Nikolay Nasedkin

nasedkin_nBorn in 1954. Has been taking part in exhibitions since 1982. Solo exhibitions: “Mad House”. Painting, graphics. (Centre of Contemporary Art “M’Ars”, Moscow, 2004), “Ornament. Painting with crude oil” (“Krokin” Gallery, Moscow). The parallel programme of the 1st Moscow Biennale of Contemporary Art. Collections: the State Tretyakov Gallery, the State Russian Museum, the State Pushkin Museum.

Red square
The project unites two absolute symbols from the arsenal of the Russian socio-cultural sphere. This is the “logotype” – of traditional culture and statehood – the Red Square, with its extraordinary capacious historical semantics, on the one hand. And on the other, the author concentrates on a principal attribute of contemporary social existence – oil. In the given case, oil as a phenomenon goes far beyond the scope of its substance, beyond the limits of the chemical industry and the twists and turns of the global economy, into the spheres of the Media socio-cultural discourse, into the category of world-view aestheticism.

The author’s experiments with oil, his attempts to comprehend and become familiar with this material, took place with curatorial assistance from the “Krokin Gallery” within the framework of the 1st Moscow Biennale of Contemporary Art in 2005. Then, they were ornaments – expressive constants of national identity. Today the author is initiating a project which is different in principle, more significant, in its scale and diversity of content. “ Red Square” – this project is antinomy, a symphony of grandeur and catastrophe. The project is absolutely new, but its very issues, its essence are a priori intrinsic to the author throughout all his creative work.

Such emphases of the search condition existence in the space of the poles of power and in the space of specific tension. The reactivity of the author’s worldview is obvious, as is the emanation of his idea, which shows through the thick depositions of the organic mass of oil. Oil remains oil, its substance, its “physical nature” is exposed, but the complex combination of meanings and playing with the context do not occur. There are no nuances and tinges here. Here everything is extraordinarily textured, understandable, massive and real.

Alexander Petrovichev (curator of the Krokin Gallery)


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