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Enter Art Fair is a new and ambitious international art fair in the Nordics. As the first of its kind Enter Art Fair and Artland combines the well-known art fair format with a state-of-the-art digital art fair experience. ENTER is therefore the only fair that actually connects artists and galleries to collectors and other art lovers on an unlimited global scale all year round. The next fair will take place 27th — 30th August Enter Art Fair and Artland recognizes the demand from the established International art community for an international high quality art fair in the Nordics. At the same time the mission is to continuously develop and maintain an innovative setting for younger art lovers and emerging collectors — a burgeoning force set to be the groundbreaking collectors of tomorrow. By combining the physical art experience and personal meeting with a direct reach into the virtual reality, Enter Art Fair and Artland bridges the two. Jolie Alien — художник автодидакт, которая в свои восемнадцать успела сделать три соло выставки и стать участником множества групповых проектов. При этом, Jolie — модель, ее динамичная жизнь насыщена яркими впечатлениями, которые она пытается перенести в свои работы. An autodidact artist, she works with catchy images, simple plots, cropped compositions and expressive drawings. Jolie outlines youth, which she has direct access to and which is closed to the adult world. Starred in international advertising campaigns Mango, Fendi, Adidas. The rights to use the image of 'Whirpool' were acquired by Mango for use in the release of a collection of t-shirts around the world. As an artist, she values and puts perception above reflection, intuitiveness and even a certain automaticity of her paintings are related to art Brut and some of the works of Jean Dubuffet. Perhaps only classical techniques can now allow the artist the luxury of speaking out about himself and capturing the reality around him as an enduring impression. Alina Bliumis is New York-based artist. Alina often collaborates with Jeff Bliumis, their collaboration started in The series Masses , by Alina Bliumis is an exploration into the tipping point, where analysis becomes obsession and participation becomes dissolution, as the individual relinquishes a sense of self in the face of phenomenological overwhelm. Masses 1 is perhaps the most anomalous of the series, focusing as it does on an internal struggle. Evoking the howling forces of worry and self-doubt that visit in the blackness of the small hours of the morning, the work suggests a descent into a demon-plagued hell of our own devise. Monstrously twisted and disembodied limbs vie with attenuated spectral faces for command of the poor soul, bent over at the base of the composition, and gazing apprehensively over its shoulder at the reigning chaos. On a lighter note, Bliumis turns to mass celebrations of Dionysian excess in the rock concert depicted in Masses 2. The main figure is blissed-out and spread-eagled in mid-stage-dive. The veiled reference to St. In the former, there are as many emotions as faces, showing the rage, fervor, anxiety, devotion and hope that can forge a compelling collective identity at mass demonstrations. Yet one is left to wonder, given the multiplicity of expressions, if these protestors will every achieve a unity of communal purpose. The soldiers, in their uniformity, are a stark reminder that in rigid discipline and conformity comes another kind of excess that can be wielded as a blunt and unforgiving weapon against a mass of individuals. Abandonment of reason is a theme that carries through several of these panels, not least in the Masses 3 Lovers. Here, bodies entwine in the abandonment of an orgy, with the ebb and flow of momentary sensations evoked by shifts in scale, as in the couple at center right; or the union of body parts, like the heads at the bottom center, whose mouths unite when the tongue of the head on the right becomes the lips of the head on the left, in a perceptual twist that would have made Cezanne proud. The installation of the works, as large fabric panels dividing the space, will create a disorienting experience for viewers, ideally a psychological state that hints at if not approximates the loss of self experienced when one becomes part of a crowd or mass, whether for good or for ill, ecstasy or violence. Bliumis depicts scenes where mass experience tips over into mass hysteria, where the intellect is overcome by emotional input. What differentiates a rally from a revolution? A riot from a rock concert? Whether attending a military exercise, a religious rite or an orgy, overload provides release through collective identification with a larger purpose. From eagles to pigeons, from Albania to Tonga, this series explores the intersection of nation and nature. Birds are often part of the national hereditary symbol system or coat of arms and appear on passport covers with metallic gold. On 43 passport covers, I noticed 50 birds or related creatures. In the works, I isolated each bird from its national symbolic context and painted it according to the source, focusing on the characteristics of the species: the famous one-legged pose of a flamingo Bahamas , a gliding vulture Mali , an extinct flightless dodo Mauritius and a mythological creature half woman and half bird, Harpy Liechtenstein. Some birds were easy to identify, some required research using different birdwatching sources, discussion with friends and experts. Then I scanned the unique prints and printed them on fabric: Amateur Birdwatching at Passport Control, , 43 series, digital print on silk paper, 44 x 54 inches each, Vol. Special edition for a-s-t-r-a gallery of 11 works, digital printing on paper, 30 x 40 cm each. When we speak about globalization we mostly mean the global circulation of information, money and commodities. However, long before this circulation started animals, birds and insects were circulating around the world — and they still are. Migration of birds and animals preceded the migration of men. At the same time not all the animals migrate. Some of them are local — and parts of local ecologies. That is why migration of animals and other living organisms, such as viruses and microbes, is seen as dangerous for the ecological balance in certain regions. Now, the analogy with the human migration is obvious. Often enough it is also seen as a negative factor destroying the ecological balance of certain national states. One of the persistent topics of her art is a reflection on the processes of accommodation and integration in which everyone with a similar background is unavoidably involved. The tone of this reflection is far from being dictated by personal ressentiment or protest. Rather, her attention is drawn by the absurdities of the processes themselves. There is this standard expression: free as a bird. Speaking about the freedom of birds we mean, of course, the migrating birds that high in the sky cross all the national borders — the freedom which the planes, for example, do not have. However, the birds which images we find in our passports are not migrating birds. Mostly, they are birds of prey — like eagles, for example. In this respect they are similar to the political animals — lions or bears. The eagles do not migrate — they are circling in the air and controlling their territory. They are machines of surveillance. They look for a prey — and catch it. So it is clear enough why so many states have chosen the eagle as its symbol. Of course, there are also some more peaceful examples. But the common characteristic of all these birds is the fact that they are local — be it a pelican from Barbados or a parrot from Dominica. All these birds are prisoners of their territories. Do they ever dream to become free, to migrate, to visit different countries — and not only to draw always the same circles over the same territory? We do not know it. But if the birds have these dreams it is the citizens of the states that have images of these birds in their passports who realize these dreams — at least in symbolic terms. Thus, even if a parrot remains on Dominica and a pelican - on the Barbados the passports with their images have a chance to be checked at the airports all around the world. The artist works with installations, videos, performances, and sculptures. Lives and works in Los Angeles and Moscow. This is caused by a General desire to change yourself to avoid social pressure, as well as an even greater desire to discover your true form and inner authenticity. In my work, I focus on the contradiction between what is considered real and what is subjective about the human body. I explore the social norms of stamped attractiveness that push us to Polish our own image, as people Polish billions of images on the Internet. There is an internal conflict between the natural features of our appearance imposed by artificial standards and our willingness to oppose them with absolute truth. This dynamic pushes me to explore the boundaries beyond which the body becomes as much an object as any other. I often work with synthetic materials because they refer to my themes of physicality, moving from authenticity to art. My work emphasizes that body transformation is referential, archetypal, and tribal, and is now becoming a form of modern secular religion. This forces me to explore the boundaries beyond which the body eventually becomes the same object as any other. I am currently studying the interaction of the human body and the environment, which I deeply feel is inextricably linked as one ecology, one synergistic Union. Humanity, and especially artists, can no longer turn a blind eye to this problem because of how acutely we have all begun to feel the impact of changes in Nature on all of us. In he graduated from the Moscow Architectural College. In he became a member of the International Union of Artists. The graphic artist Mikhail Molochnikov splits his life between Berlin and Moscow. His works include handmade books, sculptures from cardboard and series of graphics. In his works the artist starts out from avant-garde ideas, first and foremost Malevich theory or art, combining them with Eastern Gnosticism and Tibetan mediation practices. A world of pure forms where space becomes part of the object and element of creativity. Paul Solovyev, a multidisciplinary artist, equally comfortable existing both in gallery spaces and in interventions in the urban and natural environment. Paul is interested in the phenomenon of destruction and ideologization of the image in nobrow culture. In his works, subcultural and iconic signs mutate, flowing into each other, dissolving and disappearing, sacred, political and advertising symbols. Paul Solovyev, a multidisciplinary autodidact artist working in the field of performance, non-performance art, readymade, installations, photography, painting and graphics. Drawing on the influence of his previous professional experience in advertising and fashion, Pavel focuses on the queer aspects of identity that challenge the notions of representation and the eschatological potential of the image. In his projects, Pavel studies the transformation and transgression of the image in the stream of sacred, mystical, political and advertising symbols that fill the mediums of modern mass culture. Creator of the LOVE clothing brand. Member of the Club of Art Directors of Russia. Lives and works in Moscow. Dima Hunzelweg was born in into a family of an artist, thus being introduced to the process of making art in early childhood, on an unconscious level. After acquiring formal artistic education in the s, he intentionally breaks free from academic schooling and figurative approach. Today, he considers himself a self-taught artist whose artistic method was fully formed in the early s, after long-term periods of living, working, self-educating and exhibiting across the globe including 16 years in New York and 3,5 years in Italy. Expanding the boundaries of art and media both literally and metaphorically, he creates unique wall objects blurring the distinction between painting and sculpture, between 2D and 3D dimensions. In the art of Dima Hunzelweg, the material quality of his works plays a pivotal role. Processing certain materials, which mostly come to his attention by pure accident — be it stainless still or neoprene, it serves as an infinite source of inspiration for the artist. Exploring the limits of perfecting each piece by chiseling away the superfluous material. Making a single artwork might take several weeks and months of meticulous and time-consuming preparation. As for the method, Dima Hunzelweg relies on geometry as a source of the clearest outlook. In this regard, his work can be viewed as a new step in a deep-rooted tradition of minimalist art and geometric abstraction. Still, paying such close attention to the physicality of each work does not turn them into simple decorative objects. Using geometry laws to achieve an ideal result, the artist tends to work with fairly simple symmetrical forms that are completely assertive in their visual impact. On the outside, cold math is often concealed behind the eye-catching and often skin-friendly surface, resulting in a mixture of inner perfectionism and outer sensual beauty. In a constant quest for exploration, Dima Hunzelweg is often driven by his interest in scientific progress and recent research. Considering art as a non-stop and ever-evolving process, he thinks that accumulating data and knowledge leads to a more elaborate philosophy. Unique wall objects by Dima Hunzelweg are equally appealing in terms of form and accessible in terms of ideas. Artist currently lives and works in Moscow and Hamburg. Nikita Shokhov is a visual artist and filmmaker. Working in XR, video and photography Shokhov focuses on the duality of human nature: body and mind, science and religion, sexuality and politics. There are several problems that I work with in my art practice. I am interested in expanding the boundaries of the traditional Western understanding of what a person is. In my recent work, I study the intersection and separation of mind and body. One of these themes is carnival culture, where mind and body collide. For example, the video work Ice is based on a study of carnival in Antiquity and the Renaissance, when binary oppositions grotesquely changed places for a short time of the holiday: the king became a jester, and the jester sat on the throne, death and birth were a single process, the genitals rose to the rank of intellectual, and serious thoughts were ridiculed. I was attracted by the connection of carnival with the great changes in medieval society: instead of religious oppression, scientific discoveries and the flourishing of thought came, the ancient carnival returned to the Renaissance As a natural reaction to times of harsh politics and mass epidemics - it was necessary for the recovery of society. In the Moscow Nightlife project, I was interested in understanding the significance of the carnival mode in modern authoritarian Russia. The combination of documentary and production allows me to explore modernity through documentary elements and subtly change reality through staged ones. The collision of real and fictional worlds creates their unexpected interactions. The political context has a great influence on my work, and I often think about politics, although I do not seek to make direct comments on specific events. I think artists reveal their fundamental political beliefs in any of their work, whether they want to or not. Since I was raised in the left - wing traditions of the Rodchenko School, I support policies that look forward, correct outdated stereotypes of the past, and offer better ideas for the future of humanity. Another important phenomenon for me is religion. I studied Orthodoxy in Russia in the Religious procession project. I am strongly attracted to the methods of fundamental science: scientists study a narrow area of reality, form hypotheses, experiment, analyze the results, and thus discover fundamentally new things, contribute to the overall intellectual progress. The starting point in my art practice is often ignorance of some phenomenon, which makes me do many years of 'field research'. For example, I worked on three major photo projects simultaneously for several years, and for a recent VR video project, I did academic and field research for two years. Such long-term intensive study allows me to become an expert in specific socio-cultural areas. Examples from Russia include carnival life in Moscow clubs Moscow Nightlife , Orthodox religion Procession , hippie subcultures on The black sea coast Black Sea, Utrish, ice , and the historical site of the richest layer of Russian society Rublevka. In the United States, I am working on a project on the role of the media in the struggle of African-Americans against a racially repressive white society Black Chorus and Orchestra, the Klaxon. For me, the language of cinema is of particular importance. From the very beginning of my artistic career, I was fascinated by cinema - I studied it and watched a lot of movies. As a result, the film language began to play a Central role in my mind, which largely determines the visual quality of my photo and video works. Now, working with immersive video, I try to organize cinema images and signs in the exhibition space, based on my understanding of the semiotics of cinema. Finally, I want to talk about conscious work with the medium. I choose the medium depending on the task, so that all the elements of the technological process work for the main idea. For example, the specific color of the Kodak film perfectly captures the visual richness of the Orthodox pilgrimage documented in the Procession, and the SCAN project derives from digital scanning technology, the effect of which is ideal for displaying moving crowds in mass processions. From provocation to discussion. One of my goals is to work at the intersection of social research, literature, technology, science, visual and sound. Another goal is to respond to the challenges of the outside world, I think, a new ethic of society in readiness to respond to changes in the world. In my early works, one of the intentions was to provoke the viewer. The use of open provocation is well suited to Russian reality. Most members of Russian society are passive and infantile in political discussion-such is the history and cultural peculiarity. Therefore, artistic provocation is an effective way to attract public attention there. People usually react to things that are beyond their understanding of the 'norm', so I often depicted communities that are on the periphery of everyday life. Working on projects in the United States, I communicate with the public in a different way. Here, discussion, dialogue, and discussion of problems are preferable. At the Klaxon, I open a discussion about self-identity. In General, I see intellectual discussion as a positive addition to my art practice, since discussion and provocation together represent more subtle channels of interaction with important issues in society. Many of the phenomena of Western culture that I am particularly interested in depend to a large extent on Eastern philosophy, and I think it is a good way to respond to the challenges of the outside world - to combine the best concepts of Western and Eastern philosophical traditions. This is why creative collaboration in a multicultural group is very productive for me, which is what I have been striving for lately. The world is undergoing major changes in the field of image. Gradually, I came to the conclusion that perhaps the main value of art, or any other activity, is the benefit for millions of people, not individual ambitions; it is service to society, not to your career. I think this is the direction I would like to go further. About About Publications Contacts. Alien Jolie. Jolie Alien was born in in Moscow. Lives and works between Moscow, London, and Tokyo. Moscow; - solo show ' Alien Jolie Dolphin , Canvas, acrylic x cm. Alien Jolie Whirpool , Canvas, acrylic x cm. Alien Jolie Fashion week , Canvas, acrylic x cm. Alien Jolie Four elements , Canvas, acrylic x cm. All works of the artist. Alina Bliumis. Apostol, Ksenia Yurkova and Anastasia Vepreva. Text by Elizabeth M. Alina Blumis What do the birds dream about? Text by Boris Groys. Alina Bliumis Masses 8 , акварель на набивном хлопке, дерево x cm. Alina Bliumis Masses 7 , акварель на набивном хлопке, дерево x cm. Alina Bliumis Masses 5 , акварель на набивном хлопке, дерево x cm. Alina Bliumis Masses 6 , акварель на набивном хлопке, дерево x cm. Agureeva Maria. Maria Agureeva was born in Commodification, the Factory Project together with Gridchinhall, Moscow. The Excavations. Ground 0, Gridchinhall, Moscow. Ru, Moscow. Agureeva Mariya Untitled , Burnt bark, synthetic fabric, plastic, seashelles 80 x 50 x 8 cm. Agureeva Mariya Untitled , Пластик, камень, алюминий, ракушки, деревянная рама, зеркало 32 х 21 х 3 cm. Agureeva Mariya Untitled , Пластик, камни, фрагмент позвоночника дельфина, алюминий, деревянная рама, зеркало 23 х 25 х 6 cm. Agureeva Mariya Untitled , Пластик, перо, камень, деревянная рама, зеркало 23 х 25 х 6,5 cm. Molochnikov Mikhail. Born November 19, Gallery 'Dom', Moscow - Sensual Penetration. Hotel Grand Marriott, Moscow - 'M'. Gallery 'Velta', Moscow - 'Birds-fish'. Gallery 'Salon', Moscow - 'Secret Signs'. State Russian Museum, St. Earth', Gallery Agency Art. Petersburg, Russia - Book Fair. Frankfurt, Germany. Northampton University Gallery, UK. In memory of Nikolai Konstantinov '. Kaliningrad Art Gallery, Kaliningrad. Paris, France. Mainz, Germany. Alexandria, Egypt. Berlin and Krakow, Germany and Poland catalog. New York, USA. NCCA, Moscow. Bunker Alexanderplatz, Berlin, Germany. Galerie 'Belabush', Berlin, Germany. State Tretyakov Gallery, Moscow, Russia. Museum of Private Collections, Pushkin Museum im. Pushkin, Moscow. Magdeburg, Germany. Petersburg, Russia. Gallery 'Dom', Moscow. Center for Contemporary Art, Nizhny Novgorod. Manege, Moscow. Gallery 'Pan-Dan', Manege, Moscow. Hotel Baltschug Kempinski, Moscow. Georgetown university art gallery, Washington, USA. Central House of Artists, Moscow. Gallery 'A-3', Moscow. Traverse Center, Edinburgh, Scotland. Art College, Edinburgh, Scotland. Gallery 'Arka', Tokyo, Japan. Gallery 'Moscow Fine Art', Moscow. Munich, Germany. Karenina Galerie, Vienna, Austria. Paleontological Museum, Moscow. State Tretyakov Gallery, Moscow. Tampere Art Museum, Tampere, Finland. Molochnikov Mikhail Untitled Paper, graphic materials 35 x 64 cm. Molochnikov Mikhail Untitled , Paper, graphic materials 45 x Solovyev Paul. Solovyev Paul gang ragnarok , Canvas, acrylic 35 x 35 cm. Solovyev Paul two boys one rainbow , Canvas, acrylic x cm. Dima Hunzelweg. Hunzelweg Dima H Halbkugel , neoprene, acrylic glass, wood x x mm. Hunzelweg Dima D , elastan, neoprene, glass, wood x x mm. Hunzelweg Dima D , polyester, steel, plywood x x mm. Hunzelweg Dima D , micro velvet, neoprene, acrylic glass, wood x x mm. Shokhov Nikita. About future plans Many of the phenomena of Western culture that I am particularly interested in depend to a large extent on Eastern philosophy, and I think it is a good way to respond to the challenges of the outside world - to combine the best concepts of Western and Eastern philosophical traditions. Shokhov Nikita Cathedral of the Christ the Savior. Moscow Traffic , Inkjet print, aluminum frame 38 х 51 cm. Shokhov Nikita St. Buy in 1 click. Agreement to personal data processing I hereby confirm that I have read and agree to the terms of the Public Offer and the Privacy Policy. Check order.