IVAN KORSHUNOV
Gallery II

...paintings in the traditional three-layer technique, complemented by eight graffiti-inspired art objects and the live creation of an installation piece titled "Wall" in front of the audience.

The project is divided into two categories: paintings and objects. In both, the artist portrays key elements of the Passion of Christ in the form of graffiti on the wall. These images, outlined in black and sometimes highlighted with whitewash, offer reinterpretations of classical works, evoking intense emotional responses. The paintings feature two planes: the backdrop of graffiti showcases metropolitan scenes, while an unbridgeable divide exists between these two narrative layers within the same canvas. For example, a young man engrossed in his virtual reality on a phone ("Application") remains oblivious to the depiction on the wall ("The Position into the coffin") or the bloodied streak across his forehead, a stark reminder of life's reality. Similarly, a young girl engrossed in her electronic toy ("Minecraft") fails to notice the powerful image of the Removal fr om the Cross behind her. Street youth also feature prominently — one rests in a hoodie, head bowed, leaning against the base of the crucifixion ("The Last Hero"), while another, not entirely disconnected from the world, is captivated by something on the wall, exclaiming "Up" as though it were a cluster of balloons ascending rather than the ascension of Christ. The juxtaposition of a girl's long, bare legs leaning against the wall and the image of Christ's flagellation ("Bitch") further underscores the stark contrast.

Who are these characters brought to life by Ivan Korshunov? 'Or are you mice? / Or miscarriages? / that you can't see the sun... / Or are you stuck in the ground / like snot?' (Heinrich Sapgir, Psalms). Korshunov's protagonists are reflections of his contemporaries, sharing a common thread of profound isolation in the bustling modern metropolis. The artist attributes this isolation to a contemporary abandonment of God, suggesting that individuals have forsaken divine grace, leading to God's withdrawal. These are not the words of a Job, momentarily abandoned by God and yearning for divine favor, but rather those of an apathetic, desolate individual who has consciously turned away from grace.

"Lord / bend your heaven / and come down / even for half an hour" (Heinrich Sapgir, Psalms). Ivan Korshunov, in his interpretation, appears to embody the modern seeker of God, extending the traditions and philosophies of Russian religious thought.

"For many people, the Divine Image has turned into just a drawing on the wall. Despite many life circumstances, God is constantly present in every person's life, and only the free human will help us to notice or not to notice it," reflects Ivan Korshunov. "There are leaves / birds are / the sky is / and truly there is / the Judge of all living things," the poet writes (Psalms, G.S.).

The title of the project holds a dual significance. It's a call to action, an embodiment of evangelical love for one's neighbor, and a somber farewell. Simultaneously, it's a reflection on betrayal — the kiss of a traitor, a Judas kiss.

Irina Filatova, Curator, Finart Gallery.

...of the Tambov region as a case study. Through vivid portraits of the last eight villagers, the artist aims to capture a moment in time when the artist's "small homeland" still officially exists on the maps as inhabited. The processes that began around a century ago, contributing to the village's decline, have become increasingly prevalent in recent years. As one travels across Russia using navigation maps, it's common to encounter villages labeled as "undead," indicating places wh ere no inhabitants remain. Only slanting crosses and overgrown graves stand as quiet monuments to the past.

In its prime, Olshanka boasted around 30 houses and a population nearing two hundred. Today, only eight residents remain, including a child and a young man who have plans to move to the city soon. The remaining elderly residents, who have toiled tirelessly throughout their lives, are now compelled to continue working on their land to sustain themselves and their families. The sole hospital within a twenty-kilometer radius shuttered its doors eleven years ago. The closest school is situated in a neighboring village, three kilometers away from Olshanka. Transportation links between the villages have been severed, forcing children to walk to school instead of being transported by bus, as was previously the case.

As villagers relocate to the city, they abandon their homes, which slowly deteriorate, overtaken by weeds, no longer of use to either the owners or their heirs. The village's population is rapidly dwindling, while the number of graves steadily rises. "Live and Dead" serves as a tribute to the memory of individuals who have become deeply rooted in their land, resiliently enduring all the challenges of their arduous lives. It is an endeavor to preserve the memory of the inhabitants of the artist's native village before it simply becomes another point on the map labeled "undead."

Daria Kamyshnikova, Curator of the Exhibition at MMOMA.