2001 (Personal projects)

1997 – 2000 (Против всех)

2000 – 2002 (Нонспектакулярное искусство)

2002 – 2012 (Personal projects)

Работы разных периодов


Субъект и власть: уголь

1993 г. - перформанс «Путешествие в Бробдингнег», Анатолий Осмоловский - Владимир Маяковский

Какой хотят видеть Россию на западе

1996 г. - выставка «Антифашизм и анти-антифашизм»

Artist’s Talk: Anatoly Osmolovsky

 Artist’s Talk: Anatoly Osmolovsky

27 Feb 20156:30 pm | Nash & Brandon Rooms | £8.00 to £10.00

Book Tickets

Russian artist, writer and theorist Anatoly Osmolovsky delivers a lecture examining the history of Russian Actionism and its value system. Osmolovsky began his career as a writer in the (then) Soviet Union and has been engaged in radical publishing and collective art-making throughout his career. The artist was involved with the Radek Community of the 1990s and early 2000s, collectivising Moscow Actionist-inspired artists who made a number of key public protest performances. Osmolovsky lead the younger artists in actions like Barricades (1998) and Against Everyone (1999), for which the group stormed the Lenin mausoleum, unfurling a banner with the titular words printed in large letters. Osmolovsky has since founded the independent art school Institute BAZA (2012).

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Post Pop: East Meets West (26 November 2014 - 23 February 2015, Saatchi Gallery, London)

Post Pop: East Meets West

26 November 2014 - 23 February 2015

Post Pop: East Meets WestThe exhibition brings together 250 works by 110 artists from China, the Former Soviet Union, Taiwan, the UK and the USA in a comprehensive survey celebrating Pop Art's legacy. Post Pop: East Meets West examines why of all the twentieth century's art movements, Pop Art has had such a powerful influence over artists from world regions that have had very different and sometimes opposing ideologies.

The exhibition celebrates the art being produced in these four distinct regions since the heyday of Pop, and presents them in relation to each other through the framework of six themes: Habitat; Advertising and Consumerism; Celebrity and Mass Media; Art History; Religion and Ideology; Sex and the Body. 

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9/09-30/11 2014,Mike Nelson selects the first in a series of four displays of the V-A-C collection at the Whitechapel Gallery

Mike Nelson selects from the V-A-C collection:
Again, more things (a table ruin)

Known for his atmospheric, immersive installations British artist Mike Nelson (b. 1967) transforms the gallery with sculptures drawn from the V-A-C collection.

The space, with a rough wooden floor and mass of modelled figures, is suggestive of an artist’s studio, but it is filled with sculptures of the body by some of the 20th century’s greatest artists.

Displayed on this common ground, Constantin Brancusi’s The First Cry (1917) dissolves the human form into elliptical shapes, and Alberto Giacometti’s Femme Debout (1957) elongates a woman’s body into abstraction. While contemporary artist Pawel Althamer’s depiction of three figures around a campfire becomes a focal point around which the other sculptures – by artists including Petr Galadzhev and Anatoly Osmolovsky - seem to be gathered.The display highlights the V-A-C collection, Moscow, as part of the Whitechapel Gallery’s programme of opening up rarely seen collections from around the world.

The publication for this exhibition will available from the end of September.  More (press-release)

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Exhibition BLIND HOLE - 31/03/2012 – 04/06/2012, Thomas Brambilla gallery, Bergamo, Italia

Thomas Brambilla gallery is proud to announce on Saturday 31 March 2012 the opening of the
group show Blind hole, with William Anastasi, Lucio Fontana, Udomsak Krisanamis, Anatoly
Osmolovsky, Nathan Peter, Grayson Revoir.

31/03/2012 – 04/06/2012
Opening: Saturday 31 March 2012 h.18.30.
Opening hours: Tuesday - Saturday h.14:00-19:00.

Thomas Brambilla
Via Casalino 25
24121 Bergamo Italia
Ph: +39 035 247418

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Ostalgia VIP Preview Invite

New Museum will present “Ostalgia,” an exhibition that brings together the work of more than fifty artists from twenty countries across Eastern Europe and the former Soviet Republics. Contesting the format of a conventional geographical survey, the exhibition will include works produced by Western European artists who have depicted the reality and the myth of the East.

The exhibition takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago, a process of dissolution began, leading to the break-up of the Soviet Union and of many other countries that had been united under communist governments. From the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations were reconfigured, their constitutions rewritten, their borders redrawn. “Ostalgia” looks at the art produced in and about some of these countries, many of which did not formally exist two decades ago. Mixing private confessions and collective traumas, the exhibition traces a psychological landscape in which individuals and entire societies negotiate new relationships to history, geography, and ideology.


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Saulius Stonys. Ieškant ryšio (fotoreportažas)


Fotoreportažas iš Rusijos šiuolaikinio meno projekto parodos „Estetika VS Informacija“ atidarymo (paroda veiks iki lapkričio 14 d.)...

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Презентация журнала «БАЗА» 12 октября в «Гилее»

Презентация и обсуждение первого номера журнала "БАЗА" состоится 12 сентября в 20.00 в книжном магазине "Гилея" по адресу: Тверской бульвар, 9. Вход свободный.

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Письмо Анатолия Осмоловского участникам круглого стола премии Кандинского-2010

Уважаемые участники круглого стола, к сожалению я не могу принять участие в обсуждении, так как в этот момент нахожусь в поезде Москва-Вильнюс. Будучи первым обладателем премии Кандинского мне, конечно, не безразлична судьба этой в высшей мере благотворной инициативы, потому я предлагаю вашему вниманию собственные соображения.

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Туринский гамбит. Выставка «Модерникон» в Фонде Сандретто Ре Ребауденго.

Газета «Коммерсантъ» № 180 (4480) от 29.09.2010

Выставка "Модерникон" счастливо соединила деньги олигархов с креативностью художников.

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Поступил в продажу первый номер журнала БАЗА

Журнал о современном искусстве БАЗА, № 1В сборнике публикация центрального эссе немецкого философа Гарри Леманна «Авангард сегодня». Подборка статей и лекций Клемента Гринберга. Новый поэтический цикл поэта Дмитрия Пименова. Полиграфические художественные проекты С.Огурцова и С.Шурипы. А так же аналитические статьи современных российских художников по теме «Произведение искусства».

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23 сентября–27 февраля,Выставка «Модерникон.Современное искусство из России», Fondazione Sandretto Re Rebaudengo (Турин,Италия)

23 сентября–27 февраля,Выставка «Модерникон.Современное искусство из России», Fondazione Sandretto Re Rebaudengo (Турин,Италия)Этаблированный фонд с шикарным выставочным залом Sandretto Re Rebaudengo (Турин, Италия) и новый российский фонд «Виктория — Искусство быть современным» (Москва) показывают выставку русских художников сегодняшнего дня, кураторами которой выступили Франческо Бонами (художественный директор фонда) и Ирене Кальдерони. Выставка исходит из гипотезы (навеянной идеями Анатолия Осмоловского), согласно которой русское искусство раньше имело радикальную и провокационную эстетику, а ныне вступило в новую фазу своего развития, где прямое действие уступило место более эстетическому подходу.

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Печатные издания Радек
Поступили в продажу печатные издания группы Радек
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«Тупые, наверное. Книжек не читают»

Ирина Постникова /03 сентября 2010

Художник, куратор, философ Анатолий Осмоловский политике никогда не был чужд. Более того, всегда считал себя оппозиционером — и власть публично критиковал. Тем не менее, месяц назад Осмоловский поучаствовал в молодежном форуме «Селигер», чем изрядно всех удивил. Сам он, впрочем, считает, что степень его оппозиционности от пребывания среди прокремлевских активистов не уменьшилась. Потому что не контекст красит человека, а человек — контекст.

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Matthias Meindl - «Мы перешли в другую эпоху...». Беседа с художником Анатолием Осмоловским об искусстве и политике.

ММ: Анатолий, мне интересно, как начиналась Ваша творческая деятельность?

АО: Я сам из Москвы, начинал как литератор, как поэт. В 17-18 лет, когда здесь началась перестройка и была объявлена свобода и гласность, я читал стихи в публичных местах, на улице. Но дело в том, что российский литературный круг в интеллектуальном смысле достаточно примитивен, и довольно быстро меня и моих друзей эта деятельность перестала удовлетворять. Постепенно я стал смещаться в область перформанса, а потом и изобразительного искусства.

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Шедевры русской архитектуры: Свияжский Успенский монастырь

 Во время летнего путешествия по Уралу мы – я, Александр Липницкий и Светлана Баскова – проездом посетили Свияжский Успенский собор. Собор этот известен сохранившимися фресками 16 века. В России совсем не много сохранившихся фресок 16 века. За исключением Ферапонтова монастыря кое-где сохранились небольшие фрагменты, да и то в крайне плохом состоянии. Фрески Успенского собора сохранились в большом объеме. Качество фресок выдающееся. В некоторых фрагментах видны отголоски «дионисиевого» письма.  

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