„Images in Fashion – Clothing in Art Photography, Fine Arts, and Fashion since 1900“ 18.2. – 30.5.22


F.C. Gundlach, Berliner Mode, fotografiert auf dem Dach des RCA Building, New York 1958, © Stiftung F.C. Gundlach, Hamburg; Repro: Anja Elisabeth Wit


"Images in Fashion – Clothing in Art Photography, Fine Arts, and Fashion since 1900" 18.2. – 30.5.22
Fashion and art are mirrors of social changes and individual needs. In the collection of the Berlinische Galerie, this theme is present in surprising and diverse ways. In addition to numerous fashion photographs spanning the twentieth century, just as many paintings and drawings testify to the role of fashion as a means of expression and representation of a particular era: from the reform dress around 1900 and the Dada dandies of the 1920s to avant-garde clothing designs in contemporary art.
On this broad basis and with loans of selected pieces of clothing, aproximately 270 exhibits shed light on artists’ relationship to fashion. What role has fashion played in the painting, drawing, and photography of the past century? With what rules were clothing and costumes employed in fine art? How did artists dress and present themselves then and now? How is fashion used as a medium in contemporary art?

Herbert Tobias, Abendkleid von Horn auf dem Kurfürstendamm, Berlin 1958, © Berlinische Galerie / VG Bild-Kunst, Bonn 2022, Repro: Dietmar Ka

Herbert Tobias, …und neues Leben protzt aus den Ruinen…Berlin 1954, © Berlinische Galerie / VG Bild-Kunst, Bonn 2022, Repro: Dietmar Ka

Herbert Tobias, Abendkleid von Horn auf dem Kurfürstendamm, Berlin 1958, © Berlinische Galerie / VG Bild-Kunst, Bonn 2022, Repro: Dietmar Ka

#007 Women issue comes out on March 01

#007 Women issue comes out on March 01

Women… sounds like one of the oldest topics in the world, doesn’t it? In fact, we have started discussing it just recently (a couple of centuries are nothing compared to the history of humankind). Women are facing new issues and challenges each decade, not to say, each year. So who is the woman of today? What is her relation to the world and how does she identify herself? Purplehaze #007 Women print issue is entirely devoted to those questions articulated by the brightest women of the contemporary art scene and cultural industry sector. Yang Ge, a brilliant Chinese-born actress, stage director, and singer, who is currently based in Moscow, is one of the examples. Enjoy Yang Ge adorning the #007 cover and make a preorder of the issue now!

* #007 Women issue comes out on March 01. You can pre-order it right now via Purplehaze website or at Haze Gallery. Both print and pdf versions of the issue are available.

In March 2022 HAZE GALLERY will introduce four of its artists at AFFORDABLE ART FAIR, Brussels

In March 2022 HAZE GALLERY will introduce four of its artists at AFFORDABLE ART FAIR, Brussels

Bülowstraße 11, 10789, Berlin



Avenue du Port 86C, 1000 Brussels

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.


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.


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”.


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, 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.


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”.



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 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).



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 (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.



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?


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.

NON-VERBAL STORIES. Lentov Exhibition

NON-VERBAL STORIES. Lentov Exhibition

Speak not, lie hidden, and conceal
the way you dream, the things you feel.
Deep in your spirit let them rise
akin to stars in crystal skies
that set before the night is blurred:
delight in them and speak no word.
Fyodor Tyutchev, «Silentium!» ( translated by Vladimir Nabokov)

LOCATION: Bulowstrasse 11, 10789, Berlin
EXHIBITION DURATION: 14.01.2022 – 05.02.2022
VERNISSAGE: 13.01.2022 AT 7P.M.

In program structuralism’s essay by Roland Barthes, The Death of the Author, a philosopher research phenomenon transforms author’s ideas in the reader’s minds into something different. How does it happen? How does our personal experience influences our text’s interpretation and understanding? Why is author’s idea isn’t the same thing as the reader’s interpretation? According to Barthes when the reader sees the text, and starts reading it, interpreting it, the author is dying, because his idea is transforming and never will be the same.
In visual arts, as in texts, the same process is happening. We see an artwork, and our imagination, life experiences, education  help us to understand visual forms. It’s a unique, unrepeatable understanding for everyone.
The solo show of the artist Lentov Non-verbal Stories is about an essential trait of art — an ability to make a viewer feel and reflect. It is the first time Lentov presents abstract artworks and introduces the audience to the new phase of her artistic career.
„The abstract era of my oeuvre started two years ago. I wanted to share something personal, not in any verbal ways, to allow you to read my diary that was written without using any words“.
Abstract art is more delicate in the case of „storytelling.“ This art style is not so straight, but it conveys mood and emotions much more accurately and gives a broader field for imagination and reflection. Each artwork is a personal story of the artist and each viewer, and all these stories are entirely different.
Artworks at the exhibition are made in different techniques and on various materials. The main artwork of the exhibition is a 3,9 x 2,6 m diptych that was never shown before.


Lentov is the pseudonym of an artist, illustrator, painter, designer, and graphic designer, Elena Fuks.
Elena was born in 1993 in Moscow. She was educated in British Higher School of Arts & Design, Istituto Europeo di Design Barcelona.
She started her artistic career in 2009. Today the painter lives and works in Barcelona.
For now, Elena has had  six personal exhibitions and participated in sixteen group exhibitions, including the exhibitions in London, Barcelona, Moscow, Lisbon, Cologne, Berlin, and Venice.

ESPRITS Christian Boltanski at Manege


Animitas Blanc (Animitas White), installation view, Ile d’Orléans, Québec, Canada, 2017 

ESPRITS Christian Boltanski at Manege

15 March–15 May 2022

Manege Central Exhibition Hall (St. Petersburg) presents Russia’s first-ever solo exhibition by French art legend Christian Boltanski.

This project is made possible with support from the Institut Français in Russia in celebration of the 30th anniversary of the signing of the agreement on cultural cooperation between the Russian Federation and the French Republic.

Christian Boltanski (1944–2021) was one of contemporary art’s most outstanding and influential figures. Esprits is one of the last exhibitions to which Boltanski had personally contributed.

Christian Boltanski, Monumenta 2010, Grand Palais, Paris   

Boltanski himself selected those of his works from the past 10 to 15 years – large installations, video artworks, and art objects – to be exhibited at Manege. Some of his new pieces will be on public display for the first time: he created them as he reflected on events from Russian history and attempted to immerse himself in them more fully.

Boltanski’s project concept offers insights into subjects he has always accorded paramount importance: loss, memories, existential choices, fate, and personal and collective history. After the artist’s death, the team kept continued work on the project, using the materials, blueprints, and thoughts Christian left behind.

Personnes (Persons/Nobodies), exhibition view „Storage Memory“ at Power Station of Art, Shanghai, 2018

“I wish I could find some word connected with ghosts. But one that is tied to the idea of a return from the land of the dead rather than any particular place.”

From Christian Boltanski’s letter to Andrei Erofeev

“The pandemic has brought about a frightening but very curious phenomenon. Remember how we used to deny the very notion of death prior to the COVID era? Well, now we speak of death as something that is all around and a part of our reality.”

Christian Boltanski’s interview for Marian Goodman Gallery

Moved, 2013, exhibition view „Storage Memory“ at Power Station of Art, Shanghai, 2018  

When ruminating on a project at Manage, Christian mentioned that the concept of the St. Petersburg exhibition should be connected with Bloody Sunday. According to his notes, he was thinking about souls of insurgent workers wandering around the Manege space, waiting to be dispatched to Heaven or Hell.

For Christian, Manege was a symbolic place, saturated with history. The Dioscuri statues on the portico reminded him of an Ancient Greek myth. The brothers Castor and Polydeuces, sons of Zeus, were great heroes. Polydeuces was endowed with immortality by his father, while Castor was mortal. Not wishing to part with his brother, Polydeuces shared his immortality with Castor, but for this he was condemned to wander between Olympus and Hades with his brother for all eternity.

Personnes (Persons/Nobodies), exhibition view „Almas“ at Museo Nacional de Bellas Artes, Santiago, Chile, 2014

The exhibition Esprits is organized by Manege in collaboration with Eva Albarran & Co (Eva Albarran & Co).



PURPLEHAZE MAGAZINE TEAM came up with a fantastic idea to give a chance to our online submitters (editorials) to be published in the PRINT collectible PURPLEHAZE 007 according to the highest number of likes.

This allows our audiences from everywhere to vote for their favorite editorial from the last publishing date of print 006 – 01.09.21

What is your favorite? Like it now!

We will share the results on the deadline date – 15th of January 2022

Call for submissions. #007 Women

Call for submissions. #007 Women

Hi there!

Today there are more and more female students in art schools. Meeting women artists and discovering their artworks in galleries and museums comes as no surprise, while, generally, the industry is still being dominated by men. Do you have something to say about this from your own experience? Or, maybe, you would like to make a statement from the cultural, historical, sociological point of view as a researcher/curator? Purplehaze is looking forward to hearing from you! Any forms of visual art (photography, mixed media art, new media art) and texts are highly appreciated! The upcoming #007 print issue of Purplehaze is called Women, so try to feel the flow 🙂

Please make sure you submit before January 15, 2022 in our inbox:

• Sizes of the images 2 mb – 8 mb
• We only accept images that are have not been published and/or previously shared on social media
• Team and wardrobe credits in .doc format
• Please include your, your team members, and the designers’ website & social media information in the credits so we can tag them when we share the images online
• Please use the following format for the Team credits
photographer PETER EXAMPLE @peterexample stylist LENA EXAMPLE @lenaexample model LUNA @lunaexample etc.
• We copy and paste each name directly from the file. So, please  check all the names for accuracy.
• Behind the scene photo/video/fashion film is a plus