Aidan Salakhova - artist and gallery owners in one person

[Seriy]

Cyril Syzransky, but I am! :-)

[Кирилл Сызранский]

I understand that's, I appeal to you to like coming into a topic in a discussion of the topic, I would say ...

someone should "hang on" and "crawl" on the surface ...

Then require Salakhova masterpieces as from her father.
They may have, but I did not see them.

As, however, and many artists are present here. <! -- ~ 7 ~ ->

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By the way, you can get acquainted with her creativity on her site. Interestingly, at least, take a look.
http://www.aidansalakhova.ru/biografiya
And this is one of its early work:

[Кирилл Сызранский]

By the way, you can get acquainted with her creativity on her site. Interestingly, at least, take a look.
http://www.aidansalakhova.ru/
And this is one of its early work:

[Евгений]

About the gallery business (2007) from an interview with "Time Out.Moskva"
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One of the oldest art galleries in Moscow 15 years. Globally, the term appears small, but for "Aidan Gallery" during this period was an era: from the close attics and unknown artists to move to the "winery", international exhibitions and the real interest from viewers and clients from outside, not from a narrow hangouts critics and colleagues.
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..."And then once in 1992: time, not attaching to the art.
Not a word! Monstrous year was very heavy. The boom of contemporary Russian art is over. For our entire market then was aimed at foreigners, but they are just in time for 1992-mu almost disappeared. And then it's understanding of disaster - contemporary art does not need anybody else, but we need to survive. There has recently published an article analyzing Russia's art market: the total sales of "Art-Moscow" in 1999 amounted to only 57 thousand doll.Kogda I read it, it literally burst into tears. But in the early 90's with us and that was not there. We have tried to attach the work of at least U.S. $ 500 to pay rent and paint-brush artists to buy. While the positive side, too, were. For example, in 1998, after the crisis, we were all the same: we have, and so there was nothing, and the crisis we have experienced in 1993.

That is, "Aidan Gallery" have already developed immunity to crises?
It turns out so. Since 1993 th to 1997 in my gallery was not sold a single work. Had to rotate and work on the secondary market, advising on the sale of collections. I even wanted to do this project, but somehow still not done: put the three pictures, which some Shishkin, Aivazovsky and Polenova, our "bestsellers" and the right to hang up a list of exhibitions that we have arranged the money from their sale . But we begin with a complete zero. I had to explain to the artists who received the restructuring of several thousand dollars for work that now all this will not be. But intuitively I knew that we have any means to survive this decline, to maintain prices at the expense of the domestic market, then to go to the western uroven.Malo who analyzed it and realized, but the creation of "Aidan Gallery" in an absolutely hopeless time gave some impetus to market and hope the artists who experienced neshutochnye break from a sharp devaluation.

and due to what was awakened interest in contemporary art in Russia's domestic market?
Education! I understand that it is necessary to communicate with people, educate them, to tell, but unobtrusively. By the way, art-critic is only now beginning to perform some sort of significant role in this process. And more recently they have written large, very clever article, but only for knowledgeable people. This is my main claim to critics: it described the situation inside, and had obyasnyats zero. That is, literally: why had they all looked at Vasnetsov, and now we must look at the Kulick, who is Kabakov and so on.

When the "Aidan Gallery" was the closest to the closure?
Yes every month. When at the end of the month had to pay for the rent, pay the money to artists and to prepare the next exhibition, I give up in despair, I give up and close the gallery. I was then very rescued Selina (Elena Selina, curator of the «XL-Gallery."), Which each time I called and was crying and she said: "Do not even think!" It was a long-term care in the negative, we have formed mountains of debt, and only by 2000 gallery went to zero. But now the situation is much better, we have a new great room, we know that in a month we can sell this much and get around so much, then there came the long-awaited stability.
And the state's interest in contemporary art?

Well, for example, a department of modern art is in the Tretyakov Gallery, but they have no funds to purchase works. In general, since 1992 the situation has not changed: the state and contemporary art as existed in the parallel spaces, and there are now. While that's Administration of the President has helped us to make the project "Art-field. And in general, thank God, the system is built so - at least with regard to the market leaders - that the state responds to the contemporary art or not, we are on the drum.
What has changed over these 15 years in professional terms? Developed into whether any code gallerist?

Sure! And for the same things that the West is natural, we arrived at independently. We have to get used to new conditions, which for Western gallerists already the norm: for example, a steady stream of visitors. Previously, we were sitting in the attic at the Falcon, and if someone came to us - only the client, through friends, by agreement and so on. And now comes the curators, with whom to communicate, visitors, among whom there may well be future clients. Therefore, we must engage and recruitment to the girl at the reception by could not only lift the handset, but if necessary, to hold itself to the visitor's gallery, show and tell, tell a potential client of just spectators. "Winery" - this is a public place, that is not packed sold pictures directly in the hall. And all this is bearing fruit: now there are four clients, which we do not know, and bought paintings. Our dream finally realized, but that's why now requires a new approach to work.
http://www.timeout.ru/journal/feature/1564/

[Евгений]

Volker Diehl: "Sometimes what they say about the opening of the exhibition in Berlin, one can not write. Here we feel some kind of stars "
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I came to Moscow in mid-1990, and it was very dark time in all senses. If I'm not mistaken, Luzhkov has developed an illumination in 1996 or 1997, and I went somewhere for a year before. At this time there was even a restaurant is not easy to find. Not to mention the artistic life, which, of course, not absent, but fully rested on personal relationships. Artists I've met, not even smiling. Today we will see a completely different situation. People are watching what is happening in the arts. Art scene has become more open, people began to look at things positively. Even the work became more interesting.
On the right connections
Between the idea of a gallery in Moscow and the physical appearance of the space was not much time - just one year. In the spring of 2007, I decided to go, but this year all earned. I was very lucky, because from the very beginning I had no problems with the room. It belonged to my friend, art collector, who, in fact, and persuaded me to open a gallery. Typically, people spend a lot of time looking for a suitable location, in conversations with city authorities, etc., but I already got everything ready. This was the easiest part of the case, turned out to be much more difficult to work with local buyers.
On the Russian collector
Collectors are not yet accustomed to working as a western gallery. It's much easier. Terms of relations between the gallery and the buyer has long worked, this model has been functioning for several decades. On both sides there are professionals. Russian art market there are only a few years, and people simply do not know how to interact with each other. For me, in these respects is constantly called for something new, some surprises. I am learning every day.
On the business-style
I try to work in Moscow as well as I do it in Berlin. In fact, I import my style of doing business. The most difficult as it may seem, was to find people to work in the gallery. The positive points include attention to us all sorts of media. Sometimes what they say about the opening of the exhibition in Berlin, one can not write. Just imagine working there more than two hundred galleries, not including art centers and museums, and in a newspaper published only one article about art in the week. Here we feel some kind of stars.
On the genius of the place

 For me, Russian mentality and culture is much closer to Europe than to Asia. I often fly to Beijing and Shanghai, but it is too far. I do not always understand the people there. Chinese language for me is even more difficult than Russian, which I'm trying to teach. I really like Moscow and the people who live here. My friend Aidan Salakhova largely to blame for the fact that I am now sitting here. It was she who invited me to Moscow in mid-1990, and all this time we communicate and even do joint projects. I have an apartment not far from the gallery, and I spend a lot of time here. That is not to say that I have come to earn money. Fifty percent of me in Berlin, the other fifty - in Moscow. And now here I have a child.
On the dizziness from success
Jenny Holzer exhibition was very timely for the Moscow art scene. We brought this classic of modern art. Doubly pleased that she made a special project for Moscow. The second exhibition, "Glasnost /Perestroika," was even better than I expected. On the financial impact here is not involved because the work did not sell. We are still supplements the collection with a curator Sasha Obukhov, which perfectly understands this period. And in 2009, already a full version will be shown in London, the gallery Haunch of Venison. We are very interested in the reaction of the Western public. It is a pity that it is practically not represented in Russian museums and art institutions. I would be happy to support such initiatives ... Recently me to come to the gallery director of the British Higher School of Design. He is going to open Academy of Contemporary Art. I think that is what is missing in Moscow. In Berlin, such institutions already exist. So where my help is not so important.
http://www.openspace.ru

[Евгений]

Anya acorn. Houseplants. Full version. Aidan Gallery. Winery

Сообщение от Vladimir

The exhibition Ani acorn we podgadali heading "Artist of the week. By this is "the piano in the bushes" - read article tomorrow Julia Maximova pro career artist at the main site. In general, things work so that the acorn - is not only an artist of the week.

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This year the young artist's career promises to be just a shock: in front of, inter alia - participation in exhibitions of the Hermitage and personalka at the end of the year in the MMSI. Attention well deserved. Recall that the installation acorn was included in the main draft 53 of the Venice Biennale. The chip acorn - sculptures and compositions of the sculptures from wire, contour shapes and objects in space. There are signals that this genre is tired of it. Well, here are two, grandmother said.

The basis of the exhibition "Houseplants. Full version" - reconstituted in drywall suburban studio artist. Stairs. Dormer. Metal stems to tubs. The space of the artist re-created brand concise means.

Two-storeyed studio built right in the gallery Aidan. Benefit ceilings in her twenty yards. Closely. Therefore, a security guard at the entrance to the flow of batches of spectators. Next - look.

Vladimir Bogdanov

[iside]

Eugene, if this were some works from the series "Persian miniatures were presented at Art Dubai 2010, I think it would be right and would attract more attention to the stand.

[Konstantin]

So there is no solid traditional erotica. Censorship would be missed?

[iside]

Сообщение от Konstantin

So there is no solid traditional erotica. Censorship would be missed?

In my not at all - and they could show the rest, of course not
You could create something suitable format just for Dubai, that's just the women in the Abaya there was no one stand

[Евгений]

Сообщение от iside

, if it were some works from the series "Persian miniatures were presented at Art Dubai 2010

You are right a very successful series of works ..
Aidan is Art Dubai stands for young contemporary artists, it is unclear just why ..