/NEWS/

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.

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)

ARTIST: LENTOV/ELENA FUKS
CURATED BY: IRINA RUSINOVICH
LOCATION: Bulowstrasse 11, 10789, Berlin
EXHIBITION DURATION: 14.01.2022 – 05.02.2022
VERNISSAGE: 13.01.2022 AT 7P.M.

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

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).

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: submissions@purplehazemag.com

• 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

WE ALSO ACCEPT GENERAL ART & FASHION EDITORIALS

Yours,
Purplehaze

Photo
D e n i s  K o n o v a l o v,  S a s h a  G r i g g

Last night, PURPLEHAZE MAGAZINE celebrated the launch of their 6 issue by throwing an incredible fashion industry launch party in Berlin’s beautiful and historic Schoneberg Area. HAZEGALLERY heated up like a sauna jammed packed with fashion insiders, photographers, stylists, make-up artists, models – some budding, others aspiring, were all there eager to get in on the PURPLEHAZE buzz and swap business cards.

The star attraction was the cover star himself Mark Bryan , who came extra for the presentation in a dazzling skirt and high heels! We would like at this point thank you Marriott Hotel for hosting our special guest for his stay in Berlin.

Other big highlight of the evening was the fashion show “fashion moment” styled by Miguel Maldonado with designer stars like Giuseppe Tella, BRACHMANN, Remesalt Official, Tanja Christiani and makeup and hairstyling by Nadia Kosh. And many others who had worked with, or were keen on the prospect of working with PURPLEHAZE.

Although this is the magazine’s 6 issue, PURPLEHAZE is a fully visual fashion and art magazine that targets fashion insiders as well as contemporary art creatives in graphic and photography industry. Their focus is on long editorial spreads that push boundaries of fashion, photography, art, design, creative talent/artists, contemporary culture, beauty, while showcasing fascinating models and their personalities.

When discussing the 6 issue’s theme «GENDERLESS», Editor-in-Chief Iren Russo states in her Letter From the Editor, «Today the issue of gender has gained particular importance. The digital society we exist in incorporates tons of images in our daily lives. Being constantly bombarded by the obtrusive pictures that tell us who we are and what we should be, we finally give up, identifying ourselves with the imagery. How may it affect our ways of life, worldviews, artistic activities? With the #006 issue titled ‘Genderless’, I invite you to discover the endlessly appealing topic of gender, the way it’s being formed, perceived, and challenged“