Here you can read about my works and projects which can be used for exhibition and sales right now.

Painting:

abstract idealism - 212 pictures.

Perhaps the question might immediately arise: how many paintings, good paintings, and diverse, can I paint in a year? If we're talking specifically about paintings, then the backlog of ideas that I have right now is such that I can produce 70 to 80 (depending on the size) pieces a year for several (at least six) years. With a clever assistant capable of keeping up with the pace of my work, the number of paintings per year can be increased to 140.

Photographs:

The series Creature and Creator - 18 works.

The series On the Side of Children - 7 works.

The series Moscow – Demiurgia - 35 works.

The series Dreamscopy – 27 pictures, with another 35 within 45-50 days + the project requires a consultation with a practicing psychiatrist who is a native speaker of English (U.S. or U.K.).

Shapecoloring Sociums. There are three real sculptures with photo and video materials (ready for exhibition), but at least two more are needed to complete the exhibition, and five works of the same size would be even better. Given the necessary materials, I need 4-7 months of work to prepare the photo and video for installations in the gallery. Shapecoloring Sociums can be installed both in clean and mirrored versions inside Platonic solids, so that the capacity of this style of art is very high.

“Stumbling books” is the artistic strategy, which currently including the projects of thirty seven art installations from small ones (2-3 meters) to the global installations (each of them can occupy the entire space of a big gallery). For implementation of the five of these installations we need a granite monument or it can be made of some other material imitating granite (height – 5,3 feet, and inscriptions need be made on its surface), 55 pairs of sneakers, 8 small alive firtrees  (can be rented), about a hundred cheap wooden frames, 500 printed flyers, high-quality banner (5 quarter meters) stretched on the frame, 10 chess sets (can be without boards), multi color printer and about seven days for my work.

I have also 27 projects of installations including for example:

- A total Wittgenstein installation within abstract idealism.

- The No Problem project, which is a look at unsolvable problems of science: mathematics, physics, astronomy, from the standpoint of abstract idealism. For this, I need interviews/consultations with specialists in a number of areas of science, and these specialists must be native English speakers. I have already created some of the images, but some of the conceptual formulations need to be perfected. Unfortunately, my English is not yet up to the task.

- A huge installation with the provisional name The Dynamics of Creation, which, to be set up, requires that all my archives from Russia be transferred to the venue. A full description and sketches are already available.

- A powerful anti-drug social project: paintings, installations, drawings - everything has been fully developed: the concept, description of objects, materials, how it is to be displayed in the exhibition space. The time required for the preparation of the exhibition project is from 9 to 15 months, depending on the available labor and financial resources. I am the author of the concept, and know what to do, how to do the job and to monitor the outcome.

- А total installation with a system of rails and timber floats and interaction with them by the viewers. This would require at least 2.5 to 3 years for implementation, wherein I will be completely immersed in the linguistic environment and will learn what is necessary for the project.

- An installation of the official closing in the fine arts and philosophy of ideas that have outgrown themselves, but for some reason cannot leave humanity in peace.

What will this look like? - Here is one example: a hyper-realistic sculpture of Roland Barthes at full height, and a board on which is written in all caps in chalk: "DEATH OF THE AUTHOR and the signature at the bottom: Roland Barthes.

The second would also be a hyper-realistic sculpture, only now the aged Barthes is in the coffin, and next to the grave is the same board, on which it is written: "The Death of Barthes" Signed: the Author.

And below this on the board: "This work of Alexander Art once and for all puts an end to the topic of the death of the author in literature, philosophy and the fine arts." Other participants in this project will be Nietzsche, Duchamp, Dawkins and other "notable personalities" and images, and so I can promise you informational resonance, and if necessary, scandal.

In this connection, the value of all my projects also lies in the fact that they are thought out, detailed and developed from start to finish. Let me provide one example. The opening of an art exhibition in most cases is a sad shit with memorized, well-rehearsed, and therefore dead speeches, a reception, which is ... but in general you don't need me to explain it to you. This is a phenomenon that is the same everywhere: in Moscow and in London, and I doubt if the situation is much different wherever you are. Maurizio Cattelan came up with the most unusual “lulz”  of recent times, dressing your French colleague in a pink "penis" costume with ears, in which he greeted guests to the gallery for the entire month. This kind of maneuver is unusual, but it’s not good marketing. When compared with conventional advertising, then this type of maneuver is a good hook, but doesn’t produce results because the gallerist and the gallery are two different things. No matter what the artist has 'perpetrated' in a gallery, the gallerist, must stay out of the process because his aim is to sell the work. What am I proposing? - A prequel-performance! And this is not just an idea for one of my exhibitions, but the strategy including the prequel-performances for every my exhibition.

This is the first chord, the first bright stroke that creates the subsequent atmosphere during all the event. If you want, this is like a shiny package for the future exhibition. Moreover, to make the most of your money, than a few thousand dollars more would make a powerful promotional tool, and correspondingly, create the most advantageous atmosphere for profitable sales.

Huh? What? You wonder what this looks like in practice?

Picture this: Before your gallery people gather, the red tape extending in front of the entrance, as usual. A limousine pulls up to the entrance, with an escort of riders on horseback in Cossack costumes both in front and back (the color scheme for the costumes: bright red and black - an effective splash of color), who sing a dashing Cossack song. There is a special platform on the roof of the limousine on which is mounted a tall chair. I am sitting in this chair, robed in a boyar caftan extending to my heels with a high collar (a most unusual style that immediately strikes the eye on a city street, colors: red and gold) and a high black boyar hat. The limo stops in front of the gallery, an automated ramp is rolled up to it (like in airports), along which I descend. On the way down I cast the caftan off my shoulders, toss my hat into the air, and I remain in a suit and the headdress of an emissary of eternity with crystals. You want to know what this headdress of an emissary of eternity is? This is not the time to tell you, because it must be seen. Two Cossacks remain in the saddle, the other two dismount, one holds the horses, the second comes up to me with a Cossack saber, on which a slug of vodka in a silver goblet is balanced. All four of the Cossacks sing: "Goblet of mine, silver, standing on a Cossack saber." I take the saber by the edges and drink the goblet of vodka (I must do this just right, so as not to cut myself and not drop the goblet), and then, swishing the saber around in my hand a few times, which is even more difficult, because if the saber is sharp and I'm not careful, I could seriously cut myself. But this saber that I wield will have a good edge, very sharp, and shouting: "Follow me!" I slice through the red tape and enter the gallery. You and the guests will follow me in.

Yes, I know that it sounds crazy, that it's historical eclecticism. BUT THIS IS WHAT WORKS. If you end up with a perpetual motion machine, you won't care a fig which laws of physics it violates. Now let do the math: the ramp, horses, costumes, limousine, the platform on the roof add it all up and compare your investment and the promotional and financial rewards you reap. You can say that there’s no place to park a limosine, but I will say it again: this is just one of the possible options. And if we speak about abstract idealism there is the idea of very low-budget prequel-performance.

Areas of my creative work which are perhaps less likely to interest you, but this information will allow you to see the full picture of my creativity.

As part of a completely new approach to the art of the theater (the principle of multi-mise-en-scène) - four plays written and artistically adapted for staging.

As part of a classical approach to literature:

I have two novels now, one, which is currently being translated - the excerpt that you read here is from that work - while the second has not yet been translated into English.

As part of the lit-image (this is the working title to this series): Two books are ready, although some work with a designer-layout person and translator is required, and the rest can be issued at a rate of about one book a year. And this, mind you, will not impact any painting and exhibition activities.

THIS IS WHAT WE HAVE now and can use. This is what is ready for presentation to the world.

And I will answer the question that you have already or that may well arise later.

Where have I been earlier? I have been engaged in generating and working out my ideas, so as to be ready to claim about my art when the time comes.

My abundance of ideas is your insurance that I will not disappear from the horizon after the first exhibition. In addition, if earlier the Russian authorities were unconcerned with my ideas, such as "Kratos and Melos," that fact is that in the current climate it is downright dangerous for me to remain here. In Moscow, my exhibitions have been held in small galleries, most of which have since then been closed. My country has voluntarily immersed itself in totalitarian darkness, and here is where our paths diverge. Now I have to wind up all my affairs, prepare the paintings for the journey and leave for your country. I await your response and hope we’ll see each other soon.