Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia Hello, I am Ann Andrzhievskaia
Artist's statement
Fountains are likely to be the most captivating feature of the urban landscape.

In essence, when designing a fountain, an architect or artist builds an obstacle course for a stream of water. As time goes by, the flow of water makes its own path, cutting rills in stoneand plaster.

I find it fascinating how fountains are both still and dynamic. Sometimes the water might drainor evaporate, change its trajectory, or sprinkle around. Rosalind Krauss's “desiring-machines” comes to mind…
I wish I could draw as effortlessly as drops run down a fogged glass, as stones and earth crumble in a landslide. I want to merge fish scales and potato tubers. I want the lines to be as sharp and firm as glass cracks. A thin layer of ice shackles plastic bottles and ash berries.

I want my daydreams to take me to a world of meticulous drama and twisted plots, where every character is otherworldly, yet strangely familiar, where phantasmic plants and objects feel right.
I would like the viewer to perceive my work as
a non-linear film, as bits and pieces of the most vivid dreams.
2021 - Heavenly wasteland, Triumph gallery, Moscow
2020 - Fencing system, Museum of contemporary art PERMM, Perm
2020 – Mid summer, Kz gallery, St. Peterburg
2020 - Last fight, Azot gallery, Moscow
2018 - “How to keep a secret or how to hide the obvious”, Name gallery (St. Petersburg, Russia)
2018 - Alchemical Pharmacy "Moonlight" Gallery 2.04
(St. Petersburg, Russia)
2018 - “Swan, paw, you”, creative space 0+, St. Petersburg
2015 - “Gun”, gallery “Intimate plase”, St. Petersburg
2013 - “Perm-36”, human rights forum Pilorama, Perm
2013 - “Perm-36”, Maliy Manege, St. Petersburg
2012 - “Leather city”, festival of contemporary art “Live Perm”, Perm
Solo exhibitions:
2019 – The Saint Petersburg New Media Laboratory (Alexandrinsky Theatre, Newstagemedialab)
2012–2013 – The St. Petersburg PRO ARTE Foundation
for Culture and Arts, “The School for Young Artist"
2008–2014 – The St. Petersburg State Academy of Art and Design, Department “Monumental and decorative art (painting)”
Selected group exhibitions:
2021 – Cité internationale des arts, Paris, France
2018 – Camp us one, Anapa
2021 – Blazar, Moscow
2021 – DA!Moscow, Moscow
2020 – Blazar, Moscow
2019 – DA!Moscow, Moscow
2017 – The 7th Independent Fair of Contemporary Art, St. Petersburg
2015 – Stockholm Independent Art Fair, Stockholm
M HKA Antwerp
Museum of Modern and Contemporary Art of St. Petersburg
Street Art Museum St. Petersburg
Museum of Political History of Russia
Museum of Contemporary Art PERMM
Private collections
Born 1989, lives and works
in Saint Petersburg
Member of art group “North-7”
2021 – Living matter, The State Tretyakov Gallery, Moscow
2021 – The generation of thirties, The State Russian Museum,
St. Petersburg
2021 – Hidden places, Maxart Foundation, Moscow
2021 – Puti tvoego topi, Ovcharenko gallery, Moscow
2021 – It is not me, Kerka gallery,
St. Petersburg
2020 – Silk down, Pangardenia, Ars Electronica
2020 – NEMOSKVA, Manege,
St. Petersburg
2020 – Dream wave, Triumph gallery, Moscow
2020 – Nevsky express, Art4 museum, Moscow
2019 – Lost and found. North-7 Expedition, M HKA, Antwerp
2019 – Summer camp, Anna Nova gallery, St. Petersburg
2019 – Cosmorama XVlll, Museum of Moscow, Moscow
2019 – Horizon 19, New Museum, St. Petersburg
2019 – Synesthesia. Pavlov party, Kunsthalle nummer sieben,
St. Petersburg
2018 – School of active drawing and performative posing, Ovcharenko, Moscow
2018 – White, White Day, DK Gromov, St. Petersburg
2017 – To the Lighthouse, Museum
of Contemporary Art PERMM, Perm
2017 – Inconvenient questions, Tartu Art Museum, Tartu
2017 – Flying bar “Knife-8”, Barents Spektakel, Kirkenes
2016 – Form of the invisible, Winzavod center for contemporary art, Moscow
2016 – Brutal Crossroads, Temporary Storage, New York
2016 – Flower buds, Liljevachs Hubb, Stockholm
2015 – Kaliningrad Biennial of Graphic Art, Kaliningrad
2015 – The form of the invisible, Museum of Contemporary Art PERMM, Perm
2015 – The Artist is absent, exhibition-performance, Research base “North-7”,
St. Petersburg
2014 – Flowers and Fruits, Research base “North-7”, St. Petersburg
2014 – Seven samurai, Festival of contemporary art “Art Prospect”, St. Petersburg
2014 – Towers, Research base “North-7”, Parallel program
of Manifesta 10, St. Petersburg
2014 – Perceiving Art, Art exhibition for visually impaired children, Library for the Blind and Visually Impaired, St. Petersburg
2012 – OCULUS two, The Third Moscow International Biennale
for Young Art, Moscow
Heavenly wasteland
2021,Triumph gallery

Gallery "Triumph" presents a personal exhibition of Anna Andrzhievskaya "Heavenly Wasteland", which includes paintings and graphic works, as well as installations. In her works, the artist opens the door

to an amazing land of revived flowers and plants, bizarre animals and secret signs. As if on a secret map, the viewer moves along the surface of her canvases, becoming involved in strange plots reminiscent

of ritual dances, carnival scenes, comic mysteries.

The symbols in the works of Anna Andrzhievskaya - each individually and in semantic connection

with each other - are more complexly constructed puzzles than a set of random images snatched

from the subconscious. The artist weaves the epic of her works from various signs and symbols,

which she borrows from Tarot cards, the books "Beauty of Forms in Nature" by Ernst Haeckel, "Cabinet

of Natural Rarities" by Albert Seba, "Symbols and Emblems" and others. Some come from

the surrounding reality, a modern artist - this is how images of a barbecue for picnics, concrete high-rise buildings, a signal tape, a red piano, a telephone set or an ice-cream bowl appear in her works.

Often, from the surface of her canvases, characters in the spirit of the works of the Dutch painter Hieronymus Bosch look at us - flowers and plants, fruits and vegetables that have become anthropomorphic. All of them seemed to have become alive and acquired intelligence. With a simple, slightly naive method, the artist endows them with faces that look more like emoticons, transmitting different emotions to the viewer.

In the new project "Heavenly Wasteland" Anna Andrzhievskaya addresses the topic of meeting oneself face to face, without a shadow of self-deception and false illusions. Each of the characters in her work

is in a state of catharsis caused by a crisis of self-perception. On the one hand, this is a painful process, because reality can turn out to be and, most likely, will turn out to be far from the usual picture of identity that our consciousness drew for us. On the other hand, it is a kind of lifeline, because, according

to the artist herself, “it’s like waking up from a dream behind the wheel of a car before dropping

off the side of the road or jumping out into the oncoming lane”. (Polina Mogilina)

Link to Catalog
Mid summer
2020, Kz gallery
How beautiful this world of herbs and flowers is, how treacherous and proud the trees are. The animals and the decayed corpses of our brothers feed the brown body. The roots are the blood vessels,
and the dried herbs are the nails and hair. The leaf veins are like subtle veins on the delicate neck. Flowers shamelessly bared buds for mutual caresses. Little animals lurked in the fox's hole, the entrances to the ventricles here and there. Time is no longer counted as a long human life, an hour or a minute.
The viscous air is motionless. Mushroom holders are a true standard of family ties, brothers and sisters huddle sideways.

Link to project
Fencing system
2020, State Museum of Contemporary Art PERMM
The Fencing System exhibition is a complex statement about the boundaries of freedom, and also works with a specific object of symbolic memory - the former camp "Perm-36" (a correctional labor colony of strict and special regimes, which has been serving for a long time to keep political prisoners). The artist pursues tasks in two directions: to present the specifics of this place, to tell about the preserved material culture of Perm-36, and also to tell about the camp as a universal model of the “system of restriction of freedom”. The artist explores how the mechanisms of power create a whole multiplicity, numerological infinity of fencing systems, and at the same time their "empty" culture.

The watchful eye of power becomes institutionalized. It effectively cuts into the social space, creating more and more isolation systems (camp facilities are forms, individual castings, but also controls). Studying various camp sites, the artist reveals that the structural one-dimensionality of bodies, people and things, their corresponding serial numbers, was one of the most important principles of the fencing system.

Link to project
Last fight
2020, Azot gallery
Inventory – innermost part of the game, hidden from outsiders. Creatures break up into objects.
They leave not only fangs, tongues, mandibles, tails but also relics that have properties – two per cent
to speed of movement or three to evasion. So the inventory becomes a warehouse of memories, where everything is mixed up. The ripe banana and Increases The insight Left Glove of Dawn, the orange flower and The Fizzy Mace of Fading Stars, cold glass and snakes, pretending Botforts of Scarlet Down.
The flowers grow in meadows, fruit on trees, treasures finds in dungeons. But sometimes objects
are not hidden in the darkness of caves, it is on the surface. Valley, where black fire, black lake, black sunflower seeds are fenced with preemptive ribbon. Shimmering in the distance Knuckles Silver Flame equal to Chicken’s Foot of Rising Fortune – the reason to cross the area, put in the inventory desired artifacts. Rewarding is often risky. Lost in the clouds Pink Marshmallow Grotto, abode of the Wild Lion, Lord of Greed which guard the relics and scaffolds of those who tried to find them. Creatures and objects
– part of the ecosystems of worlds. Continuous conversion of one to another. Creatures ' claws leave marks on their armor, and claws sold to a junk dealer allow them to be repaired. A long journey cannot
be continuous, fatigue is worse than snake venom. And sometimes, peace can be found not only
in the tavern. So, in one of the worlds it can be found not in the belly of a whale, but in its mouth.
The summer scene of the whale's mouth, where the red velvet of the larynx became the backdrop
for the performance. While the action continues, the characters are calm, because laughter is a rare guest in these lands. But then everyone leaves the stage. Only giant snake who swallowed kentosaurus is static and lurking behind the sea giant. Some worlds are immutable and unchangeable, while others are subject
to distortion. So from the rift of reality, stalks sprout, flames burst out, cotton wool lazily oozes. Cataloging images is not a way to organize them or add them to the logo codifier. The folios that contain them have long since left the quiet vaults of the bookshelves. Symbols of one world can be found in another.
And then the eye for a moment begins to perceive what is happening an old game, where among
the many signs you need to find pairs. This is how contemplation becomes action. But when the corneal net catches everything, the calmed surface turns back to inventory. When you unravel the tangle
of snakes, it becomes clear that the snake is a guiding thread that will not be cut by a fan of knives.
A map of worlds, a Chain of worlds, is a snake that bites its tail. Infinity. The adventure will never end.
How to keep a secret
2018, Name gallery
This is a reflection on the meanings and their possibilities. Variations, metamorphoses and alchemical transformations are nothing but the author’s desire for self-reflection, resistance to everything: material, school, any ideologies. Such a denial leads to a return to a painstaking, time-consuming, handicraft beginning. Here, a thoroughly built fantasy world of the artist, deprived of the right to make mistakes, reveals its illusory nature. Stylistic recognition, repeatability of motifs is adjacent to defenseless
and childish language of utterance, which is especially inconsistent in which additional meanings.
Unknown creatures, either cherubs and thrones, and all the heavenly forces, or outlandish animals,
or winged clouds are special messages. These iconic characters are often transmitted in a language
that cannot be decrypted. The code is hidden, hidden in the author’s personal archive, it is his main defense, invisible armor.

Link to publication
I'm always interested in exciting new prospects, or just talking art. Feel free to get in touch!
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