53.jpg 19.01.2021 - 19.03.2021

Liza Bobkova I see a catastrophe all the time I sleep

This is a joint exhibition with MYTH gallery (St. Petersburg). This project of Liza Bobkova fully envelops gallery space and turns it into total sculptural installation of 16 spheres and a ton of quartz sand dyed in acid pink Magenta.

A small dictionary.

- Color

Pink. It has evolved from a delicate shade of a cute baby dress to the most acid color of all. It is a color of destruction, shame, violence. A form is set on the pink sand.

- Form

A ball is the only figure in constant motion, its self-renewal occurs without any external force. It is the ideal of cyclicality. The recurrence of the silhouette makes the form filled with emptiness.

- Emptiness

An artist creates something from nothing every time.

A human being needs very little to live – a line that draws a circle. The circles gather in balls, the balls form space.

- Catastrophe 

It is a sign of destruction, followed by a new cycle of all that exists. The end – inevitably – marks the beginning. Catastrophe is a form of refraction of the old ways. By rejecting the old, a person creates a new space.


“This installation is a hard day-to-day work: bending stainless steel on a rolling mill, welding rings, hand coloring sand – tons of quartz sand – with acid dyes. Week after week. The duration of the process for me is an integral part of the result. But no matter how difficult the job is, no one shall see what it cost. It shall seem that it is easy and natural, like inhale and exhale. As if it never happened.

Sure, there is no audacity, no political themes, no deliberate expression – everything is obvious and eye-catching. But I do not want to pursue a theme just to check the box, something like “Well done, good work on developing the idea”. Oh no, not this, please. I'm working with what I have in my hands right now.

When the artist’s mood is crappy but bearable, you can work with it. Play with it. There is a sea of examples. But when everything is unbearable, you start to enjoy the pain, the excessively hard work and go too far. You want to erase it from your memory but you cannot, and neither can you transfer it to work. There is no one to share this burden with, and, drowning in obsession, you try to build an ideal shiny well-organized world, with no flaws, no ugliness, no drama. In order to cope with it.

This is what Boris Sveshnikov did in his graphics, trying to concentrate consciousness on a small dot, multiplying it into hundreds more, so that memory would release you, would not drive you crazy, so that it would not reflect in flowing tap water, in a briefcase of a man passing by, in familiar intonations of unfamiliar voices, in the slam of the door, in the turn of the key in the lock.

I focus on the structure.

The feeling that you have changed locks your consciousness into a perfectly tailored cage (like in that song by Peter Gabriel, My body is a cage), and you reflect on your stuck everyday reality. This is a catastrophe that crumbles into memories with any flashback.

A constant unresolved premonition born from a state of mental imbalance, the depth of which causes the only desire – to build a perfect visual picture.

I do not want to be somewhere out there in an augmented reality that went not as perfect as we wanted.

But here.”

- Liza Bobkova

Liza Bobkova (b. 1987) lives and works in St.Petersburg. She graduated from Stieglitz State Academy of Art and Design (St.
Petersburg). Liza works with installations, metall objects and graphic. Selected solo shows are: "Eagerly loved dear friend" in Richter hotel (Moscow, 2020), "Buffer zone" in MYTH Gallery (St. Petersburg, 2019), "Once we became the time" in Pink Pong gallery (Moscow, 2018), "When all rastamans let their cats go" in Cité Internationale des Arts (Paris, 2016). Winner of the "Digital Dreams" competition by Cultural Creative Agency Qatar-Russia and MMOMA (2020), participant of Cité Internationale des Arts residency. Works held in private collections in Russia, France, UAE, the United States, Hong Kong.

MYTH gallery - is a new contemporary art gallery in St.Petersburg.
The key direction of our practice is the acquaintance of professional and wide audience with works of young Russian

Primarily the gallery aims to support the development of young Russian art: artists who are at the beginning of their careers. The gallery carries out both personal and group curatorial projects in order to support young curators.


11.12.2018 - 11.02.2019

Krista Mölder | Notes on being present

Continuing the international cultural exchange program of our gallery, started two years ago with collaborative projects with Galerie Odile Ouizeman (Paris), Otto Zoo and FL gallery (Milano), narrative projects (London), we're glad to present a new collaboration with Estonian gallery Temnikova & Kasela (Tallinn), marking personal friendship as well as the century of the Republic of Estonia.

Krista Mölder's works focus on universalized space and viewer experience or, to be more specific, on the transference of a personal (and constructed) viewer experience through which the viewer has a chance to identify with the artist’s view and frame of mind. Mölder often works site-specifically, taking the context of a space as one of themes of her allegoric oeuvre.

Krista Mölder’s solo exhibition “Notes on Being Present” at Galerie Iragui is put together based on her photo series of recent years in an active dialogue with the gallery space. Works line up in a new ensemble, a kind of whole, acquiring new meanings and premises: at the level of the image, combinations of images and their dynamic interaction with the exhibition hall. Krista Mölder’s photos are always connected to the topic of presence — being-in-a-given-place, focusing on identifying its potential as well as its structure. The structure here represents both a kind of formal orderliness and the poetic, phenomenological and philosophical essence of space, expressed through the artist’s multi-layered visual language.
Krista Mölder (b. 1972) lives and works in Tallinn (Estonia). She studied photography at the University of Westminster (London), in 2006 she received her MA from the photography department of Estonian Academy of Arts (Tallinn). Mölder has been participating in exhibitions since the mid-2000s, exhibiting her work at solo and group exhibitions in Estonia, Finland, France, UK, Japan and USA.

09.11.2018 - 05.12.2018

Arkady Nasonov | Minus One

Grey light or journey with eyes closed
Travel, hypochondriac, in order to be cured of your hypochondria!
Travel, misanthrope, in order to love humanity a little!

“Letters of a Russian Traveler” by N. Karamzin

These days last year I came back from an Arctic trip. Speaking with pathos (in the original sense of the word intended by the ancient Greeks), and perhaps that is the way to make announcements about these kind of things – this journey divided my life into “before” and “after”. I cannot say that this was the first and only experience that divided my life but it definitely was one of those. And it is not even about the impressions left in the memory and in the figures but rather about the special state which I had not experienced before. Besides, I had never sailed for so long and so far from the shore. Once I sailed a yacht from the center of Germany to the north of Holland. But the voyage lasted less than three days, we moored to get some sleep, and, in addition, I was a steersman so I had responsibilities and no time to reflect... And here... A year ago, on board the icebreaker Somov, I wrote the following:  

“A monotonous horizon and grey northern fluffy light immerses me, like a person suffering from a meteoropathy, in an almost fetal state. It is similar to the same light that is called Dharmakãya in Tibetan Buddhism – the light that concentrates attention in the corridor of the afterlife world in order not to be distracted by bright temptations of illusions. The light of Luminous Emptiness. This grey light and the infinite ocean space behind the stern help me to focus and finish my script. The closer we get to the pole, the more I turn to my inner self. Like the icebreaker entering the eternal ice zone, I enter the memory zone that I have never investigated before. I died on the shore, and now my afterlife begins... We are moving towards the zero point, to absolute whiteness, purity and emptiness. Two poles. If we pretend that these are two poles of human consciousness, then for me the global Antarctica becomes a rational left hemisphere and the Russian Arctic is the irrational right one. And as I approach this pole, I begin to experience states that I have not known before... The grey haze of the sky wraps me up like a fluffy plaid blanked. I feel like an astronaut in an insulating bath. With a minimum of external stimuli, the brain produces more and more ideas.”

I could not identify this state in any way and correlate it with any past psychedelic experiences. There were comfort zones, absolute disorder, euphoria and despondency altogether. The only thing that was absent in this new state was me. All this time I was lying in my cabin, half asleep and writing down multi-episode dreams. I sent my own duplicate to attend the lunches in the main cabin or to disembark on another Arctic island, or even to draw at the desk. At collective dinners the consciousness of this duplicate could not support lively and healthy discussion of experienced polar explorers, let alone track the thread and the meaning of their conversation. I felt like a thermophilic spy in the midst of obsessive frost men. Oh! How many times have I regretted going on this trip! I regretted it every day but then obviously a fantastic sunset reflected in the northern ice, disembarkation on another island to see walruses and polar bears, double circular rainbows or northern lights got me distracted from self-pity.

One day we disembarked on Bennett Island where a memorial cross was installed in honour of Kolchak who visited the island in 1903 in search of traces of the expedition of De Toll who, in his turn, visited this place in order to discover the phantom island – Sannikov Land. We reached the island by helicopter. A strong wind was knocking down. While the spirits of De Long's expedition were hovering over my companions, the other spirits were hovering and dancing over me... The wind blew prickly snow into my jacket's hood, and suddenly I (or rather, what I sent to the island instead of myself) distinctly heard under the hood a Purcell's melody. And it was not remembering a song or humming it but hearing it! Then something distracted me. The cold and the wind... And somehow I forgot about it. It should be noted that the baroque music is associated deep in my subconscious (and not just mine – those who know, they will understand) with a feeling of cold, freezing or anesthesia. It is still a mystery how this passionate (according to European tradition) music is connected with insensitivity... The poles are closing. Icy passion…

Later, I remembered the incident on the island, and it struck me! What melody do you think I heard there? It was the Cold Song or the Aria of the Cold Genius from “King Arthur” (!!!), which was marvelously performed by the great Klaus Nomi... On the island I heard only an instrumental version without a vocal, the so-called backing track. It was me who served as a backing track at that time…

I began to analyze my state, especially the mechanism of “humming the Cold Song” on the most northern Arctic island, and tried to establish a diagnosis. The closest thing to this state happened to be the syndrome of the psychic automatism. I got rid immediately of this syndrome, called the Kandinsky-Clérambault syndrome, once I made a step from the icebreaker to the mainland. There, however, a new syndrome was waiting for me but I will tell you about it some other time...

Arkady Nasonov

01.09.2018 - 03.11.2018

Irina Petrakova | Come and Hide Here

The solo exhibition of Irina Petrakova in Galerie Iragui continues the long-standing
collaboration of our gallery with the artist. Sculptures and embroideries of Petrakova were
exhibited at the group show of 2014 “Sixth sense you have, or what?” curated by Konstantin
Bokhorov. In 2016, Irina’s multimedia project Apotrebin was part of the pharmakon
exhibition (curator Boris Klyushnikov).
We are very happy to open a new exhibition season with Irinas solo show which is entirely
made up of graphics. The project has been curated by Anatoly Osmolovsky.

“The first work of Irina Petrakova, which I saw and which immediately impressed me, was a
drawn chair. It was a simple chair, but it was unusually drawn – it could hardly be seen
through the solid “hatching wall”. It was the result of the thickening of the hatching as if it
came to fruition out of it. At the same time this work was very mysterious, it wounded the
perception and frightened with some kind of hidden unobvious threat. The chair, perceived in
the artistic context as a sign of the reflexive art of the idea-conceptualism, acquired some
distinct intonations of a horror movie, terror and deep depression.
“The hatching wall” became Irina’s main artistic method. But you have to understand that
Irina's graphics results from withdrawal rather than from addition which means that “the
hatching wall” kind of has been existing originally, and the artist withdraws from this “wall’
its parts and makes certain objects visible. The principle is very sculptural. It is well-known
that the art of sculpture is the art of withdrawal; this has been the law when working with
stone, but when working with clay, the artist also mostly uses the withdrawal of its extra
The art of graphics, of course, is built in the opposite way. When we want to draw something,
we add. Line, hatch, blot...
But in Petrakova’s works, the “darkness” exists from the beginning, and in order to draw
something, one has to get rid of a part of this darkness.
The exhibition makes this method visible. This is not a collection of some random series but
a whole statement. We see how a figurative image is born from the wall of hatching, from the

The title “Come and hide here” is intriguing and somewhat mocking – being offered to hide
in the darkness, you are not even aware of who you are hiding with in this darkness”.

Anatoly Osmolovsky 


24.05.2018 - 15.07.2018

Nikita Alexeev | Welcome to Paradise, under the Golden Skies

The world in which we reside is like a junction station from which the rails and sleepers point in extremely varied directions. To Machu Picchu, and to Chattanooga, and to the First, Second and Third Rome, and to the unrecognized Transdniester Republic, and to Paris-New-York-Sidney-Tokyo-Milan, and to simply Delhi, and to New Delhi, and to Nothing, Arizona, and to Mecca, and to the Moon. Or even further. 

We sit at the station, chewing tobacco and gum, cracking seeds and spitting out the husks all around us. From time to time, a husky voice announces: “The train to Monaco leaves at 28.96 with the binario No. 007. The train to Cambre-La Madeleine is delayed. It will leave from Platform One at 03.03 on the 17th of Marvember of Year Zero of the Common Era. Please prepare your tickets and identity documentation, and inform the security service of any luggage that does not belong to you.”

Today, I don’t want to go to Chattanooga, I have no reason to go to Monaco, and even Nothing, Arizona doesn’t attract me. Although it would be tempting, of course, to become the fourth inhabitant of Nothing. And I don’t need Madeleine cakes until the day after tomorrow, when the tea bags run out.

No, I want to go to heaven. To where the birds in angelic accord chirp, caw, wail and sing. Where the heavens reign over the world, penetrated by a golden light of good favor. I won’t accept anything less. But here the husky voice announces: “Passenger Alexeev, your ticket to heaven has been annulled, as you have a poor credit history. Collect your bags from the left luggage room, you are expected in Office No. Zero.”

I hope that everything will turn out better for you. Think in advance about how not to end up in Office No. Zero at the junction station waiting for your transport.

Nikita Alexeev

16.03.2018 - 16.05.2018

Alexander Vinogradov | Città Ideale

Galerie Iragui presents, “Città Ideale”, the first solo exhibition of celebrated Russian painter Alexander Vinogradov at the gallery. The exhibition takes cue from the eponymous unattributed Renaissance paintings, as a blueprint for the shift from the medieval town to the modern city: geometric patterns, abstract criteria and scientific approaches, often riddled with utopian tension. For Vinogradov, born and raised in the Moscow of the second half of the twentieth century, this ideal city is the new Moscow: A city that was destroyed and re-built for the monumental architecture of the future, and the Great Utopia.


At the heart of the exhibition, major unfinished and unrealized architectural projects from the Soviet period, are showcased by the artist in a new series of drawings, depicting present day's Moscow with its capitalist shock-culture, but in an alternative utopian future. The “Città Ideale” project is complemented with two painterly gestures: The abstraction of images in the course of a journey in between different cities in Russia, and some works from the earlier series, depicting modern life in Italy, in high socialist realist style, almost passing a satirical examination on late capitalist culture.


After several decades living and working in Moscow as a part of the Dubossarsky Vinogradov duo, the artist relocated to Italy, and painting solo, where distance from the tumultuous everyday life of the city, has become an inward gaze: The reconstruction of a future ideal Moscow, is also deconstruction. All memory has already become partly fiction, situated in the indeterminate space between utopia and propaganda. Vinogradov's roots in figuration, also reveal paradox: Running against the conceptualism of the 1990s, is it possible to depict reality at all without its boundaries collapsing?


At moments, the reconstruction of the city is not only historical-physical but also emotional-psychic, how could the destiny of this city be changed or averted? In 1927, Walter Benjamin traveled to revolutionary Moscow, and jotted down a diary of his impressions of urban life under the conditions of modernity -monumental architecture beyond human scale, a 19th century dream from which 'we must awake'. A dialogue on Benjamin's text leads to unexpected archaeological findings on the  field of the future, understanding the tension of utopia as a longing for a remote, infinite, ever-recurring past.    


Arie Amaya-Akkermans 


11.01.2018 - 10.03.2018

Wild Flowers (wildness is contextual!) – Volume II (grow flowers!)

Galerie Iragui is pleased to present Wild Flowers (wildness is contextual!) - volume II (Grow Flowers!) curated by Carlos Noronha Feio. The exhibition brings together work by thirteen international artists from different generations who work in a number of different
mediums. Each work chosen by Noronha Feio for the show examines the motif of the

This exhibition has its origins in Noronha Feio's interest in flora as a representation of
power. On the surface of the show, the naïve and sentimental aesthetic value of the
flower presents itself as a deceptive cover over the deeper conceptual research that the
works truly look into. For example, Marte Eknæs’ video Rainbow Rose, 2012, shows an alternative use for 3D modeling software that was until recently primarily used by the military. Neil Haas’ blind sculptural painting presents us with flowers as counterbalance to his studies of young male streetwise forms of masculinity. Harm van den Dorpel’s work is not touched by his hand, it is rather produced as a consequence of software, algorithms, van den Dorpel devises. Albuquerque Mendes presents what is perhaps the most classical work in the exhibition, a canvas of sunflowers from a series titled The Silly Paintings, where Mendes alludes to the work of other artists, through subtle variations in the mode of painting the elements of the composition in each work of the series. The title of Volume II of this exhibition is in itself an allusion to the beautifully crafted ambiguity of Poem about Flowers by Soviet nonconformist Genrikh Sapgir (1928-1999).

At galerie Iragui, Noronha Feio’s Wild Flowers present several artists that require no local introduction: Olga Chernysheva, Nikita Alexeev, Georgy Litichevsky, and the younger Ilya Dolgov are house hold names that in this exhibition are contrasted with artists such as Lulou Margarine, Daniel van Straalen and Dan Mitchell.

This is an exhibition that has flowers as its core, as its leitmotif, a recurring visual that plays with beauty to present the artists different identities, subjectivities and interests. 

Artist list

Nikita Alexeev (b. 1953 lives and works in Moscow, Russia)
Olga Chernysheva (b.1962 lives and works in Moscow, Russia)
Ilya Dolgov (b. 1984 lives and works in Kronshtadt, Russia)
Harm van den Dorpel (b. 1981 lives and works in Berlin)
Marte Eknæs (b. 1978 lives and works in Norway)
João Ferro Martins (b.1979 lives and works in Lisbon, PT)
Neil Haas (b. 1971 lives and works London, UK)
Georgy Litichevsky (b. 1956 lives and works in Moscow, Russia and Berlin, Germany)
Lulou Margarine (b. 1984 lives and works in New York, USA)
Albuquerque Mendes (b.1953 lives and works in Porto, PT)
Dan Mitchell (b.1966 lives and works in London, UK)
Carlos Noronha Feio (b. 1981 lives and works in London, UK and Lisbon, PT)
Daniel van Straalen (b. 1987 lives and works in The Hague, Netherlands)