highly
cONTEMPORARY ARTIST
cONTEMPORARY ARTIST
kONSTANTIN
aDJER
aDJER
Hi!
yES, iT'S mE
adjer.art@gmail.com
i'
M
diFferЭnT!
M
diFferЭnT!
oBJECTS , pHOTOS , dIGITAL , mOSAIC , pERFORMANCE , pAINTINGS ,
gRAPHICS , mIXED mEDIA , vIDEO, dESIGN , iNSTALLATION
gRAPHICS , mIXED mEDIA , vIDEO, dESIGN , iNSTALLATION
wHO iS tHIS dUDE aNYWAY?
bIO
1970: Born in Moscow
1985–1993: Gnesin School of Music and Moscow Institute of Culture (reeds, conducting)
1989–1992: Correspondence University of the Arts (easel painting, graphic arts)
1996–1997: Intern at the Studio of Paratheatrical Forms at the Interstudio for Synthetic Theater and Animation, Tsarskoye Selo (Yury Sobolev's studio)
1996–2003: Member of art group EMERGENCY EXIT
1998–2003 Creates a musical group of modern improvisation E69
2006-2010: Art director | Seinecom Agency
2007-2011: Member of art group ESCAPE
2013: Fellowship Program. Apexart. NYC
Since 2014: Collaboration witch MAIER Publishing
Since 2014: Collaboration witch HSE ART AND DESIGN SCHOOL
Live and work in Moscow
1970: Born in Moscow
1985–1993: Gnesin School of Music and Moscow Institute of Culture (reeds, conducting)
1989–1992: Correspondence University of the Arts (easel painting, graphic arts)
1996–1997: Intern at the Studio of Paratheatrical Forms at the Interstudio for Synthetic Theater and Animation, Tsarskoye Selo (Yury Sobolev's studio)
1996–2003: Member of art group EMERGENCY EXIT
1998–2003 Creates a musical group of modern improvisation E69
2006-2010: Art director | Seinecom Agency
2007-2011: Member of art group ESCAPE
2013: Fellowship Program. Apexart. NYC
Since 2014: Collaboration witch MAIER Publishing
Since 2014: Collaboration witch HSE ART AND DESIGN SCHOOL
Live and work in Moscow
Tie is full / Под завязку /
Object / 2021
Object / 2021
mAJOR eVENTS
1996. FALL | performance | 4th International Biennale Spatia Nova, St. Petersburg
1997. MALEVICH STEREO, etc. | object, installation, performance | 3th Kukart Festival, Tsarskoye Selo (St. Petersburg)
1997. CONSONANCE | performance | Art Manege Fair, Moscow
2000. MINIMUM POSSIBILITIES | performance, object | Properties of Cold, spare Palace, Tsarskoye Selo - Gallery 21, St.Petersburg
2000. KALEIDOSCOPE-TV | video, object | Media Art Fest, Manege, St. Petersburg
2000. MY SHADE REMAINED AT HOME | performance | 3th International Festival of Art and Performance, Manege, St. Petersburg
2000. MUSIKPROTOKOLL Festival | performance with E69 | Graz, Austria
2000. WALTZ FOR POLAROID | performance in collaboration with Marina Bebik | Escape Gallery, Moscow
2001. LAST TEMPTATION | installation | 5th Kukart Festival, Tsarskoye Selo (St. Petersburg); Escape Gallery, Moscow2002. WALL MUSIC | performance with E69 | Escape Gallery, Moscow
2003. TOPOGRAPHICAL PLAYER | performance| Occupation Festival, Novus Gallery, Riga, Latvia
2007. SCHEME | performance with Escape program| Art Moscow Fair
2008. APARTMENT NOISE | installation with Valeriy Ayzenberg, Escape Program | MoBy Hosting, The Ben-Ari Museum of Contemporary Art, Israel
2008. ART GUIDE | audio project with Valeriy Ayzenberg, Escape Program | Festival of Modern Art in Traditional Museum,Pro
Arte institution, St. Petersburg
2009. RIP|ТРЯПКА | video | 8th International Kansk Video Festival, Kansk, Russia; 27 + One, Festival of Short Films,
Moscow
2009. WALLPAPER FROM JEKILL & HIDE STUDY | installation with Valeriy Ayzenberg, Escape Program | Ravenscourt Gallery,
Art Moscow Fair
2009 – 2014. Participation in exhibitions: TEMPTATION, CITY, MALE PRINCIPLE, MEMORIES AND DREAMS,
A CLOSE LOOK CHANGES THE OBJECT, I’VE BEEN HERE, CHILDHOOD YEARS; Open Gallery, Moscow
2011. MEMORY OF RAIN | video | Videoakt, International Videoart Biennial, Barcelona
2011. MUTE | performance with Jana Aksenova & Max Gurin, documentation | Impossible Community, MMOMA, Moscow
2011. MEMORY OF RAIN | video | Hostages of Void, The State Tretyakov Gallery, Moscow, in conjunction with the 4rd Moscow Biennale of Contemporary Art
2011. MEMORY OF RAIN | video | Winner of an Open call Pro&Contra, Nomination Hybrid Media, Moscow
2012. MUTE | performance | International Festival for creative Music Perspectives, Vasteras , Sweden
2012. END CREDIT | video | Immersions. Towards the Tactile Cinema, special project of Moscow International Cinema Festival (MICF). Fund Ekaterina, Moscow
2013. RED WELDER | video with Valeriy Ayzenberg, Escape Program | Modern Art Museum:The Department of Labour and Employment. Special project of the 5th Moscow Biennale of Contemporary Art. The State Tretyakov Gallery, Moscow
2014. IN THE DARK | video with Valeriy Ayzenberg, ESCAPE Program | Lucida Space, Gallery Belyaevo, Moscow
2014. HEAVINESS | video | Burlaks: Between Europa and Asia. Special project of Shiryaevo biennale of contemporary art, Samara
2014. Book design THE ISLANDS OF YURI SOBOLEV | Winner of competition INNOVATION 2014 | Nomination «Art Theory and Criticism»
2014. THOU | performance at the exhibition The Islands of Yuri Sobolev | MMOMA, Moscow
2016. BLIND ZONE | performance, installation, objects, video art | Zarya Residence, Vladivostok
2017. MARLER KUNSTSTERN | Essen
2018. NEW SLOGANS | HSE Art Gallery
2018. PRESENT PERFECT CONTINUOUS | Zverev Contemporary Art Centre
2021. THE GHOSTOLOGY OF POST-SOVIET SPACES | HSE Art Gallery
1996. FALL | performance | 4th International Biennale Spatia Nova, St. Petersburg
1997. MALEVICH STEREO, etc. | object, installation, performance | 3th Kukart Festival, Tsarskoye Selo (St. Petersburg)
1997. CONSONANCE | performance | Art Manege Fair, Moscow
2000. MINIMUM POSSIBILITIES | performance, object | Properties of Cold, spare Palace, Tsarskoye Selo - Gallery 21, St.Petersburg
2000. KALEIDOSCOPE-TV | video, object | Media Art Fest, Manege, St. Petersburg
2000. MY SHADE REMAINED AT HOME | performance | 3th International Festival of Art and Performance, Manege, St. Petersburg
2000. MUSIKPROTOKOLL Festival | performance with E69 | Graz, Austria
2000. WALTZ FOR POLAROID | performance in collaboration with Marina Bebik | Escape Gallery, Moscow
2001. LAST TEMPTATION | installation | 5th Kukart Festival, Tsarskoye Selo (St. Petersburg); Escape Gallery, Moscow2002. WALL MUSIC | performance with E69 | Escape Gallery, Moscow
2003. TOPOGRAPHICAL PLAYER | performance| Occupation Festival, Novus Gallery, Riga, Latvia
2007. SCHEME | performance with Escape program| Art Moscow Fair
2008. APARTMENT NOISE | installation with Valeriy Ayzenberg, Escape Program | MoBy Hosting, The Ben-Ari Museum of Contemporary Art, Israel
2008. ART GUIDE | audio project with Valeriy Ayzenberg, Escape Program | Festival of Modern Art in Traditional Museum,Pro
Arte institution, St. Petersburg
2009. RIP|ТРЯПКА | video | 8th International Kansk Video Festival, Kansk, Russia; 27 + One, Festival of Short Films,
Moscow
2009. WALLPAPER FROM JEKILL & HIDE STUDY | installation with Valeriy Ayzenberg, Escape Program | Ravenscourt Gallery,
Art Moscow Fair
2009 – 2014. Participation in exhibitions: TEMPTATION, CITY, MALE PRINCIPLE, MEMORIES AND DREAMS,
A CLOSE LOOK CHANGES THE OBJECT, I’VE BEEN HERE, CHILDHOOD YEARS; Open Gallery, Moscow
2011. MEMORY OF RAIN | video | Videoakt, International Videoart Biennial, Barcelona
2011. MUTE | performance with Jana Aksenova & Max Gurin, documentation | Impossible Community, MMOMA, Moscow
2011. MEMORY OF RAIN | video | Hostages of Void, The State Tretyakov Gallery, Moscow, in conjunction with the 4rd Moscow Biennale of Contemporary Art
2011. MEMORY OF RAIN | video | Winner of an Open call Pro&Contra, Nomination Hybrid Media, Moscow
2012. MUTE | performance | International Festival for creative Music Perspectives, Vasteras , Sweden
2012. END CREDIT | video | Immersions. Towards the Tactile Cinema, special project of Moscow International Cinema Festival (MICF). Fund Ekaterina, Moscow
2013. RED WELDER | video with Valeriy Ayzenberg, Escape Program | Modern Art Museum:The Department of Labour and Employment. Special project of the 5th Moscow Biennale of Contemporary Art. The State Tretyakov Gallery, Moscow
2014. IN THE DARK | video with Valeriy Ayzenberg, ESCAPE Program | Lucida Space, Gallery Belyaevo, Moscow
2014. HEAVINESS | video | Burlaks: Between Europa and Asia. Special project of Shiryaevo biennale of contemporary art, Samara
2014. Book design THE ISLANDS OF YURI SOBOLEV | Winner of competition INNOVATION 2014 | Nomination «Art Theory and Criticism»
2014. THOU | performance at the exhibition The Islands of Yuri Sobolev | MMOMA, Moscow
2016. BLIND ZONE | performance, installation, objects, video art | Zarya Residence, Vladivostok
2017. MARLER KUNSTSTERN | Essen
2018. NEW SLOGANS | HSE Art Gallery
2018. PRESENT PERFECT CONTINUOUS | Zverev Contemporary Art Centre
2021. THE GHOSTOLOGY OF POST-SOVIET SPACES | HSE Art Gallery
mOSAIC
ВЫДОХ
63x21cm. /
PVC, Aerosol enamel / 2020
63x21cm. /
PVC, Aerosol enamel / 2020
Fighting luxury
Interpretation of the simplified style of decorating Moscow metro stations in the 1960s into a mosaic /
2020-2021
Хрен зажжешь
135x108 cm. /
PVC, Aerosol enamel / 2020
135x108 cm. /
PVC, Aerosol enamel / 2020
Бабла бы
78x78 cm. /
PVC, Aerosol enamel / 2020
78x78 cm. /
PVC, Aerosol enamel / 2020
dIGITAL
Stalin, Voroshilov
and other beasts
in the Kremlin / 2018
and other beasts
in the Kremlin / 2018
vIDEO
eND cREDITS
Video
2O12
The End Credits of different movies leave traces.
The titles merge with each other and form a new shape.
At the first sight end credits of motion pictures
are somehow imposed on a viewer as a formal technical addition to the movie.
While they are being screened, the light in the cinema is switched on, and in illegal copies they are often omitted.
The substantial amount of text is screened at a high speed, which naturally makes reading difficult and demonstrates
the purely formal character of the end credits. They acquire autonomy, merging into abstract graphical structures.
But the end credits also have another function. The serve as a passage, an edge between the movie and the reality.
The viewer can experience the after-taste of the film, see it and feel again at the high speed inside her own memory.
Video work "End Credits" is such traces of the trajectories of the end credits of motion pictures.
They merge and mingle with each other creating new independent forms of concentrated cinema.
Video
2O12
The End Credits of different movies leave traces.
The titles merge with each other and form a new shape.
At the first sight end credits of motion pictures
are somehow imposed on a viewer as a formal technical addition to the movie.
While they are being screened, the light in the cinema is switched on, and in illegal copies they are often omitted.
The substantial amount of text is screened at a high speed, which naturally makes reading difficult and demonstrates
the purely formal character of the end credits. They acquire autonomy, merging into abstract graphical structures.
But the end credits also have another function. The serve as a passage, an edge between the movie and the reality.
The viewer can experience the after-taste of the film, see it and feel again at the high speed inside her own memory.
Video work "End Credits" is such traces of the trajectories of the end credits of motion pictures.
They merge and mingle with each other creating new independent forms of concentrated cinema.
dIGITAL dREAMS
Video
2O12
Sound: Koji Asano
Video
2O12
Sound: Koji Asano
gRAPHICS
mIXED mEDIA
Second Reality /
The new reality is made through increasing the fragments of the glitch / 2017-2018
The new reality is made through increasing the fragments of the glitch / 2017-2018
pRINTS
New York cars / printed on prepared pvc / 50х40 cm / 2017
pERFORMANCE
Concerto for Two tuners / Delegated performance / Exhibition "Blind Zone" / Zarya Residence, Vladivostok / 2016
Mute / Performance with Jana Aksenova & Max Gurin / Exhibition "Impossible Community" / Moscow Museum of Modern Art / 2011
Wall music / Performance with group e69 / Escape Gallery / 2002
Minimum possibilities Performance /
spare Palace, Tsarskoye Selo - Gallery 21/ St.Petersburg / 2000
spare Palace, Tsarskoye Selo - Gallery 21/ St.Petersburg / 2000
pHOTOS
Unnecessary photos / Pictures from accidentally found negatives / 1995
cOLLABORATIVE wORKS wITH
eSCAPE pROGRAM &
vALERIY aYZENBERG
aRT gUIDE
Audio project with Valery Ayzenberg for Isaac Brodsky Museum. St. Petersburg
2OO8
Art Guide can be presented in two forms - as a pure audio performance (the viewer rents a player and listens while walking through the exhibition) and as a video where a person watches a recording of a journey through a museum in real time. A museum's tour office can be seen as a version of a travel agency. Here the tour guides are "insane" artists who know the topic inside-out and give free evaluations. In the audio player, the recording of the dialogue of two artists who walk through the museum's halls. They discuss, argue, express happiness – they act like stalkers, tricksters. Professional evaluations organically weave into the fabric of the conversation and touch the contemporary context directly. Not inclined to follow "specialists" or color "grayness" for the benefit of the average viewer, they boldly rewrite and retell the history of art. Authorities and established rules do not exist for them.
Art Guide is an obvious attempt to remove the borderbetween fiction and reality, between the work of art and the ordinary man.
Audio project with Valery Ayzenberg for Isaac Brodsky Museum. St. Petersburg
2OO8
Art Guide can be presented in two forms - as a pure audio performance (the viewer rents a player and listens while walking through the exhibition) and as a video where a person watches a recording of a journey through a museum in real time. A museum's tour office can be seen as a version of a travel agency. Here the tour guides are "insane" artists who know the topic inside-out and give free evaluations. In the audio player, the recording of the dialogue of two artists who walk through the museum's halls. They discuss, argue, express happiness – they act like stalkers, tricksters. Professional evaluations organically weave into the fabric of the conversation and touch the contemporary context directly. Not inclined to follow "specialists" or color "grayness" for the benefit of the average viewer, they boldly rewrite and retell the history of art. Authorities and established rules do not exist for them.
Art Guide is an obvious attempt to remove the borderbetween fiction and reality, between the work of art and the ordinary man.
sCHEME
Performance
With Valery Ayzenberg, Liza Morozova, Vikenty Nilin
2OO7
Map disrupted the "Art Moscow" fair by handing out incorrect diagrams of the location of gallery stands.
As a result, visitors were led astray, and influential galleries were put on equal footing with "novices".
Performance
With Valery Ayzenberg, Liza Morozova, Vikenty Nilin
2OO7
Map disrupted the "Art Moscow" fair by handing out incorrect diagrams of the location of gallery stands.
As a result, visitors were led astray, and influential galleries were put on equal footing with "novices".
