Maxim Ksuta

russian artist, contemporary art, sculpture, installation, photography

Tag: artists

“The Gifts” – Shchusev Architecture Museum

Festival “The Gifts” is timed to the celebration of Christmas and the Christian artists and has been organized by community of Christian artists “Artos”. In the space of the exhibition icons, mosaics, sewing, stone carving, sculpture, architectural designs and models,
calligraphy, paintings and installations are combined together.
“Like the Magi, we seek to bring our gifts to the Savior, born in the world,—says one of the festival’s curators Sergei Chapnin.—Each of us brings them in the measure of one’s talent and the extent of one’s understanding. The main thing here is not only an offering
itself, but also the intention, the heart’s desire. Artistic languages ​ which we speak are extremely different, but the theme of utterances is one—bringing gifts for the creation and understanding of sacred space, which is the purpose of the festival. In this space it collates
iconographic images, modern church architecture and art which comes from behind liturgic borders and yet addresses to religious subjects and searches.”
A dialogue between the Church and contemporary art has been the subject of special interest of another art curator Gor Chahal for ten years. During this time he participatedin organization of series of roundtables, including those in the exhibition “Dvoeslovie/Dialogue” in St. Tatyana Church at the Moscow State University (2010), a special project of the State Tretyakov Gallery “Bread of Heaven” (2011), exhibition of the Russian Academy of Arts “Art and religion in the space of contemporary culture” (2013 ) etc.

Curators of the exhibition “The Gifts” continue this initiative.
Art critic Irina Yazikova believes it’s important to investigate the question of how impenetrable is the boundary between church and secular art. What is the nature of their connection? Many questions have no clear answer yet, but it is obvious that today we cannot say much about the revival of iconography, rather than about its return and establishing of a modern iconographic tradition within which we can quite clearly see different trends. First, in recent years stylistic search of painters acquired great variety and a much deeper degree of freedom and courage. Secondly, in the works of Russian painters one can see not only following different historical styles, but also the emergence of individual brushwork; such phenomenon as “author icon” is being born.
In the view of art critic Sergei Khachaturov the exhibited works can be classified into three categories. First, new icons which correspond to an iconographic program of venerated images of the Eastern Christian Church. Second, works on theme of Gospel topics and images created with the fundamental departure from the accepted tradition and canon. The third category includes works that respond to the most important images of world culture, inspired by Christianity.
New icons are created by Anatoly Eteneier, priest Andrey Davydov, Olga Shalamova, Marina Turnova, Alexander Kornoukhov, Irina Zaron… There are works of various materials and techniques. To communicate with them is interesting because while they have a profound respect for the traditional iconography they are also set apart by a featurethat might be called sociability. The sociability towards contemporary art, the traditions of modernism (from expressionism to neonaiv, even such style as “informel” (“tachisme”)). This feature contributes to the appearance of what is usually called trust, trust in the personal experience of comprehension of the Faith, in humility before its unfathomable Mystery.
The second group of products is highly sensitive to our world, nonclassical and radical in relation to overcoming boundaries of different types and genres of art. Works of Gor Chahal, Maxim Ksuta , Alexey Dyakov, Alexander Konstantinov , Tatiana Badanina, Vladimir Nasedkin, Valery Koshlyakov, Anatoliy Komelin, Irina Zatulovskaya, Andrey Kolosov are exactly what is called contemporary art. Under the law of existence of this artthe viewer is bound to be not only full by empathy (as required by the classical tradition), but also an accomplice in creating an image. When the mystery of the Transfiguration is recreated in the work of Anatoliy Komelin with a few brutal abstract bars, it brings the involving power of the resonant medium, causing you to conjecture: what’s the way the entire universe reacts to a particular event of sacred history through the smallest particles; which traces and secret signs of those stories are captured in seemingly the most unremarkable things and experiences. To raise such judgment requires responsibility, discipline of thought and humility. These qualities distinguish, for example, the works of Gor Chahal dedicated to apophatic theology. One of them is a movie, another is a picture,painted with acrylic on canvas. Both bring the birth process of Logos from Chaos, the Form, radiant in Eternity, comes out of Formless. This Form is infinitely more perfect thanany of our thoughts about it. All works of the second group are difficult to understand: their obvious simplicity hides need for personal work of the mind and feelings of each viewer.
The necessity of one’s own responsibility.The third category of works unites the proofs of generous presence of Christianity in the world culture, sanctifying and enlightening it. These works have been through many cultural texts-filters. Installations and paintings by Ilya Piganov, Yuri Avvakumov, Olga Tobreluts, Nadezhda Mukhina, group “Bursaki” (“Seminarians)—with a certain degree of conditionality they can defined as “neo-baroque”—so intricate and inviting their view is, so polyphonic and even emblematic appears their form of dialogue with the audience. The exposition is formed so that within each room works of different groups are adjacent to each other. In this careful neighborhood each individual work is perceived like a jewel, while disclosed as much as possible in the context of the others. All three groups are interdependent and mutually supportive .
They are combined without mixing.

Exhibition photo album

Lupa Capitolina – bronze sculpture

Process is completed… On the photo my assistant – Sasha.

Production of the bronze sculpture – Lupa Capitolina


Wax model … … … …


Endless forest from maxmaxovich on Vimeo.

Under the aegis of the Netherlands – Russia Year 2013

Place: In the Moscow Planetarium, Exhibition Hall, Level 9 (5, bld. 1, Sadovaya-Kudrinskaya)

Organizer: NCCA, The Moscow Planetarium
: the Russian Union of Artists

Curators: Vitaly Patsyukov, Maarten Bertha, Ivan Kolesnikov/Sergey Denisov

Participants: René Daniëls, Marlene Dumas, Natasha Kensmil, Erik van Lieshout, Barbara Visser, Bertien van Manen, Andrej Rojter, Yulia Vinter, Arkadiy Nasonov, Pavel Pepperstein, Kolesnikov/Denisov+Gella Slabko, Taus Makhacheva, Olga Chernyshova, Rob Birza, Sergei Katran, Dmitriy Morozov, Haim Sokol, Vladimir Tarasov, Leonid Tishkov, Alla Urban, Vladimir Smolar, Dmitry Sarkisov

SLUISEN. Changing Poles is a research project, meant to find new communication ways in an unstable, rapidly changing aggressive environment; an attempt to build a bridge between two poles – the pole of the human culture and its outside media component, which is forced upon us by politicians and commercial manufacturers.

Text Via … … … …

Before and after – Master of forest – III

New sculpture in the woods – “Totems.” The program “Master of the forest
Technique – car tires.

Master of forest - III
Master of forest - III

Special thanks to:
Elena Rubinina
Andrew Kusakin
Larissa Kusakina
Anastasia and Polina Nilovscaya
Alexander Rubinin
Mariana and Yana Ilyina



The exhibition “Wolves and Sheep”


Special projects of Fifth Moscow Biennale Contemporary Art
Organizers: The State Literature Museum, VP Studio Curator: Vera Pogodina

The exhibition “Wolves and Sheep” – is a joint project by curator Vera Pogodina and the State Literary Museum, code-named “Russian reader.” The project’s idea is pretty simple: all the most important and relevant issues in our contemporary life have been reflected some time ago in the titles of the works of classical Russian literature of the 19th century.

Modern Russian conceptual art is largely related to the literature and text. Thus, participation in this project of artists from the Moscow’s conceptual school is very natural. The State Literary Museum has held exhibitions like “Fathers and Sons”, “Woe from Wit”, “Dead Souls.” Several previous exhibitions such as “War and Peace” were presented in the Moscow’s Central House of Artists (CHA).
This time we decided to focus on works of writer Alexander Ostrovsky (1823-1886), known for his flashy theater plays. Titles of his works – it’s an encyclopedia of aphorisms and quotations:

“Even a Wise Man got enough dumbness”.
“The money is good, but happiness is better.”
“You scratch my back and I scratch yours.”
“Do not sit down in not yours sled.”

We chose the play “Wolves and Sheep”. “Wolves and Sheep”, in our view, is an appropriate title to reflect what is happening in Russia today. There are no positive characters in this play which is very rare for works by Ostrovsky,. All of not so pleasant characters in this play are divided into wolves and sheep. Wolves remain acting as wolves only until there are stronger and meaner wolves arrived to the scene. It is no coincidence that originally this play was called ” Wolf catching a prey but wolf also is a prey “.

As in previous projects, the artists will present their perception of a given topic, and not narrative illustrations of scenes from a theater play of the 19th century.

The exhibition will feature works by more than thirty contemporary Moscow’s artists from different generations and world’s views that will give on opportunity to see a whole spectrum of trends in contemporary Russian art.

Dialogue With Technogeneous Reality – Samara Art Centre

t HD audio-video-installation, Triumph gallery, Moscow 2013

Program: [Context of the visual]

Curators: [Vitaly Patsyukov], [Aliya Berdigaliyeva]

Coordinator: [Maria Punina]

Participants: [Leonid Tishkov], [Vladimir Tarasov], [Anna Ermolayeva], [Marina Chernikova], [Vladislav Efimov], [Vladimir Martynov], [Aristarkh Chernyshev], Dziga Vertov, Fernand Léger, Dudley Murphy, [Mikhail Tsekhanovsky], [Boris Yurtsev], [AES+F group], [Maxim Ksuta], [Nelya and Roman Korzhov], [Alexander Zaytsev], [Vladimir Logutov], [Social Adaptation group]

Organizers: NCCA Volga Branch, Samara Regional Public Charity Fund “Contemporary Art Centre”, ART-CENTRE Gallery SAMARA-CENTRE Ltd.

With the support of: RUSS OUTDOOR, VICTORYA Gallery, Moscow State Cinema Museum, XL Gallery, Triumph Gallery, Samara Regional Art Museum

Opening: May, 11, 7 pm

Place: Samara Art Centre (90, Michurina, Samara, Russia)
Coontacts:, +7 (846) 212-03-80, +7 (927) 604-33-05

This exhibition project, built on rare 1930s film footage and works by prominent contemporary artists, poses questions about the relationship of humans with man-made reality and the possibilities of self-identification through technology and production. Today, the humans’ attitude towards technology is consumerist. Perhaps it is because of the lack of direct contact with machines of production that the postindustrial man loses his positive attitude not only towards the mass-produced objects but also his own life which, much like machines and technology, is not under his control any longer.

ГОСЗАКАЗ/GOSZAKAZ/Pechersky Gallery/Winzavod

ГОСЗАКАЗ/GOSZAKAZ/Pechersky Gallery/Winzavod

Overcoming the Space

In my project, communication is a part of the space-time continuum. I know for sure that space and time is a single construct which is called “matter”. From ancient times mankind aims to embody the notion of time: Mexican and Egyptian pyramids are immense and incredible in their excellence, and these pieces of art will have a long life within the history. My “Teleports” are rather objects of contemporary art, although I have been thinking a lot about the practical side of the project.
Interactive spacebridges with Liquid Crystal Displays broadcast the day stream of other world capitals – London, Rome, Berlin, Paris and others – with their unique rhythms and drawings of life. The main function of such objects is social communication. Objects are equipped with high-quality HD panoramic video cameras which enables the passers-by to greet citizens of other cities, to wave their hands, to give a wink, etc.
“Teleports” are objects for communication, but unlike iPad they are public, not individual. These are the windows to the “different reality” with its different life flow, which carry a user through space and expand its conscious in the right direction – direction of consolidation of the humanity as a whole, unification of it as a whole and its unit, a particular human individual. Not only “Teleports” would be of interest for citizens, but, I believe, they would become a true attraction for them.
Maxim Ksuta



Info … … … …


Teleport from maxmaxovich on Vimeo.

Teleports in process
Maxim Ksuta & Mikhail Kiselev – Pechersky Gallery – Vinzavod