In his new solo exhibition, No Excess, artist Ivan Belov explores the architectural traditions of Soviet modernism. His minimalist sculptures often evoke parallels with late Soviet-era architecture and monuments, while his smaller, more intimate objects resemble sketches or models for potential future monuments. Belov’s artistic influences are rooted in examples of 1930s concrete art and post-war minimalism. Yet, his work maintains a strong visual and material connection to the modernist practices of Soviet architects.
The exhibition’s title references the 1955 decree by the Central Committee of the CPSU and the Council of Ministers of the USSR, “On the Elimination of Excesses in Design and Construction,” which shaped Soviet architectural trends for decades by prioritizing functionalism and mass replication. As a practicing engineer, Belov approaches his sculptures with the precision of mathematical calculations and a deep understanding of materials, assuming the role of a Soviet architect from the 1960s-1970s to create work that challenges neoclassical categories of harmony and beauty.
“Today, I’m interested in reflecting on the universality of artistic language and drawing parallels with the experiences of earlier generations. I’m particularly drawn to Soviet modernism for its engineering solutions, which often result in large-scale, monumental forms,” the artist explains. “Modernist architecture stands in stark contrast to its surroundings, and I believe this contrast is what makes it provocative. I aim for a similar effect in my sculptures by combining metal strips and sections into monolithic structures and geometric patterns.”

Text by Alisa Savitskaya
Chief Curator of the “Tikhaya” Studio,
Guest Curator at the Museum of Moscow

Translation from Russian by Daria Sedova