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  MAMONOV, Bogdan Kirillovich 

 Biographical information 
 
Born 1964, Moscow.
Graduated Moscow Polygraphic Institute in 1987.
Artist, curator, art-critic. Works in painting, installation, performance, video, and book illustration.
Curator of the Gallery of the Russian Embassy in Tallinn.
Represented Russia at the 2005 Venice Biennale as part of the ECSAPE program.
Received the Arsenal and Black Square awards as part of the ESCAPE program.
 

 Collections where works are held 
 
Museum of Modern Art in New Jersey
State Tretyakov Gallery in Moscow
private collections in Russia, Great Britain, Germany, Spain, Portugal, France and Switzerland
 

 Participation in exhibitions and auctions 
 

SOLO EXIBITIONS:
2006
Versions, Fine Art Gallery, Moscow
2000
Gifts, Fine Art Gallery, Moscow
2000
Zverev and Chirik, Zverevsky Centre of Contemporary Art, Moscow
1999
Top Samba, Sakharov Museum and Visitors Centre
1998
Caligula, Film Museum, Moscow
1998
Caligula, TV Gallery, Moscow
1998
Tranquilizing Memory, TV Gallery, Moscow
1994
Conformist (with Alexander Brenner), Central House of Artists, Moscow
1992
Six Unknowns, Marat Guelman Gallery, Moscow
1992
Fundamental Infantilism, Marat Guelman Gallery, Moscow


GROUP EXIBITIONS:
2007
The 11th International Art Fair Art Moscow. Booth of pARTner project Gallery
2007
Nefertiti. Practice of Self, Project Factory, Moscow
2006
Art Moscow, 2006, Moscow
2005
Women Without Men, Russian Gallery, Tallinn, Estonia
2005
Face Portrait, M’ARS Gallery, Moscow
2002
Instead of Art, Zverevsky Centre of Contemporary Art, Moscow
2001
Warhol Week in Moscow, Gallery L, Moscow
1993
To the 7th Session of the People`s Deputies, Central House of Artists, Moscow
1993
Conversion, Central House of Artists, Moscow
1992
Triad, Grassi Museum, Leipzig, Germany
1991
5+1, Alten Closter Gallery, Köln, Germany
1990
New Art from the USSR, Kassel, Germany
1989
Glasnost in Zundorf, Alten Closter Gallery, Köln, Germany


MAJOR PROJECTS WITH ESCAPE PROGRAMME:
2005
Too Long to Escape, Russian Pavilion in Venice, Venice Biennale, Venice, Italy
2005
Vertigo, as part of the Human Project exhibition, Ist Moscow Biennale of Contemporary Art, Central House of Artists, Moscow
2004
Attention, Apex Art, New York
2004
Four Fourths, as part of Seven Deadly Sins, Museum of Modern art, Ljubljana, Slovenia
2004
Vertigo, Arsenal Gallery, Nizhniy-Novgorod
2004
Monstruation, To the Resort, Baden Baden Kunstahalle, Germany
2003
Quartet, as part of the Art Moscow Workshop, Central House of Artists, Moscow
2002
Motherland Exchange, Art Frankfurt, Frankfurt-am-Main, Germany
2002
Escape Tour Agency, as part of Let`s Go, MAK, Vienna, Austria
 

 Autobiographical notes 
 
The project is the first part of a trilogy “The tranquilisation of memory”. It is related to the personality and archive of my great grandfather Grigory Schpeyer — a German engineer who became a victim of repression in 1932 and ended his days in prison. The Intimate Life… has its origin in my childhood, but is related to the general historical context. The question may arise: why does the author consider it interesting for the contemporary viewer to immerse himself into the world of some family archive, into the life, albeit real, but still of a hardly noteworthy man?
I am convinced that today for the society it is exceedingly important to reconsider history. In contrast to, for example, Germany, in Russia a true analysis of the results of the 20th century has not been undertaken. The whole historical layer has comfortably settled in the depths of the collective unconscious, which, of course, brings the danger of a collective neurosis, the symptoms of which we constantly observe.
Reference to the past carries, in such a way, a therapeutic character which may be considered as the main function of culture today. It is from this that the title of the trilogy is derived: tranquillizers — sedatives and antidepressants. At the same time this word is connected with the name of the Roman historian Guy Svetony Tranquill, whose text influenced this project. I think that the successful use of cultural therapy can take place only if history will be looked at through the personal existence of a personage with whom the viewer is able to identify.
 

 What the critics say 
 
 

 Bibliography 
 
F. Romer, Cultural Heroes of the 21st Century, Bogdan Mamonov, 2006 (cat.)
S. Nadezhdin, Bogdan Maninov’s Versions, Art, No. 1, 2006
A. Penzin, Presents, Bogdan Mamonov, Art Journal, No. 37/38, 2001
E. Kikodze, Problems of Vision, Tvorchestvo, No. 2, 2001
F. Romer, Glory and Compassion, Capital Perspective No. 1, 2000
I. Basileva, Riot of Artists, Art Journal, No. 30/31, 2000
 

* - This information has been provided by the Soros Center for Contemporary

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