As for me, it’s not the time to paint (I’d rather not be painting)

Синцова Дарья. I just wanna be your dog. 2009. Холст, акрил. 75х100. Courtesy автора
Анненкова Юлия. Transcendence. 2013.Холст, масло. 100х90. Courtesy автора
Демьянова Мария. Rita. Brighton Beach. 2013. Фотография. Courtesy автора
Kroshka Guer. If God didn't see it - it didn't happen. 2006. Холст, масло. 60х80. Сourtesy автора
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Пеникер Татьяна. Mother. 2011. Акварель, акварельный карандаш, ручка, коллаж, бумага. 30x42. Courtesy автора
Синцова Дарья. Drink milkshake. 2009. Холст, акрил. 75х100. Courtesy автора
young female art in Parallel programme of 5th Moscow Biennale of Contemporary Art
04.10.2013 to 13.10.2013

pictorial art, graphic, installation, objects and video


  • Maria Agureyeva
  • Annenkov Julia
  • Anna Guseva
  • Maria Demyanova
  • Peniker Tatiana
  • Intercession Maria
  • Sintsova Daria
  • Sasha Frolova
  • Yakovlev Ustina
  • Kroshka Guer

Curators: Anastasia Volkova, Drob Tatiana

As is known, interest to a “female painter” personality in fact has not been seen up until 20th century. Generally, the history keeps not so many female names who have earned such significant and stable reputation in the world of art as male painters did. For instance, let’s recall Mary Cassatt, a remarkable and fine colorist, whose name perhaps will be the last to cross your mind when speaking about impressionism. Can we conclude that this is just a result of certain predominance in talent and industry of male painters, or it is simply the lack of due interest and attention on the part of artistic expertise and general public?

No doubt, since the beginning of turbulent 20th century, a lot has changed, and together with emergence of feminism as recognized and powerful social movement, there came an interest to a personality of female painter. History of postmodernism has acquired many significant names of female artists, who were able not just to make headlines, but also set new rules in the world of art – we are speaking of Cindy Sherman, Marina Abramovich, Marlene Dumas, Tracey Emin. And are we not to remember the boldest statements of political art – female activists of “Femen” and “Pussy Riot”.

In the present world, women reap the fruits of struggle that previous generations of feminists carried on and have already ascended a new level in such issues as employment, relations, rights and freedoms. Today we want to speak about present-time girls. It seems both important and necessary to take a close look at a personality of female painter at the very beginning of its development and formation. This is exactly the reason why we review within the project works of young female painters both who got professional education and who didn’t. What is it a girl-painter of today is about, what does she fight against and for (if at all), to what extent does she realize her freedom and how does she use it in life and creation? Who is she – an independent rebel or a candy kid of good stock? What are her strength and her weakness? What does she care about and what fills her personal space?

In this regard, we are especially interested to take a look at ways she expresses herself in media for which she works as a painter. Whether she is still obsessed with the idea of using her body as a media like her ancestresses were, or looks for new methods of creation. Is her art still aggressive, or she has become more self-confident. What is it, a contemporary young female art? In what, if at all, its gender-related property shows itself as an earmark? The goal of this project is to raise these questions and keep them in focus as long as possible.