Andrei Yerofeev


Andrei Yerofeev
Political Art in Russia

#2 2007 (15)

The Second Moscow Biennale of Contemporary Art has closed in the Russian capital, and as part of it the Tretyakov Gallery held a third exhibition in its long-term cycle “Trends in Russian Art”. Following the “Abstractions” and “Russian Pop-Art” shows, the new exhibition was dedicated to SotsArt, and the historical and typological retrospective of the same name was held between 2 March and 1 April 2007. Outside Russia, Sots-Art is, without doubt, the best-known trend in Soviet art of the second half of the 20th century. Alongside pieces by Russian artists, the “Sots-art” exhibition also showed work by their Chinese colleagues, who were greatly influenced by this movement. Occupying five rooms on the third floor of the Tretyakov Gallery on Krymsky Val, the exhibition covered approximately 2,000 square meters.


Andrei Erofeyev
Eric Bulatov in the Tretyakov Gallery

#4 2006 (13)

The entire artistic heritage of Eric Bulatov is being showcased in a landmark exhibition, made possible due to fruitful co-operation of the Tretyakov Gallery and the Cultural Foundation “Ekaterina”, and financial support of NCP GOC “Stroyteks” and OJSC “Surgutneftegas” and Fond “Novi”. Exhibiting a major Russian painter who has achieved distinction over the last 40 years, the result is nothing less than an international sensation.


Andrei Erofeev
Russian Pop-art

#4 2005 (09)

“A country with a total shortage of goods and endless queues can’t have pop-art,” the Soviet avant-gardist Vitaly Komar had said before he invented, in 1972, a politicized version of postmodernism wittily called “soc-art” (also known as “sots-art). Some of the prominent “socartist’s” friends and colleagues did not believe his statement and made joint efforts to develop the artistic forms that the poet Genrikh Sapgir called “Russian pop-art”. Today, 35 years later, the question of Russian and Soviet pop-art remains open - did Russia have a pop-art style or not?


Andrei Yerofeev
The first exhibition of “actual” art from the Tretyakov Gallery collection

#2 2005 (07)

The exhibition “Accomplices. Collective and Inter-active works of Russian Art from the 1960s–2000” was planned and realized by the Tretyakov Gallery's department of new art trends at the gallery's building on Krymsky Val, and constituted a special project of the First Moscow Biennale of Contemporary Art. The major event of the Biennale's “Dialectics of Hope” took place in the former Lenin Museum and represented a rather small international group of young artists (only six of them from Russia), whose creative efforts were considered by the six curators as indicative of their times, and signifying a new stage in the development of “actual” art. But the impact of the Moscow Biennale would have been almost negligible, were it not for some “special” events staged at several locations in the city, such as the Central House of Artists, the Moscow House of Photography, both the Museums of Contemporary Art (Tsereteli's on Petrovka Street, and the newer one on Yermolaevsky Pereulok), the State Centre of Contem-porary Art on Zoologicheskaya Street, and many other state, corporate and private institutions. Though participating on their own initiative – and with their own resources – their contribution to the Biennale cannot be overestimated, and made it a really large-scale and multi-faceted panoramic event.




Download The Tretyakov Gallery Magazine in App StoreDownload The Tretyakov Gallery Magazine in Google play