"Dotted line No. 5" Automatic translate

Gallery "C", 1st floor.

For the first time with such a composition: the Artmuz Museum is preparing a collective exhibition of the legends of the St. Petersburg art scene: the artist Anatoly Zaslavsky, curator and artist Polina Zaslavskaya, as well as sculptors Robert Lotosh and Sergei Borisov will take part in the project "Dot Line No. 5".

On the account of Anatoly Zaslavsky, the founder of "Hopeless Painters", personal exhibitions around the world (from the USA to Israel) and a number of art history articles dedicated to his person. Polina Zaslavskaya is a curator and co-author of feminist art projects, and the works of Robert Lotosh and Sergey Borisov are in the collections of the city’s main museums.

Within the framework of the curatorial idea, all the participants of the "Dotted Line No. 5" differ both in age, and in their worldview, and in their creative manner.

The 82-year-old Anatoly Zaslavsky himself commented on the exhibition and the composition of the participants as follows: “I make painting simple. I believe that with the help of painting, you can tell about everything that you see, but at the same time the visible world is transformed and reveals its true nature. As an artist, I want to show all the different possibilities of oil paint on different surfaces. Polina Zaslavskaya mainly works in watercolors. Watercolor is aesthetically felt as a material and sometimes reaches very large sizes. Polina, like many young artists, is interested in a specific social life, so the themes of her works can be roof leaks, kitchen utensils, all kinds of food and even tools of domestic violence.

The sculptor Robert Lotosh is incredibly sensitive to various artistic materials, as well as to various events and people - mythical, historical, social. In his art, Robert closely combines the formal construction of wood, stone, ceramics, bronze and the precise characterization of the real image. The sculptor Sergei Borisov, on the other hand, strives for a final formal composition. Whatever the motive was initially, it goes back to a monumental pointless completion, a large plastic, perfect sign. "