Januar 2022

HAZE GALLERY LOCATION:
Bülowstraße 11, 10789, Berlin

ARTISTS:
KLEBER CIANNI
KRISTINA OKAN
MARINA WITTEMANN
NAT APANAY

CURATED BY:
IRINA RUSINOVICH

EXHIBITION STAND:
Avenue du Port 86C, 1000 Brussels

GENERAL OPENING TIMES:
23 March, 18:00 – 22:30
24 March, 12:00 – 22:00
25 March, 12:00 – 18:00
26 March, 10:00 – 19:00
27 March, 11:00 – 19:00

In March 2022 HAZE GALLERY will introduce four of our artists at AFFORDABLE ART FAIR, Brussels. This occasion is important for galleries, because it’s a mark of the high level artists that galleries represent. Despite the name of the Fair, all works, artists and galleries were selected very carefully..
This is the first time HAZE GALLERY participated in an Art Fair and it’s very exciting and honorable. We selected four artists and they are very different, but all of them have an unique original style, artistic language and, as we expect, will be interesting for visitors of the Fair and art connoisseurs from all over the world.

ABOUT AFFORDABLE ART FAIR

Affordable Art Fair Brussels will be back with its 13th edition. Treat yourself to an artistic adventure with 1000s of contemporary artworks from over 75 local, national and international galleries. You’ll be welcomed by our friendly team, along with galleries, artists and other guests to enjoy the exciting range of artworks on show. Join us for a long weekend filled with affordable art, a creative entrance installation, a workshop and much more.

KLEBER CIANNI

Born in Brasília, the capital of Brazil, Kleber Cianni uses his art like a language to access a space without time, where he can play whatever he wants, without barriers or borders. His works are very impressive and colorful.
“Right now I’m a brush, color, art and artist, all together making room for the idea to take shape. Focused on the process, I let my body free to tell the images of the ancestral stories that come as breaths in my ears”.

KRISTINA OKAN

In her works, Kristina examinse the beauty and fragility of the natural world. Her sculptural language is rooted in classical European traditions of porcelain art, engaging with themes of beauty, biomorphism, and notions of the micro and macrocosm. One of her main ideas is to capture the transformation of ephemeral brittle beauty into petrified porcelain forms that will stay like little eternal monuments of delight and celebration of life.
Inspired by Renaissance traditional still lives with their visual relish of objects, she creates sensual biomorphic shapes formed from repetitive and fractal modules.

MARINA WITTEMANN

Marina WitteMann, being a synesthete, feels the world a little deeper and more fully than the other persons, she sees in color the emotional states of surrounding people, vivid experiences, pain, anger and euphoria. That is why the works she created strive to break out of the framework of generally accepted art forms. That which had no volume, breaks through the two-dimensional space, color acquires shape, paper — texture, depth. Each work is an outspoken image formed through the prism of the artist’s perception, through the fusion of several sensory levels at once.

NAT APANAY

All life long Nat physically felt the foreignness of the environment in which she came for money, comfort, an apartment in Moscow, a vibrant life, hedonism, and lightness. Long time she searched for herself through science, psychoanalysis, esotericism, and much more. She understood what it means to be herself when she was reborn, having forgiven and accepted herself, freed from self-identification through the bodily – both male and female principles harmoniously exist in her, she feels like an androgyne. And now she embodies her thoughts and ideas, love and hate in what she does – she creates endless worlds. 

“I remember very clearly how, at the age of five, from my birth, a dream broke out in me – to become a famous artist”.

ARTIST: MARINA WITTEMANN
CURATED BY: IRINA RUSINOVICH
LOCATION: Bulowstrasse 11, 10789, Berlin
EXHIBITION DURATION: 09.04.2022 – 30.04.2022
VERNISSAGE: 08.04.2022 AT 7PM

After then the art world  turned 180 degrees at the beginning of the XX century and the main value of a piece of art became not the form, but the work with meanings, allegories and symbols, artists began to actively look for ways of self-expression through a variety of shapes and mediums. It would seem that the goal is quite simple in its point. But what if the artist perceives what he depicts not only in the visual plane? What if the colour has a smell? Or does the sound have a taste? In science this phenomenon is called synesthesia — the perception of the world in a somewhat special way, with the connection of those senses that don’t work for other people in an alike situation. In a similar way, for example, Kandinsky depicted music in his paintings, and the composer Scriabin played his melodies with a color apparatus, assembled with his own hand.
In the XXI century many artists went further, abandoning the classical postulates of art, and began to widely use not only arts techniques, but also scientific, philosophical methodologies to create their works. This is how new media, deep media, nft-art and other trends in contemporary art appeared. All this becomes the premises for a new kind of materialism, in which the form, shape and structure of the work come to the first plane, ceasing to be just an instrument, becoming a new language of expression.
The Shape of Color project is a kind of manifest of the unlimited possibilities of our perception.
Marina WitteMann, being a synesthete, feels the world a little deeper and more fully than the other persons, she sees in color the emotional states of surrounding people, vivid experiences, pain, anger and euphoria. That is why the works presented at the exhibition strive to break out of the framework of generally accepted art forms. That which had no volume, breaks through the two-dimensional space, color acquires shape, paper — texture, depth. Each work at the exhibition is an outspoken image formed through the prism of the artist’s perception, through the fusion of several sensory levels at once.

MARINA WITTEMANN

Marina graduated from the Moscow State Academic Art Institute, named after V.I. Surikov in Russia. Marina exhibited her works in solo and group exhibitions across Europe, South America and Asia, including Brazil, UK and China.
In 2015 she completed an Exchange Program in São Paulo, Brazil at the Armando Alvares Penteado Foundation (FAAP University).
In 2017 she learned Traditional Chinese painting, Calligraphy and Metaphysics in Shanghai, China.
Since 2019, the artist lives and works in Germany. Parallel she practices sculpture and continues researching for her practice at the University for the Creative Arts – Open College of the Arts (England).

ARTIST: VICTORIA ROSENMAN
CURATED BY: IRINA RUSINOVICH
LOCATION: Bulowstrasse 11, 10789, Berlin
EXHIBITION DURATION: 11.03.2022 – 26.03.2022
VERNISSAGE: 10.03.2022 AT 7PM

Each of us in our life, to one degree or another, is faced with fears and psychotraumas. But not everyone can and knows how to overcome them. Often, this is due to the destructive essense of our fears and the inability to understand their matter. We feel uncomfortable and don’t understand how to cope with mental problems, we don’t have the right instruments and skills for this, we find ourselves cornered by our own consciousness.
Victoria Rosenman’s work is aimed at exploring her own identity, searching for a fragile, elusive balance, to engage in an internal dialogue  with ourselves and interpersonal relationships. The main questions that the artist explores in her works: Who are you? Who am I? What do others see in me? Who am I for you? Who am I without you? The thin edge between the artist and her emotional twin, her muse, with which she has a dialogue, clearly shows the viewers how fragile and unstable the inner world of each of us is.
Victoria Rosenman’s Concept of Mitigation project explores the essence of our subconscious phobias, psychological traumas and offers various utopian instruments, psychograms, material objects and abstract solutions that help to mitigate the burden of thoughts oppressing us, to alleviate inner anxiety.
The exposition is a sort of glossary, in which every work is a term noting various conditions, feelings (life and death, vulnerability, beauty, the end, tribute offering, desire to be demanded) and some objects directed to facilitate, mitigate the strong of these experiences.

VICTORIA ROSENMAN

Victoria Rosenman (born in 1986 in St. Petersburg) lives and works in Berlin. After studying art in Switzerland, she received a scholarship from the PIC Selected for her project About destroying a muse. She works with multimedia and her works are represented in private collections, galleries and museums.

ARTIST: IRINA DROZD
CURATED BY: IRINA RUSINOVICH
LOCATION: Bulowstrasse 11, 10789, Berlin
EXHIBITION DURATION: 11.02.2022 – 26.02.2022
VERNISSAGE: 10.02.2022 AT 7PM

The symbol and the symbolic image have always been among the most sought-after and beloved themes in art. The fears, archetypes, images, and symbols that our subconscious reproduces are striking in their diversity, depth of semiotic meanings, and allegoricality.
It is impressive how others read abstract images recreated by one person on an unconscious level. Even when we cannot directly grasp the connotative signification intended by the author, much is grasped through common cultural archetypes, through the inner reference points and images laid down in us by nature. It is impossible to read Lovecraft’s works without feeling a vague unease, even where seemingly trivial everyday events are described. It’s also impossible not to feel the disquieting mood of Goya’s etchings which make us all sense the growing fear of monsters looming in our vicinity.
The exhibition Dinner with the Monster tells of childhood fears that many of us carry through our lives. Irina Drozd explores in her works how people since childhood test the boundaries of what is permissible in society and what is not, and why, and how far each of us can go. This is a kind of dialogue with one’s inner demons, the stereotypes of good and evil, which the author wraps up in the images of fairy-tale characters and attributes familiar to us from childhood.
Revealing the theme of subconscious anxiety, the artist recreates disturbing, painful images of abstract monsters in her works. What adds even more drama to the paintings is the presence of children who, for all their apparent purity and naivety, arouse horror in the beholder, frightening him with their undisguised directness and quiet acceptance of the cruel adult world. Here a little girl’s charming smile is juxtaposed with a slain monster on a plate. The cold, regal beauty of children’s faces is interspersed with the suffering of monsters. But who is the real monster here, the viewer still has to decide: the little dead creature or the sweet girl, whose face we can read with undisguised pleasure and rapture of their own superiority?

IRINA DROZD

Graduated from the department of monumental painting at the St. Petersburg State Academy of Art and Industry. B. Stieglitz.
Since 2009, exhibitions of Irina Drozd have been regularly held throughout Europe. Now the artist lives and works in Russia and Hungary.
In her work Irina shows the interdependence and conditioning of good and evil, the thin line where one passes into the other. Everyday scenes in her works are filled with fantastical characters that remind us of the existence of what is unknown to reason.