ANDREY BOGUSH

Andrey Bogush, born in 1987 in Saint Petersburg, Russia, lives in Helsinki, Finland. He received his Bachelor’s Degree in Psychology from Saint Petersburg State University (2011), and currently studies at Time and Space Arts program at the Finnish Academy of Fine Arts. Bogush’s artistic practice is diverse and include photography prints on giant vinyl curtains and carpets, digital weaving as well as videos and performances. His main subject is image-data production-rediststribution as sublime matter and as an abject.

His recent solo shows include When everything is over so we can discuss at The Finnish Museum of Photography, Helsinki (2016) and Proposals at Osnova gallery, Moscow (2015). His works have been shown at SIC gallery, Helsinki (2015), Bid Project gallery, Milan (2015), TATE, London (2014), Christophe Guye Galerie, Zurich (2015), Unseen Photo Fair, Amsterdam (2014), Festival International de Photographie d’Hyères, France (2011), Chelsea Art Museum, New-York (2011), and internationally.

Andrey Bogush has contributed to Midsummer’s Night opera production, Helsinki (2013) and performance at Einar Jonsson Museum, Reykjavik (2015). In 2015, Bogush was commissioned to produce a series of works for Prada, Italy. His publications include the artist’s book Yellow published by Conveyor Editions as well as features in The Plantation Journal, Objektiv Magazine, Foam Magazine and British Journal of Photography. Recently, his works were included in Photography is Magic by Charlotte Cotton published by Aperture (2015), and Unlocked by Atopos, Greece (2016).

In Andrey Bogush’s photographic installations, the materiality of the photographs is part of both the digital and the physical space. Bogush records his own life by taking fragmentary diary snapshots. He processes the photographs using photo-editing software – adding elements and unnatural colours, and blurring decisive moments – which serves to disrupt the representational nature of the photographs. The photographs transform into images, with the original subject, time or geographic location becoming almost unidentifiable. The image produced by the camera and the image produced by the artist with the photo-editing software become intertwined.

Bogush’s work is sometimes called post-internet art, as Bogush uses Internet tools and digital methods to recreate things and surfaces that exist in the real world. The works give physical form to digital structures. Indeed, the material on which the images are printed and the physical space in which the viewer encounters them become an essential part of the art.

from press-release exhibition at The Finnish Museum of Photography, helsinkiWH

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Data to computer scientists is as concrete as atoms to nuclear physicists or DNA to biologists. Although generally considered in abstract terms, these elements function as the foundational building blocks of our perceptible world. Take digital images for example: What we see on screen are not apparitions but tangible visual information. From this standpoint, artist Andrey Bogush dissects digital photography as material that can be calculated, coded, and manipulated. For his exhibition “When Everything Is Over So We Can Discuss,” at Finnish Museum of Photography, Bogush renders quotidian photographs—shot while working at home or in nature—with digital patterns and hazy swaths or scribbles of color. Pulling these images off the screen and into sculptural space, Bogush printed them on industrial vinyl and has hung them as rippled curtains lining the walls or as flat carpets on the floor. Using similar tropes as artists such as Alice Channer or Lucas Blalock, Bogush features warped, shifted, deleted, and replicated details captured in metamorphoses. For example, elongated appendages are overlain with nebulous blobs of purple and diffused gray in Proposal for Hand, Content Aware Fill and Violet, 2016, while visually fractured and partially replicated fingers and textiles are seen in Proposal for Hand, Phone and Duplicated Curtain, 2015.

Representing digital tools of production, smart phones and laptops are combined with plant matter that makes appearances throughout. At times, images are reconfigured and juxtaposed as floating screens cut and pasted at angles, then flattened onto gradient layers, collapsing the visual depth of the foreground and background. Life experienced daily on-screen bears equal weight to that captured in physical space, and as distinctions begin to blur, digital life for artists like Bogush has long become second nature.

Arielle Bierwriter & curator

Foam Talent show at Atelier Néerlandais, Paris, France

Falling Short show at LvL3 gallery Chicago, IL and at CALIBRATION SHIFT show at Third Party Gallery Cincinnati, OH

Proposal for kunsthalle wall and two images on vinyl (curtain) installation for Kunsthalle, Helsinki

Fontaine de Andrey Bogush show vTT, Helsinki, Finland

Peripheral vision show at Mejan gallery, Stockholm

Basic Photography show at SIC gallery, Helsinki

I’ll be back in a moment show with Andrey Bogush and Rashid Uri curated by Marialuisa Pastò Bid Project gallery, Milan

Proposals show at Osnova Gallery, Moscow

SPOTLIGHT Foam Talent

Andrey Bogush’s work interacts with contemporary visual culture a lot. He incorporates clever nods to fashion and advertising aesthetics in his work and sometimes works for brands. His presentations are striking; one exhibition featured a monumental shower curtain which showed Adidas socks surrounded by bright colours, and at Foam Talent he showed large, colourful prints with artificial forms.

Photoshop is one of the artist’s main tools, with he uses to make layered works consisting of shapes, lines and patterns. On the one hand this looks very ‘digital,’ on the other hand we recognize an intuitive way of working and the (indirect) gesture of a sensitive mind and crafty hand. In essence Bogush explores the possibilities of space and time on the picture plane like many artists did before, but in his own very unique way, characteristic of our times. He really pushes the boundaries of the surface.

‘I like activating the borders between photographic and non-photographic, playing with 3D-renderings of objects – are they more photographic or less photographic?’ Surfaces and interfaces interest him a lot: ‘I’m curving my images and screens now and that way my files become distorted. I approach images like pixels, dots, layers: seemingly flat sculptures. But images are also sets of data. Can information be flat? They are tagged, reblogged, liked; paper is folded and getting ripped off, screens get broken, sticky wallpapers manipulate spaces.’

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Although he works within the digital realm, Bogush uses his daily activities as his studio. Ideally his practice is intertwined with his everyday routines, organic moments of laziness, inspiration. He takes his images during long walks or simply at home. He collects all his images in digital files, some of them he directly shares on Tumblr. ‘But when it comes to exhibitions, the sites become very important. The question is how to present an image that I once shared on my website or Tumblr into a physical space, beyond the interface.’

For the execution of his works, he prefers to use big manufacturers and corporate software. ‘There’s something subliminal to them. Now I work with manufactured materials like vinyls or digital weaving. The works becomes less personal and more like a chain in the capitalist production. Also, the materials are quite generic and flimsy, which contradicts the monumental scale of the works.’

Not even 30, Bogush has already travelled and moved a lot. This displacement influenced his work, which demonstrates a free spirit in touch with today’s constant flux of images and information, appropriating the aesthetics of the powers in play. ‘I’m curious what will happen in the future: we live in times of crisis, media influx and bio-technologies. During the Crimean events I thought Putin was going to blow this planet away. But maybe there’s still a chance for subjectivity and criticism. I’m so excited when I see new generations growing up in our post-media era, and at the same time I’m secretly glad I’m already a bit ‘old’ – I can enjoy symphony concerts and spending my time walking in the mountains or watching birds.’

Zippora elderswriter & curator

Proposal for two images, blue and screen (grim), 2016

Plant placement (forest, not-stretched), 2016

Proposal for hand, phone and duplicated curtain, 2015

Proposal for Text, 2014

Andrey Bogush, Transparent Sheet on Windowsill, 2010 from the series Rainbows.

Andrey Bogush, Sunset, forest and two pyramids, 2012 from the series Rainbows.

Proposal for duplicated head, purple and grey default cube (ver.2), 2015Archival inkjet print55 1/10 × 41 3/10 in140 × 105 cmedition 1/3 + 2AP

Proposal for duplicated head, purple and grey default cube, 2015Archival inkjet print55 1/10 × 41 3/10 in140 × 105 cmedition 1/3 + 2AP

Proposal for stone, wood and ground, 2014

Archival inkjet print55 1/10 × 41 3/10 in140 × 105 cmedition 1/3 + 2AP

Archival inkjet print55 1/10 × 41 3/10 in140 × 105 cmedition 1/3 + 2AP

Proposal for blue mat and photograph, 2014

towards capacity

towards non-filmic objects

slower time objects and objects that are left not to be objects

how eye-objects and proposed non-eye eye-objects

if so then towards non-eye subjects

on subliminal

subliminal range subliminal - disfunction or malfunction or the territory mapping the droppings out or the circles around flights of disjunctions photographic as a total conjunction surface so implementing (means: implementing some disjunctions or finding ways for such implementations it’s the line of the correction to the sublime that leads to the set of disjunctive elements so to step a step or half a step back is to make the ground attractive for those disjunctions to make an attracting surface to construct it raw but not raw as in the sense of not done but more like in the sense of overdone but not done enough

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Andrey Bogush, Proposal for hand, content aware and violet, 2016

from the series Proposals

on photograph

photograph as a triggering machine more like readymades or found object

but here they are images of those objects

being hold in the specific situation with a specific light condition

then those elements are to be re-distributed (along what lines?)

on canvas like placement

area of placement is limited and is related to a page spatial coordinates it is related to a past medium or a future medium: the canvas, tv, a book fold and screen image as of spatial objects hence more sculptural more like assemblage rather than collage more like an installation rather than a painting photograph as a triggering zone of desire hence desiring zone place for multitudes and constant different actions place of differentiating and quoting hence real hence surface with light with stable construction within a stable perspective of a lens to be re-imagined but re-imagined through the process so to be processed and to be constructed as the point in the process through all those multitudes of elements

Andrey Bogush, Proposal face, landscape and pink, 2013from the series Proposals

works as surplus of laziness

of boredom of procrastination of no-action of refuse and self-objection of self but self which is not self but pure self tramped in web of labour laboured self which is emptied of impulses and direct forces of non-body of non-efforts in catalepsy of no-movement of no-contemplation but in a circle of starvation in the circle of transparency and mutilation

on proposals

how something could be abstracted to some pattern but in favour of program not for the body nor for the eye but of the data

on proposals 2

images are taken in the field not in the studio it is an object which is in some sort of condition some sort of position that is to be taken from this position and turned into proposal

Andrey Bogush, 20140122_0620.jpg, 2014Archival inkjet print

156 × 104 cmEdition 1/3 + 2AP

on plane

how to embed detail?

empty / full

on proposals (field)

take a field necessity of a field abstract field or layer where everything is (detached)

on proposals (face)

categories proximity

face head

proximity

mimetics

Andrey Bogush, Proposal for garden, pink and pattern, 2014

from the series Proposals

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solo and two-person shows2016 When Everyhting Is Over So We Can Discuss, FINNISH MUSEUM OF PHOTOGRAPHY, Helsinki, Finland2016 I’ll be back in a moment, with Rashid Uri, curated by Marialuiza Pasto, BID PROJECT gallery, Milan, Italy2015 Proposals, curated by Aleksandr Blanar, OSNOvA GALLERY, Winzavod, Moscow, Russia2014 Fontaine de Andrey Bogush, vTT, Helsinki, Finland2013 New York, vTT, Helsinki, Finland2013 Goulyat’, Andrey Bogush and Megan Snowe, vAPAAN TAITEEN TILA, Helsinki, Finland2014 Structure, KUvATILA, Helsinki, Finland2013 Banana Pyramid, vTT, Helsinki, Finland2011 Melancholia. Mobile, ABSv Collective: Andrey Bogush and Saga vuorisalo, KANAvA gallery, Imatra, Finland2011 Melancholia. Johdanto, ABSv Collective: Andrey Bogush and Saga vuorisalo, SUPER gallery, Imatra, Finland2007 The Sacrifice/Invention, FOTODEPARTAMENT, LICCAM, Saint Petersburg, Russia

selecTed grouP shows / screenings / PerForMAnces 2016 Peripheral vision, Mejan gallery, Stockholm, Sweden2016 EMAP 2016, 9th Ewha international Media Art Presentation, Ewha Womans University Campus/Seodaemun District, Seoul Korea2016 Basic Photography, SIC gallery, Helsinki, Finland2016 Inescapable Reality: We Need To Talk, LIMBO, London2015 Nuoret, KUNSTHALLE HELSINKI, Helsinki, Finland2015 FLOW FESTIvAL, Helsinki, Finland2015 20/20vision, CHRISTOPHE GUYE GALERIE, Zurich, Switzerland2015 SPBH Tv, EXPOINCITTÀ LOUNGE / DIURNO ELITA, Milan, Italy2015 Offprint London: SPBHTV, TATE, London2015 Yodeleeiiooo, EINAR JONSSON MUSEUM, Reykjavik, Iceland2014 Foam Talent 2014, EAST WING GALLERY, Dubai, UAE2014 Foam Talent 2014, L’ATELIER NÉERLANDAIS, Paris, France2014 Foam Talent 2014, UNSEEN PHOTO FAIR, Amsterdam2014 valoKuvA, curated by Marko vuokola, KUvATILA, Helsinki, Finland2014 Chance in Berlin, SUOMESTA GALLERY, Berlin, Germany2014 Montage, KUvATILA, Helsinki, Finland2013 Talsinki Stereo, EKA G gallery, Tallinn, Estonia2013 Pixelache 2013: Talsinki Stereo, EESTI MAJA, Helsinki, Finland2012 Calibration Shift, THIRD PARTY gallery, Cincinnati, OH2012 Falling Short, LvL3 gallery, Chicago, IL2012 Seedless, SCOTT Gallery, Plymouth, UK2011 F5 Like_Fest, PARK GORKOGO, Moscow, Russia2011 Omakuva - curated by Mirva Liimatta and Salla Lahtinen, KANAvA gallery, Imatra, Finland2011 Action! Part 2, A Collection of Global Contemporary video art - curated by Christian Peterson, GHOST gallery, Seattle, WA USA2011 Kerho - curated by Salla Lahtinen and Karoliina Kuisma, KANAvA gallery, Imatra, Finland2011 Festival International de Photographie d’Hyères, vILLA NOAILLES, Hyères, France2011 Purku, SUOKATU 12, Imatra, Finland2011 The Collector’s Guide to New Art Photography vol. 2 - curated by vanessa Kramer, CHELSEA ART MUSEUM, New-York NY USA2011 The Free Show - сurated by Sarah Dunсan, Co-LAB, Austin, TX USA2008 Second Petersburg Biennial of contemporary art, ETAGI LOFT PROJECT, Saint Petersburg, Russia2008 Young Russian Photography, MANEZH CENTRAL EXHIBITION HALL, Saint Petersburg, Russia2007 Museum Meetings with Photography, KOSZALIN MUSEUM, Koszalin, PolandCv

residences / grAnTs2016 Sterna Art Project, Nisyros, Greece in collaboration with ATOPOS cvc2015 Kuno, Iceland Academy of the Arts, Iceland2014 Kuno, Malmö Art Academy, Sweden2014 Finnish Academy of Fine Arts residency, Berlin, Germany2014 Kuno, Malmö Art Academy, Sweden2013 Art Colony of the vilnius Academy of Arts, Nida, Lithuania2012 TOKAMAK, HIAP, Helsinki, Finland2010 Forumak Leto, HIAP, Helsinki, Finland

AwArds2015 Nuoret, Helsinki, Finland2014 Foam Talent, Amsterdam, Netherlands2011 Festival International de Photographie d’Hyères, Hyères, France

coMMissions2015 PRADA SS15 Advertising Campaign / DJA

Books2014 Yellow, CONvEYOR EDITIONS, visible Spectrum, US, 2014

selecTed BiBliogrAPhy / PuBlicATionsUNLOCKED, ATOPOS, Greece, 2015PHOTOGRPAHY IS MAGIC, Charlotte Cotton, Aperture, 201520/20 vISION exhibition catalog, Christophe Guye and Amelie Schüle, Sturm & Drang Publishers, 2015THE PLANTATION JOURNAL, #4 Sculptural Geometry, LondonPublication, 2015OBJEKTIv, Issue #10, Autumn, Norway, 2014FOAM MAGAZINE, Andrey Bogush: A Loving Destruction, essay by Matthew Leifheit, Issue 39, Autumn, 2014CONvEYOR EDITIONS, visible Spectrum, US, 2014CONVEYOR EDITIONS, Issue #5 – Spectre // Spectrum, US, 2014PORTFOLIO REvIEW 2014, Duesseldorf, February 2014vIEWPOINT, Amsterdam, The Netherlands, May 2013LOOKING BACK / LOOKING FORWARD ISSUE 1, Atem Books, Spain, 2013CURATED BY #6, RE:SURGO, Berlin, Germany, 2013FOAM MAGAZINE, Issue #32 / Talent, Amsterdam, The Netherlands, Fall 2012BRITISH JOURNAL OF PHOTOGRAPHY, Diane Smyth, “The Perfect Playground”, UK, March, 2012TRAUM NOIR, Portfolio Issue 3-4, Helsinki, Finland, February 2012FOAM MAGAZINE, Issue #28 / Talent, Amsterdam, The Netherlands, September 2011CLARK MAGAZINE, Issue #50, France, September 2011RUSSKAYA PROZA, Russia, July 2011I WANT YOU, Seattle, WA USA, February 2011THE COLLECTORS GUIDE TO EMERGING ART PHOTOGRAPHY v.2, Humble Arts Foundation, New York, NY USA, February 2011SECOND PETERSBURG BIENNALE OF CONTEMPORARY ART exhibition catalog, Russia, November 2009FOTO&vIDEO 2008/1, Young Russian Photography 2007, Russia, January 2008MUSEUM MEETINGS WITH PHOTOGRAPHY exhibition catalog, Poland, August 2007

osnova gallery

105120 Moscow4th syromyatnichesky Pereulok 1/6

+ 7 926 887 39 87ok@osnovagallery.com

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