The pop/off/art gallery presents the group exhibition “Made at Dacha,” which is built around artists’ multi-level perception of the dacha as a place for creativity. The project will present about 30 works by 14 authors of different generations, such as E. Bulatov, O. Vasiliev, S. Geta, E. Gorokhovsky, N. Kasatkin, A. Krasulin, V. Kupriyanov, O. Lang, A. Petrov, V. Pushnitsky, M. Roginsky, B. Sveshnikov, V. Shinkarev, V. Yakovlev. Most of the works were created in the second half of the 20th century, but there will also be works completed at the beginning of the 21st.

The works in the exhibition “Made at dacha” will be collected not according to formal stylistic criteria, but according to intuitive and associative perception - according to recognizable scenes of summer life in the countryside, which are accompanied by memories of sensations, sounds and smells. At the same time, the exhibition will touch upon several semantic levels of the concept of “dacha”. For example, the works of Eric Bulatov, Oleg Vasiliev, Nikolai Kasatkin and Boris Sveshnikov participating in the project are entirely dedicated to landscape, but the dacha as the place where these works were created means completely different things to all four authors. For Sveshnikov, this is a forced exile, in which painting is a healing process; for Kasatkin - the happiness of returning to oneself precisely through the depiction of a landscape; For Bulatov and Vasiliev, dacha sketches are a short respite in a long conceptual dialogue with others. The key theme here is contemplation and internal dialogue.

In the works of Andrei Krasulin, the dacha is an important physical place, a source of material and subjects for future works, on the one hand, and an image that determined the vector of the creative path, on the other; For Oleg Lang and Arkady Petrov, the dacha is a conscious choice of asceticism and silence as opposed to the noisy city, where they painted paintings that are not always related to the themes of country life. For these authors, dialogue with the outside world, human inclusion in the landscape, his action or inaction are important. The works depict residents or guests of the area sunbathing, picking herbs and berries in the forest, mowing hay, or simply looking out the window.

The next level of reading the theme of the dacha are images of specific objects and creatures that easily awaken the viewer’s own memories, for example, a cut glass in the graphics of Sergei Geta, freshly picked apples in the painting of Vladimir Yakovlev, summer flowers in the early watercolor still lifes of Evgeniy Gorokhovsky and in the paintings of Mikhail Roginsky , a bird by Vladimir Shinkarev, a large figure made from branches by Andrei Krasulin. Objects and individual images form both metaphorical plots and direct references to individual associations that permeate the exhibition.

Special attention is focused on textures and material - the wood of the box in which things were stored, vegetables were collected in the fall, and, perhaps, they drank vodka while sitting on a shaky structure made of boards, as in the works of Andrei Krasulin. The sculpture by Vitaly Pushnitsky from the “Empire” series was created from the wood of the author’s dacha fence, which is a meaning-forming element for the artist. Oleg Lang often used burlap from postal parcels, which solved not only decorative and compositional, but also tactile problems.

Thus, the simple definition of “dacha” includes many different meanings and states, the ability to choose oneself in dialogue, to remain free, and the place itself often makes it possible to continue to work outside of temporary circumstances.