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Federico Masini | CARCOSA



Photography and Creative Direction: Federico Masini (@fede.s.masini) (
Styling: Olympia De Molossi (@olympiademolossi) (
Models: Laura Jiang (@laurajiang28), Elisa Rossi (@elisarsi_)
Photography assistant: Martina Rocca (@smarti.rocca)
Clothes: Matteo Thiela (@matteo_thiela), Juan Palomino (, Jovan Studio (@jovan_studio).
Masks and jewels: Myril Jewels (@myril_jewels), Who Am I (@_whoamiproject_), Andwhatif (

Elizaveta Solgalova | THE CODE IS WATER

By /ART/, /NEWS/


Photographer: Elizaveta Solgalova @liza.solgalova
Producer: Sabina Marsh @sabi_marsh_photo
Muah: Julia Grezina @grezina_july
Model: Aksinia Lukinykh @aks_nya
Stylist: Sofia Vyalova @ohsoffi

Dress @svyatayashop Belt Wangscanis Bracelet @lime_official

on the right: Skirt @shi_trendy Body @lime_official Knit top @likeyana on the left:Blazer @pinkspink_store Raincoat @pepen_official Boots

Skirt @shi_trendy Body @lime_official Knit top @likeyana

Skirt @shi_trendy Body @lime_official Knit top @likeyana

Dress @svyatayashop Belt Wangscanis Bracelet @lime_official

Blazer @pinkspink_store Raincoat @pepen_official Boots

Skirt @shi_trendy Body @lime_official Knit top @likeyana

Interview with Art Collective founders of ALTTTTTAR, Alfiia Koneeva & Mariia Bokovnia


Text by Irina Rusinovich

IInterview with Art Collective founders of ALTTTTTAR, Alfiia Koneeva and Mariia Bokovnia

How did you choose the theme or concept for your art event, and what inspires your creative direction?

The concept for „Archive of Upcoming“ was deeply rooted in the captivating venue we selected – a former archive. This choice was not accidental; it symbolizes our commitment to challenging conventional notions of archives and their connection to our uncertain future. Our inspiration came from the tumultuous social, ideological, and political landscape of our times, which profoundly shapes our perception of what lies ahead. In this exhibition, we embarked on a profound exploration of the intricate interplay between our contemporary world and the mysterious frontiers of the future.

As curators, we were personally drawn to the theme because it allowed us to delve into the enigmatic uncertainties that often cloak the future. We were fascinated by how these uncertainties sometimes render the future unclear and, occasionally, disconcertingly dystopian. Throughout the curation process, we were continually struck by the recurring theme of the past, present, and future intersecting in the works of the artists we selected. This theme encouraged us to challenge our own detachment from reality, question the blurred lines between utopian dreams and dystopian realities, and deeply reflect on the profound impact of human activity on our planet.

„Archive of Upcoming“ became, for us, a symbolic space where the past and future coalesced, offering a profound reflection of our present moment. We came to view archives as more than mere repositories of history; they transformed into dynamic spaces that showcased a tapestry of diverse visions of the future. These visions, sometimes fragmented and uncertain, provided unique perspectives that could very well become integral chapters in our evolving history.

As we navigated the artistic tapestry woven by these talented individuals, we were personally inspired to envision the intriguing contours of what lies ahead. It was an invitation to participate in an ongoing dialogue that shapes the very essence of our existence, to blur the boundaries between past and future, and to engage with the intricate complexities of our world. „Archive of Upcoming“ became, to us, a testament to the ever-evolving nature of our reality and our collective pursuit of understanding the enigmatic future.

Can you describe the process of curating artists and artworks for your event and what criteria do you consider?

The process of curating artists and artworks for „Archive of Upcoming“ was an exciting and personally rewarding journey. What set our approach apart was our emphasis on the artists‘ works themselves, prioritizing their creative expressions above all else. In fact, many of the artists we featured were previously unknown to us, a testament to our commitment to discovering fresh, emerging talent. Our foremost criterion in selecting artists was the undeniable talent showcased in their works. We were drawn to pieces that resonated deeply with the concept of the exhibition, capturing the essence of uncertainty and the interplay between past, present, and future. Each artwork had to contribute meaningfully to the narrative we aimed to construct within the space.

We also considered how the artworks would harmonize with the unique style and atmosphere of the venue. The former archive, with its captivating history and architectural character, served as a canvas upon which the artworks would be displayed. It was crucial for us that the artists‘ works not only complemented the overarching theme but also enriched the aesthetic of the space itself.

Our primary focus was always on artistic quality and conceptual alignment. This approach allowed us to curate a diverse yet harmonious collection of works, providing a platform for emerging artists to shine while contributing to the overarching narrative of „Archive of Upcoming.“

photo credit Alizee Gazeau

What promotional and marketing techniques have proven successful in attracting a diverse audience to your independent art event?

We were deeply passionate about reaching a wide and diverse audience. To achieve this, we engaged in collaborations with local influencers and art communities who shared our vision. These collaborations not only helped us reach a broader audience but also allowed us to tap into the creativity and energy of the local art scene.

Another key element of our promotion was the use of creative and eye-catching materials. We understood the importance of visual appeal in today’s digital age. By investing time and effort into creating compelling promotional materials, we aimed to capture the essence of our event and draw people in.

Moreover, word-of-mouth played a significant role. Our personal connections and networks were invaluable in spreading the word about our event. The genuine passion we had for „Archive of Upcoming“ was evident in every conversation, and this authenticity resonated with others, driving them to attend and support the exhibition.

How do you plan to create an engaging and immersive experience for attendees beyond the artworks themselves?

At „Archive of Upcoming,“ our vision extended beyond merely presenting a collection of artworks. We were deeply committed to crafting an immersive space that beckoned attendees to actively engage with the art. To achieve this, we meticulously curated the exhibition environment, ensuring that it not only complemented the artworks but also invited personal interaction.

Moreover, we are thrilled to announce a forthcoming highlight of the exhibition experience: on September 14th, we will host a captivating sound performance concert. This concert will feature five diverse DJs, each poised to infuse the space with their unique sonic perspectives. This addition promises to transform the event into a multisensory journey, allowing attendees not only to appreciate the art but also to become an integral part of the immersive experience. We believe that art should not be a passive encounter but a vibrant and engaging one that fosters deeper connections and understanding. Join us on September 14th for this exciting exploration of art and sound, where past, present, and future collide in a mesmerizing sensory fusion.

Photo Credit Evgenia Chetvetkova

Can you share any challenges you’ve faced in organizing this art event independently and how you overcame them?

One of the most profound challenges we encountered during this journey was the lack of financial resources. This challenge was particularly impactful as young collectives and artists, especially those with diverse backgrounds, struggle to secure financial support in the current art landscape. In the contemporary art scene, resources often flow to already established and successful galleries and projects. This dynamic creates a significant barrier for emerging artists and collectives. As curators with backgrounds that don’t include well-connected families or established networks in the art world, the process was pretty exhausting.

However, we overcame this hurdle by pooling our own resources, seeking alternative funding sources, like support with the venue from „Konnekt Berlin“ and huge help from our friends and artists. It was a testament to our commitment to the vision we held for „Archive of Upcoming“ and the belief that art should not be limited by financial constraints. The personal and collective sacrifices made this journey even more meaningful, reinforcing our dedication to fostering a space for emerging artists to shine, regardless of financial barriers.

What role does technology or digital platforms play in enhancing or expanding the reach of your art event?

While Instagram remained a primary platform for us, the recent algorithmic changes presented a challenge. However, we recognized the importance of adapting to evolving digital landscapes. Despite algorithmic complexities, digital platforms remained instrumental in reaching a global audience. We leveraged these platforms not just for promotion but also for creating a digital extension of the exhibition, allowing those unable to attend in person to experience the art virtually.

The digital realm also provided a space for artists to share their stories and processes, fostering a deeper connection between creators and their audience. While technology brought its challenges, it also opened up new avenues for engagement and outreach.

photo credit Alizee Gazeau

In what ways do you foster collaboration and community engagement within the art scene through your event?

The birth of Art Collective ALTTTTTAR in Berlin in 2022 was a deeply personal journey for Mariia Bokovnia and Alfiia Koneeva. It was born from a desire to redefine how art is represented and experienced. ALTTTTTAR aimed to break down barriers for young artists, regardless of their cultural or social backgrounds, offering a platform where talent could shine.

This mission resonated deeply with us as artists and curators, as we felt the impact of the established art hierarchy on emerging artists. ALTTTTTAR became a place where cultures converged, and art served as a universal language that united people.

Through exhibitions in unconventional spaces, we sought to disrupt the norm and bring art directly into the daily lives of city dwellers. This approach allowed us to create a unique dialogue between art and everyday life, enriching both. Our commitment to providing an inclusive space for artists was deeply personal, reflecting our values and aspirations for the art community.


Hugo Marongiu | TAINTED OIL



Photographer : Valerie Archeno – @valeriearcheno
AD/Fashion : Hugo Marongiu – @artistic.hugo
Make up : Camille Lutz – @Camillelutzmakeup
Models : Zoe Dupeyre – @zoedbarz
Gabriele Silvia – @silvia_gabri_gs

Her Patoe   Him  Ruohan  Shoes  Lana Volkov

Total look Moon Young Hee Sunglasses Prada

Suit  Agnès B

Dress  Patou Jewels  Agnès B

 Her AZ FACTORY  Him Coat Alter Pants Sandro GlassesVersace

Her Sandro  Him Agnès B

Studio Visit | Tora Aghanayova


Text by Irina Rusinovich, Photography Johannes Pol 

Studio visit | Tora Aghabayova

How did your journey as an artist begin, and what inspired you to specialize in figurative and surrealist painting?

The journey began not by the easel but by piano. My family believed I would make a good pianist. But I guess I did not have a proper physics for that as my fingers are not long enough or perhaps the music school program was not fiery enough, anyway,  I turned to paper. Several years in all sorts of art schools and I graduated from Azerbaijani State Art Academy with full knowledge of putting those fat strokes, soviet style painting, you know? Creativity is not very welcome but skills must be fine. No complaints about that. I would not want any direction on my thoughts. The most interesting things are happening in the head that is left alone. 

Painting was never my main medium. It is one of the languages that I speak to spread the suggestion of the parallel reality world or call it a surreal world. Less verbal, more intuitive. Painting has the entertaining factor to it, while the videos or some of the conceptual works that I do are like a fall in the music piece when the melody drops from “major” to “minor” and puts one in a melancholic mood.  Painting is a basic language, an old form of expression. I love it.

 Can you tell us about your experience as an Azerbaijani artist living and working in Berlin? How has this influenced your artistic style and subject matter?

The place where you begin your life journey – first your house, then your street, then your city, and so on, shapes you, it gives you a perspective on the world. Everything I see now, everything I experience, first goes through the folder in my brain that is called “home”, a 5-year-old me on a sofa, it processes there and then goes to the other more advanced parts of the institution of my head. I guess that’s why my hair is so curly, it’s the overloaded wires. So I carry this Home wherever I go, like a snail. It is important that the artist must not be attached to geographical matters, and it certainly helps to be away. There were the times I was living in China, the conception of a home being the center of the universe evaporated there. Now I am in Germany, and I clearly know that anyone born here has a German perspective on the world just like I have my Azerbaijani one, which I do not suppress. The theme is lingering in my artworks, I don’t force it and I don’t resist it. It is what it is.

What themes or ideas do you often explore in your paintings? Are there any specific cultural or personal influences that inspire your work?

I am very much fascinated by “happiness” or feeling “good”. We are moving through the age of massive hysteria, when things are speeding up, so much information from all over the world, catastrophes that you would not normally find out about 30 years ago, now with the internet you know too many events of suffering. A problem is cultivated, is respected. A good times event, good news is overlooked, lightness is considered to be a vulgarity, shallowness. So I do explore the ideas of moving through the times of information and finding a good spot during these times. 

studio impressions  by Johannes Pol

 Could you walk us through your creative process? How do you typically approach a new painting, from conception to completion?

I love talking to people. All sorts of people. Everywhere. I gather the stories, then I dive into my head with them, experiencing some silence, while I am in a tram that goes to I don’t know where or walking on the sand somewhere,  I glue the stories into a shabby magazine, then I turn the pages and I find pictures in between.

In your opinion, what is the significance of figurative and surrealist art in today’s contemporary art scene? How does it allow you to express your artistic vision and connect with your audience?

It is certainly one of the most digestible genres. Even if one can not relate to what is going on there on the canvas, at least there are familiar forms, that may lead the viewer to create his own story, often very interesting variations on what you suggested there, sometimes nothing to do with your idea but still beautiful.  

Tora by Johannes Pol 

 Have you faced any challenges or obstacles as a female artist in the art industry? How do you navigate them and stay motivated to pursue your artistic goals?

I have my ups and downs. I don’t have a fashion to blame it on my gender. I know many females who are doing great, I know males who do worse than me. There is so much in the art world that is based on luck. My luck is like a cat. When I move and make some steps to attract it, it may come my way, sometimes it’s just being a lazy cat and won’t move, then I just keep doing whatever attracts it and the cat will come your way at some point. It is a matter of having enough treats to offer. Nothing comes easily.

What are your aspirations and plans for the future? Are there any upcoming projects or exhibitions we can look forward to?

A Solo show in Baku this September on the topic of shiny screens, pretty objects, and hybrids.

And in Berlin during the art week in Schoeneberg, it’s the first week of November, a gallery “Under The Mango Tree” will be showing my solo where I concentrate on private paradise moments. Let us not be so discreet about the beauty of the moment. Our life is made of seconds, each one can be beautiful.


For more news from Tora on her instagram 

studio impressions 

 „Monochrome Passion“ – a Group Online Exhibition

By /ART/, /NEWS/
"Monochrome Passion" a group photography exhibition

Opening:    Thursday, 29 June 2023, 7  pm
Duration:    29.06 – 15.07.2023


HAZE.GALLERY is happy to present the  „Monochrome Passion“ – a Group Online Exhibition Showcasing Black and White Photography

The group exhibition features the work of emerging and established photographers whose aesthetic grasp of black-and-white photography is exceptional. „We are excited to present this exhibition to art enthusiasts worldwide, showcasing our collective effort and the beauty of black and white photography,“ says Irina Rusinovich, the exhibition curator.

The exhibition showcases outstanding talent, spanning fine art photography styles and genres, displaying various emotions and topics in black and white. Each photograph aims to touch viewers profoundly, providing a deeper emotional connection and reaction by taking away the color from the scene and leaving compelling visual elements and details.

The exhibition will open on June 29, 2021, admission is free via HAZE.GALLERY’s website. 

„We believe that through art education, aspiring artists can thrive and be the catalyst for change in their communities. This exhibition is our way to support the cause and encourage emerging artists globally,“ adds HAZE.GALLERY 


Meg Peters @_megpeters

Lisa Achammer 

Johanna Rummel @johannarummel_

Iuliia Pozhidaeva @pozhidaeva____/

Clemens Gritl @clements.gritl

Bennett Johnson 

Anna Dyatlovskaya @ a n n a d y a t l o v s k a y

About the gallery: HAZE GALLERY was founded in 2019 with the mission of sharing Berlin’s  contemporary art scene with the world through exhibitions, pop-up shows, and art gatherings. More information: 
Opening hours: Mo – Fri, 11 am –3 pm, Sat, 1–4 pm

Exploring the Beauty of Nature | An interview with a Korean Artist Shin Chaeyeon

By /ART/, /NEWS/

Text by Irina Rusinovich

An interview with a Korean Artist Shin Chaeyeon

What draws you to nature as a source of inspiration for your art?

I feel at ease and relax in nature. Just a small park or wildflowers in the city create some space in my spirit and mind.  I feel they are whispering and singing in living form. Nature is young and wild at the same time very ancient and wise. When I connect to them, I can listen to their old voice invoking my voice which is always been part of the great nature.

Can you describe your creative process from the initial idea to a completed artwork?

I make color and texture on the surface by abstracting from plants or natural pigment. And it leads to some poetry images or subjects in an intuitive way. A huge part of the whole process is a work of alchemy, it goes very much to unexpected and wonderful outcomes. Sometimes I feel I am only a translator of what nature wants to say or sing. When I choose them to compose in specific series, I choose to be more delicate or more intuitive and wild.

How has your Korean heritage influenced the themes and style of your artwork?

I think I’ve been influenced not only by Korea but also by various countries through literature, paintings, sculptures, music, and travel.  I tried to find themes and style which feel right and suited me so that I can feel satisfied and happy when I do my work. I could also say It’s quite personal.

When it comes to Korean heritage, I remember my dad, who had always supported and cared for me, and that time made the core of my artwork and myself, which is unconditional love.

Do you have a favorite natural element or landscape that you like to depict in your artwork?

I like earth and fire element. I love sunshine and love to swim in water too. I like my Light series and Air series as well. The landscape of Horizon with Mountains, lakes, and deserts is compelling to me. I see the landscape as a big textured canvas or frame, and I fill them with imagination, contemplation, and color. It’s more that I’m trying to express what I see and How I feel their spirit inward than depicting the look of the outside.

When I choose elements for each work, sometimes I follow my mood and feeling of the day that I need to connect with or elements within me.

How do you balance realism and abstraction in your depictions of nature?

I depict nature as energy and spirit form. Spirit of flowers, wind, rain, and stones. Abstraction gives images of poetry, and small realism which looks like a horizon could make it balanced and peaceful. I like it that way. I’d like to let my color and texture speak for themselves as nature does. And sometimes like clouds, people find some figure in my art with their mind and I like it too.

What message or emotion do you hope to convey through your art inspired by nature?

Nature is home. They are here, they’ve always been here to listen quietly and want to connect to our old souls. I hope the person who sees my art finds some relaxation and playfulness in beauty, as nature does.

How do you see your artwork evolving in the future, and what plans do you have in store for your next project?

Recently I’ve been exploring other mediums like soft pastel, cyanotype, linocut, and monotype printmaking. Playing with other mediums gives me fresh air and new joy. Also during the art residency I had in Portugal and Spain last few months, I could explore local plants in my process. And I liked it. Wool felting and paper making for the surface also quite feel interesting and experimental to me for now

Unleashing the Abstract Beauty of Botanics | A Q & A with Tina Mona Cohen


Text by Irina Rusinovich 

Unleashing the Abstract Beauty of Botanics | A Q & A with Tina Mona Cohen

Born in 1988 in the south of France, Tina Mona is a self-taught French artist living for 6 years in Germany where she has her atelier. Always deeply attracted and connected to the cultural world, she first managed artistic and cultural projects before she decided to trust her creative talent and fully live her artistic vocation.  Her work is deeply inspired by nature but also a meditative way to express herself. 

Always experimenting with different techniques, she mixes media such as acrylic, oil painting, gold leaves, and resin, allowing her to play with the light and give her artwork a sense of vibrancy and life. 

After a solo exhibition in Paris in 2022, Tina Mona is participating 2023 in multiple group exhibitions in Germany. Her works will be also shown at the collective Art Exhibition “ WILD SOULS“ starting 22.06. We decided to ask Tina a few questions about her background and arts!

What inspired you to incorporate botanical themes into your abstract artwork in the first place?

Nature is both all around us and deep within us, we are inseparable from it. However, too often we forget our connection to our own inner nature and get drowned by the troubles of the world. After experiencing a deep trauma, art helped me to rebuild myself and painting became a mediative way to learn how to be true to my real nature.
I want my art to remind every viewer that we should respect the nature all around us but also the nature within us and raise awareness about mental Health.

How do you approach incorporating organic elements such as leaves, flowers, and other materials into your pieces?

I find a lot of inspiration in nature. During long walks in the forest, I try to practice mindfulness and to be aware of the nature around me and that´s when I really absorbed a lot of inspiration. I am often inspired by the colors of unusual elements like the inside of a stone, a broken branch, the moss on the trees, the movements of the leaves, and the reflection of the sun… Nature brings me a lot of joy and comfort and intuitively it finds its way into my painting.

Do you have any particular botanical motifs or themes that frequently appear in your abstract works?

Through my painting, I invite the viewer to a peaceful walk in the forest where he could contemplate the vegetation above him, and feel nature in movement and the reflection of the light in it.

© Tina Mona Cohen 

How do you balance the organic forms of botanical elements with the more abstract forms that characterize much of your work?

I apply multiple layers of paint, notably light shades of white, which manage to maintain a lightness, a weightlessness in my representations of shapes and colors that end up being quite buoyant. I often mix media in my painting using acrylic, and oil paint but also gold leaves and epoxy. This gives me the possibility to play with the light and give the artwork a sense of vibrancy and life.


Can you describe your process for developing the color palettes used in your work, especially those inspired by flora and fauna?

When I am painting, I enter a meditative state, I will not have a predefined pattern, but I am simply focusing on the colors. Rather than trying to make shapes, I focus on a small number of colors that I want to use, then just place dots onto the canvas with my paintbrush before using the brush to swirl these dots into one another, letting totally my intuition guide my painting. Often, I use different shades of blue colors as a reference to my Mediterranean roots.

© Tina Mona Cohen 

Have you noticed any changes in how viewers interpret your work when botanical themes are present as opposed to when they are absent?

Botanical themes are speaking to everybody and the abstract side of my painting help to build a connection with the viewer and leaves room for interpretation.


Do you have any plans for future explorations of botanical themes in your work, or any plans to change your approach?

I always love to experiment with new techniques and media, that’s helping me to constantly develop my work. The only limit is my creativity!

I am currently working on developing relief effects and transparency in my art. I am experimenting with resin, and trying to incorporate paint directly in multiple layers of epoxy creating artwork on the border between painting and sculpture.


Follow Tina on Instagram for her updates and news! 

© Tina Mona Cohen 


current open calls

Open call Opportunities for 3D Exhibitions 

29.06 – 15.07«Monochrome Passion»Black and White Photography 3D Collective Exhibition 

Deadline 15.June 

27.07 – 12.08 «Festival Of Life»Still life Collective  3D Exhibition  

Deadline 09.July 

03.08 – 17.08 „Sartorial Lens: A Contemporary Homage to Fashion Photography Icons“ 

Deadline 22.July 

For the PRINT or/and DIGITAL feature opportunity at PURPLEHAZE MAGAZINE 009  click here 

For participants from other cities:

Delivery and packaging of originals in both directions to the gallery (Berlin GER)  and back at the expense and responsibility of the Artist.

For artists:

– Participation in the exhibition, organizational Fee of 60 – 135 Euro depending on wanted options and exhibition type. 

– Installation/Dismantling by the gallery (except HAZE BAZAAR Fair)

– E-newsletter and Social Media promotion (21,000+ gallery&magazine subscribers)

– Gallery-designed e-invites for artist distribution

– Opening and Closing  Reception

– Photo Reportage of the event 

– Press release and promotion via press partners 

– Details of the exhibition on our website

– Pricing advice and sales support

– Curatorial advice

– Wall-mounted artist statement and artwork listing

– Post about each participant in the social networks of the organizer; (optional)

– Commission of the gallery for the sale of works – 30% for in-person and 25%  for 3D exhibitions. 

Works are accepted in any genre, in any technique and media,

graphics, watercolors, sketches, photos, collages, and canvas.

APPLICATIONS are accepted by emailing with the subject of the exhibition you are interested in.

1) Send your info:

Bio, CV, City, links to social networks + a short text of intent.

2) Send photos of your artwork, and sign each one in the file name before you send it:

Title size materials cost.jpg

(Title 70×50 cm oil on canvas 700 EURO .jpg)

3) Payment of the entry fee is due once your application is approved; the number of places/walls is limited!

Any questions:

+49 (0) 1746127171