Ural Vision Gallery / UVG Art Gallery


Sheinkman street, 10
620014 Yekaterinburg
Russia
Phone: +73433777750
Mobile Ph: +79126091422
Email : uralvision.gallery@gmail.com
URL : uralvisiongallery.com

Falk Miksa utca, 7
1055 Budapest
Hungary
Phone: +3619515468

Ksenia Heifetz (Art Director)

Maria Sklyarova (Art Manager)

Alla and Viktor Loshchenko (Owner)


About

Ural Vision Gallery is an international art space that was founded in 2012 by Alla and Viktor Loshchenko in Yekaterinburg, Russia. The core business of the gallery is formation of the collection of contemporary art – Ural Vision Foundation. It also includes artworks that were inherited as a result of ART-SLOVAR gallery (2009-2012) – paintings and graphics of the Ural artists, as well as works of Western European engravings dated XVI-XIX centuries. Mission of the Ural Vision Foundation is to preserve Russian contemporary cultural and artistic heritage on Russian territory by collecting artworks of contemporary authors.
The July 10th, 2015 the second branch of the art gallery was opened in Budapest, Hungary, it functions as an art-residence and an exhibition space. Art gallery activities aim to create the necessary conditions for Russian artists to create in Europe, exhibiting and selling artworks of contemporary Russian art, and also consulting in field of contemporary art and culture.
Galaxy of established and young artists from Saint-Petersburg was presented to collectors and connoisseur of art: Vitaly Pushnitskiy, Grigory Maiofis, Evgeny Yufit and others as well as artists form Eastern and Western Europe: Tony Cragg, Paul Horn, Csaba Nemes, Zsolt Asztalos etc. UVG also presented solo exhibitions of the following Russian artists: Olga Tobreluts, Igor Pestov, Andrey Gorbunov, Ivan Plusch, Dima Shorin, Ilya Gaponov, Rostan Tavasiev; emerging artists Danil Arkhipenko, Irina Drozd, Maksim Svishev, Aljoscha.

Olga Tobreluts Transcoder #1

Olga Tobreluts Transcoder #2

2018, Oil on canvas, d= 175 cm (69 inches)

Olga Tobreluts Antinous

2019, Stereo-vario print on lenticular panel, d= 90 cm (35,4 inches)

Olga Tobreluts Golden Aphrodite

2019, Stereo-vario print on lenticular panel, d=90cm (35.4 inches)

Olga Tobreluts Sphinx

2019, porcelain bisque, gloss, 16 х 30 х 11 cm (6,2 x 11,8 x 4,3 inches)
Edition: 2/5

Olga Tobreluts Hermes

2019, porcelain bisque, gloss, gold luster, 43 х 21 х 22 cm (16,9 x 8,2 x 8,6 inches)
Edition: 1/5

Dmitry Shorin Budapest-Miami

Dmitry Shorin Secret Service

2019, Oil on canvas, 138x980 cm (54.3 x 77.9 inches)

Dmitry Shorin N/A

Ilya Gaponov Late Lunch #2

2019, Oil and bitumen on canvas, 100x180 cm (39.3x70.8 inches)

Ilya Gaponov Late Lunch #3

2019, Oil and bitumen on canvas, 100x180 cm (39.3x 70.8 inches)

Ilya Gaponov Late Lunch #1

2019, Oil and Bitumen on canvas, 150x150 cm (59x59 inches)

About the Artist

Olga Tobreluts, "Transcoder #1", 2018, Oil on canvas, 63 inches diameter (160 cm.)
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Dmitry Shorin, "Budapest-Miami", 2018, Oil on canvas, 78.7 x 59 inches (200 x 150 cm.)
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In the Late Lunch series, Ilya Gaponov moves along the path suggested by the art history of the arts. Just as a still life stands out as an independent genre from the tradition of religious painting, so the artist’s creative path went through the stages that formed his own iconography. In the early series there are portraits of the Kuzbass miners (from where the artist comes from), similar to the faces of saints; the series The Throne of Thyatira, based on a passage from the Apocalypse, is embodied in the form of a collaged altar, which is entrusted with symbols of outgoing morality and baroque compositions of fruits and flowers; and finally the Late Lunch series — the apogee of the development of still life in the evolution of the author. In it, he is already freed from religious tension and looks at the consumer society from the position of the philosopher.

"Late" appears in the title of the project as a reference to the prefix "post", often appearing in the names of various modernist movements and modern trends, trying to jump to a new stage in the development of art, but stuck in the same framework and media. Gaponov refers to the tradition of Dutch painting XVII-XVIII - Stilleven (Dutch — Quiet life), as well as in its later version, combining various directions — banquet pieces, floral and ostentatious still lifes, Vanitas. Of particular importance is precisely the latter, the Dutch masters included in the compositions the symbols of the frailty of being clearly read by the audience of their era — images of the skull, cut and faded flowers, candles. Ilya picks up this intellectual game, complementing the symbolism of modern and well-recognized fast food brands. Thus, the artist focuses on accelerating the already vain world, and takes a step towards consciously reducing the genre: exquisite dishes of the Dutch Stilleven, which implied measured taste, and emphasizing the importance of their owner, is replaced by a hamburger — a new symbol of the XXI century still life, which excludes the possibility of regularity and elitism.



In the still life there is a decontextualization of the object - “torn out” from the usual everyday life, the object manifests its non-functional beauty, and establishes new relationships and relationships with respect to other objects in the composition. Gaponov uses a collage as a compositional method, since he most accurately conveys the peculiarities of the perception of visual information by modern man. The artist depicts various representatives of the fauna; The typical pets of the modern bourgeois - pugs and Chinese Crested dogs, are not inferior in size to its exotic representatives — giraffes and leopards. Together, these methods determine the absurdity of such combinations of objects, and ultimately aptly characterize the image of a conditional customer.
+ More info
In the Late Lunch series, Ilya Gaponov moves along the path suggested by the art history of the arts. Just as a still life stands out as an independent genre from the tradition of religious painting, so the artist’s creative path went through the stages that formed his own iconography. In the early series there are portraits of the Kuzbass miners (from where the artist comes from), similar to the faces of saints; the series The Throne of Thyatira, based on a passage from the Apocalypse, is embodied in the form of a collaged altar, which is entrusted with symbols of outgoing morality and baroque compositions of fruits and flowers; and finally the Late Lunch series — the apogee of the development of still life in the evolution of the author. In it, he is already freed from religious tension and looks at the consumer society from the position of the philosopher.

"Late" appears in the title of the project as a reference to the prefix "post", often appearing in the names of various modernist movements and modern trends, trying to jump to a new stage in the development of art, but stuck in the same framework and media. Gaponov refers to the tradition of Dutch painting XVII-XVIII - Stilleven (Dutch — Quiet life), as well as in its later version, combining various directions — banquet pieces, floral and ostentatious still lifes, Vanitas. Of particular importance is precisely the latter, the Dutch masters included in the compositions the symbols of the frailty of being clearly read by the audience of their era — images of the skull, cut and faded flowers, candles. Ilya picks up this intellectual game, complementing the symbolism of modern and well-recognized fast food brands. Thus, the artist focuses on accelerating the already vain world, and takes a step towards consciously reducing the genre: exquisite dishes of the Dutch Stilleven, which implied measured taste, and emphasizing the importance of their owner, is replaced by a hamburger — a new symbol of the XXI century still life, which excludes the possibility of regularity and elitism.



In the still life there is a decontextualization of the object - “torn out” from the usual everyday life, the object manifests its non-functional beauty, and establishes new relationships and relationships with respect to other objects in the composition. Gaponov uses a collage as a compositional method, since he most accurately conveys the peculiarities of the perception of visual information by modern man. The artist depicts various representatives of the fauna; The typical pets of the modern bourgeois - pugs and Chinese Crested dogs, are not inferior in size to its exotic representatives — giraffes and leopards. Together, these methods determine the absurdity of such combinations of objects, and ultimately aptly characterize the image of a conditional customer.
+ More info
In the Late Lunch series, Ilya Gaponov moves along the path suggested by the art history of the arts. Just as a still life stands out as an independent genre from the tradition of religious painting, so the artist’s creative path went through the stages that formed his own iconography. In the early series there are portraits of the Kuzbass miners (from where the artist comes from), similar to the faces of saints; the series The Throne of Thyatira, based on a passage from the Apocalypse, is embodied in the form of a collaged altar, which is entrusted with symbols of outgoing morality and baroque compositions of fruits and flowers; and finally the Late Lunch series — the apogee of the development of still life in the evolution of the author. In it, he is already freed from religious tension and looks at the consumer society from the position of the philosopher.

"Late" appears in the title of the project as a reference to the prefix "post", often appearing in the names of various modernist movements and modern trends, trying to jump to a new stage in the development of art, but stuck in the same framework and media. Gaponov refers to the tradition of Dutch painting XVII-XVIII - Stilleven (Dutch — Quiet life), as well as in its later version, combining various directions — banquet pieces, floral and ostentatious still lifes, Vanitas. Of particular importance is precisely the latter, the Dutch masters included in the compositions the symbols of the frailty of being clearly read by the audience of their era — images of the skull, cut and faded flowers, candles. Ilya picks up this intellectual game, complementing the symbolism of modern and well-recognized fast food brands. Thus, the artist focuses on accelerating the already vain world, and takes a step towards consciously reducing the genre: exquisite dishes of the Dutch Stilleven, which implied measured taste, and emphasizing the importance of their owner, is replaced by a hamburger — a new symbol of the XXI century still life, which excludes the possibility of regularity and elitism.



In the still life there is a decontextualization of the object - “torn out” from the usual everyday life, the object manifests its non-functional beauty, and establishes new relationships and relationships with respect to other objects in the composition. Gaponov uses a collage as a compositional method, since he most accurately conveys the peculiarities of the perception of visual information by modern man. The artist depicts various representatives of the fauna; The typical pets of the modern bourgeois - pugs and Chinese Crested dogs, are not inferior in size to its exotic representatives — giraffes and leopards. Together, these methods determine the absurdity of such combinations of objects, and ultimately aptly characterize the image of a conditional customer.
+ More info