Tania Antoshina

Tania Antoshina
Native name Таня Антошина, Татьяна Константиновна Антошина
Born 1956
Krasnoyarsk, Siberia, Russian Soviet Federative Socialist Republic, Soviet Union
Nationality Russian
Education PhD Stroganov Moscow State University of Arts and Industry
Known for Mixed media, Photography, Feminist art
Notable work Museum of a Woman[1]
Website http://antoshina.com

Tania Antoshina (Russian: Таня Антошина, Татьяна Константиновна Антошина; also transliterated as Tatiana Antoshina, Tanya Antoshina, Tatjana Antoschina, Tatyana Antoschina) (b. 1 May 1956, Krasnoyarsk Siberia, Russia), is a Russian multimedia artist, currently based in Moscow.[2] Anotoshina graduated from the Krasnoyarsk State Institute of Arts in 1983. In 1991 she completed postgraduate studies at the Stroganov Moscow State University of Arts and Industry, then pursued design at the Modern Design Laboratory since 1994. She received a PhD in Fine Arts Stroganov Moscow State University of Arts and Industry. Antoshina is a member of the Moscow Artists Union. Her work has been widely exhibited, including the Venice Biennale, and is in the permanent collections of several museums.[3][4]

Collections

Russian Museum, St. Petersburg, Russia;
Tretyakov Gallery, Moscow, Russia;
National Centre for Contemporary Arts, Moscow, Russia;
MUMOK, Vienna, Austria;
Weserburg Museum für moderne Kunst, Bremen, Germany;
National Museum of Women in the Arts, Washington DC, USA;
Corcoran Art Museum, Washington DC, USA;
American University Museum, Washington DC, USA;
Omi International Arts Center collection, New York, USA;
Mint Museum, Charlotte, North Carolina, USA;
Olympic Fine Arts Museum, Beijing, China;
Penang State Art Museum, Penang, Malaysia;
Museum of Decorative-Applied and Folk Arts, Moscow, Russia;
Perm Museum of Contemporary Art, Perm, Russia;
Krasnoyarsk Cultural Historical Museum complex, Krasnoyarsk, Russia;
Asia-Pacific Institute of Art & Research, Jeollabuk-do, South Korea,

Selected exhibitions

Solo shows

  • Museum of a Woman, Podgorica Museums & Galleries, Gallery Art, Podgorica, Montenegro, 2015
  • Cold Land, Krasnoyarsk Museum Center, Krasnoyarsk, Russia, 2014
  • My Favorite Artists, Galerie Vallois, Paris, France, 2010
  • Alice and Gagarin, VP Studio, Moscow, Russia, 2010
  • My Favorite Artists, Mario Mauroner Gallery, Vienna, Austria, 2008
  • Space Travelers, Guelman Gallery, Moscow, Russia, 2006
  • Museum of a Woman, White Space Gallery, London, UK, 2004[5]
  • The Voyeurism of Alice Guy, Guelman Gallery, Moscow, Russia, 2002
  • Museum of a Woman, Florence Lynch Gallery, NY, USA, 2001[1]
  • April in Moscow, Guelman Gallery, Moscow, Russia, 1999
  • Museum of a Woman, Guelman Gallery, Moscow, Russia, 1997[6]
  • Women of Russia, Guelman Gallery, Moscow, Russia
  • To Moor, Expo 88, Moscow, Russia, 1996
  • The Hound of Baskervilles, Regina Gallery, Moscow, Russia, 1992

Group shows

Honours and awards

Russian Activist Art alternative award at the Media Strike Assembly, Moscow, Russia;
Olympic Art (gold medal), Olympic Fine Arts, Beijing, 2008;
Five Rings Prize, Landscape Sculpture Design Contest, Beijing, 2008;
Magmart (prizewinner), Naples, Italy, 2006;
Silver Camera (prizewinner), Moscow House of Photography (MMAM), Moscow, 2003, 2002;
Art Photo, Modern Russia photography contest (prizewinner), 2001;
Best report award, theoretical conference of post-graduates and teachers of the Stroganov Moscow State University (Academy) of Arts and Industry (Stroganovka), 1989;
Silver medal at V.D.N.H. (Exhibition of People’s Achievements in Economy) of the USSR, Culture pavilion, 1985;
Best Teacher award, Art Academy, Krasnoyarsk, 1984.

Curatorship projects

The Quest of Power, special project of 6 Moscow Biennale 2015;
Terra Incognita, expedition to South Siberia for collection of ethnic and cultural material, 2014;
V-5, Space as a Presence, in partnership with A.Galenz and G.Kuznetsov, InteriorDAsein, Berlin, 2012;
Sons of the Big Dipper, together with G.Kuznetsov, PROEKT FABRIKA, Moscow, 2011;
Two Museums, in partnership with G.Vysheslavsky, Champino, Velletri, Italy, 1992.

References

  1. 1 2 Baigeil, Renne; Baigeil, Matthew (2001). Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia, and Latvia: the first decade. New Jersey, USA: Rutgers University Press. pp. 55–57. ISBN 9780813529462. Retrieved 12 February 2017.
  2. 1 2 "Tania Antoshina Biography". ArtNet. Retrieved 12 February 2017.
  3. ↑ "The National Pavilion of Mauritius: From One Citizen You Gather an Idea" (PDF). alcramer.net. International Art Exhibition, La Biennale di Venezia. Retrieved 12 February 2017.
  4. ↑ Smorodinskaya, ed., Tatiana; Evans-Romaine, ed., Karen; Goscilo, Helena (2007). Encyclopedia of contemporary Russian Culture (Encyclopedias of Contemporary Culture Series). Abingdon, UK and New York, USA: Routledge. pp. 19, 42–43. ISBN 0415758629.
  5. ↑ Isekenmeier, Guido (2014). Interpiktorialität: Theorie und Geschichte der Bild-Bild-Bezüge. Bielefeld: Transcript Verlag. pp. 229–232. ISBN 978-3-8376-2189-1. Retrieved 12 February 2017.
  6. ↑ "The Mauritius Pavillion – From One Citizen You Gather an Idea". pARTage. Retrieved 9 February 2017.
  7. 1 2 "Stardust Boogie Woogie" (PDF). Art Laboratory Berlin. Retrieved 12 February 2017.
  • Thomas Deecke, Markus Bulling (2001). ‘’8. Triennale Kleinplastik Fellbach Vor-Sicht, Rück-Sicht’’. Germany, Stadt Fellbach Auflage.
  • Александр Боровский. «Как-то раз Зевксис с Паррасием... Современное искусство: практические наблюдения». Литрес, 2017. ISBN 978-5-227-07198-9.
  • Jonson Lena (2015). ‘‘Art and Protest in Putin's Russia’‘, Taylor and Francis, pp. XII, 207, 227, 240, 261, ISBN 9781317542995.
  • Viola Hildebrand-Schat (2014). ‘‘Appropriation oder Simulacrum?’‘, p. 229-233, in Guido Isekenmeier, ‘‘Interpiktorialität: Theorie und Geschichte der Bild-Bild-Bezüge’‘, transcript Verlag, ISBN 978-3-8376-2189-1.
  • Angela Dimitrakaki, Katrin Kivimaa, Katja Kobolt, Izabela Kowalczyk, Pawel Leszkowicz, Suzana Milevska, Bojana Pejic, Rebeka Põldsam, Mara Traumane, Airi Triisberg, Hedvig Turai (2012). “Working with Feminism: Curating and Exhibitions in Eastern Europe, Acta Universitatis Tallinnensis: Artes’’, p. 85. Estonia: Tallinn University Press / Tallinna Ülikooli Kirjastus. ISBN 978-9985587539.
  • Klaus Krüger / Leena Crasemann / Matthias Weiß: (Hgg.) (2011). ‘‘Re-Inszenierte Fotografie’‘. Munich, Germany: Wilhelm Fink Verlag.(2011) ISBN 978-3-7705-5133-0;
  • Thomas Deecke (2010). ‘‘Leben mit der Kunst’‘. Germany: Nicolaische Verlagsbuchhandlung. ISBN 978-3-89479-599-3;
  • Alain Monvoisin (2008). ‘‘DICTIONNAIRE INTERNATIONAL DE LA SCULPTURE MODERNE ET CONTEMPORAINE’‘, p. 26-27. Paris, France, Regard. ISBN 978-2-84105-211-0.
  • Julia Tulovsky (2008). ‘’The Claude and Nina Gruen Collection of Contemporary Russian Art’’, pp. 24, 79. Jane Voorhees Zimmerli Art Museum, ISBN 9780976903079.
  • Matthias Winzen; Nicole Fritz (2007). Bodycheck: Catalog of the 10th Fellbach Triennial of Contemporary Sculpture. Germany: Snoek Verlagsgesellschaft. ISBN 978-3936859645, p. 292;
  • Tatiana Smorodinskaya (Russian, Middlebury Coll.), Karen Evans-Romaine (Russian, Ohio Univ.), and Helena Goscilo (Slavic languages, Univ. of Pittsburgh) (ed.) (2007). ‘‘Encyclopedia of contemporary Russian Culture (Encyclopedias of Contemporary Culture Series), pp. 19, 42-43. Abingdon, UK and New York, USA: Routledge. ISBN 0415758629.
  • Игорь Кон (2003) Мужское тело в истории культуры p. 378-382; Издательство: СЛОВО/SLOVO ISBN 978-5-85050-704-6.
  • АРТ-Конституция (иллюстрированная АРТ – Конституция Российской Федерации, в создании которой принимали участие наиболее актуальные художники начала 21 века). сс. 110, 111, 131, 132, 272, 273. Тексты: Зураб Церетели, Екатерина Деготь, Наталья Колодзей. Москва: Музей современного искусства, 2003. ISBN 978-5-91611-007-4.
  • СЛОВАРЬ ГЕНДЕРНЫХ ТЕРМИНОВ / Под ред. А. А. Денисовой / Региональная общественная организация "Восток-Запад: Женские Инновационные Проекты". М.: Информация XXI век, 2002. 256 с.
  • Renee Baigell, Matthew Baigell (July 1, 2001). ‘’Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia, and Latvia. The First Decade’’. The Dodge Soviet Nonconformist Art publication series, p. 55. New Brunswick, NJ, USA: Jane Voorhees Zimmerli Art Museum: Rutgers. ISBN 0-8135-2946-8.
  • Женщина в обществе: мифы и реалии : сборник статей / редактор-составитель Круминг Л.С. , сс. 1, 4. Москва : Информация - XXI век, 2001. ISBN 5-86391-043-7, сс. 1, 4.
  • Женщина и визуальные знаки : сборник / Ин-т "Открытое общество", сс. 232-234. - М. : Идея-Пресс, 2000. ISBN 5-7333-0043-4

Periodicals

  • ‘’Die Moskauer Prozesse’‘ von Milo Rau, Gesellschaft vor Gericht, von Dirk Pilz, Neue Zürcher Zeitung, 5.3.2013.
  • Hans-Dieter Fronz. ‘‘Na Kurort! Russische Kunst heute’‘, Zurich, Germany: KUNSTFORUM, Bd.171 July–August 2004, pp.370-371.
  • Brian Dillon. ‘‘Tatiana Antoshina’‘. Modern Painters, summer 2004, pp. 120, 121.
  • Texte zur Kunst. Band 11, Ausgaben 41-42, Texte zur Kunst GMBH, p. 142 (2001).
  • Elfi Kreis. ‘‘Absurdistan’‘. Kunstzeitung, nr. 57, May, 2001.
  • ‘‘Letzte Tage IsKusstwo 2000’‘, Oberbauer, Volksblah, 24/25.2.2001.
  • Christoph Wiedemann. ‘‘Freie Radikale auf ihrem Weg in den Westen’‘.Suddeutsche Zeitung, Seite 18. Nr.13, 17.1.2001.
  • Michael Dultz. ‘‘Klassische Frauenszenen mit Mannern nachgestellt’‘. Die Welt Bayern, 15.01.2001.
  • Brita Sachs. ‘‘Sei frech und zeige deine Katastrophen’‘, Frankfurter Allgemeine Zeitung, February 2001.
  • Rod Mengham. ‘‘The refugee aesthetic?’‘ TATE, issue 20, 2000.
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