Coexistence. Human, Animal and Nature in Kiasma’s Collections, Museum of Contemporary Art, Helsinki, April 2019 – March 2020→
Women’s business, Winzavod Contemporary center, Moscow, March – April 2019
Russian painter and poet.
Olga Andreïevna Florenskaïa studied at the Vera Mukhina Higher School of Art and Design (now the Saint Petersburg Stieglitz State Academy of Art and Design). Since 1985 she has practised various visual arts, including painting, sculpture, ceramics, book illustration, graphic design and collage. She also works on the drawing and realisation of animated films, such as Skazka o tchoude iz tchoudes [The story of the wonder of wonders, 1994] and Trofeïnye fil’my[Trophy films, 2004]. She is a founding member of the artist collective Mitki. As a poet she published a short collection, inspired by the renewed interest in the early 1990s in Russian Futurism and the poster of avant-garde painters of the 1920s and 1930s, Psikhologiia bytovogo chrifta [Psychology of an ordinary police force].
One of her interests is graffiti, from which she has imagined a classification of typefaces: “virgin” writing, that of children, original graffiti and other “palisade writings” – free and natural writing; “malignant” writing, a distortion of the previous ones; and finally “stereotyped” writings, separate characters, a sign of the slavery imposed by civilisation. Like many post-Soviet Russian authors, she approaches the question of Russian identity by questioning the fate of certain letters of the Cyrillic alphabet. Her writings are in line with the Russian avant-garde, which didactically shifts the interest of the work and the reader’s attention from the content of the text to its form and plasticity.
Olga Florenskaia, Squelette de serpent à sonnettes, Projet « Les Squelettes sont différents », 2008, tree (stick), antic tools (vice, fork, pile driver), 195 х 7 x 12.5 cm, ©Perm Museum of Contemporary Art (PERMM)
Olga Florenskaia, Le squelette d’un tatou, Projet « Les Squelettes sont différents », 2008, antic tools (vice, fork, pile driver), pedestal, 74 x 44 cm, figure 43 x 110 x 30 cm, ©Perm Museum of Contemporary Art (PERMM)
Olga Florenskaia, Sauvetage merveilleux du capitaine Gligory Shirovich, 2016, paint on canvas, 102 x 160 cm, private collection
Olga Florenskaia, L’exploit du paysan Telushkin n°2, 1995, collage on paper, 18.5 x 15.8 cm, ©The State Hermitage Museum
Olga Florenskaia, Hugo était un monstre vil, from the series Sherlock Holmes Tales, 2010, silkscreened paper, 42.5 x 30 cm, private collection
Olga Florenskaia, Combat du capitaine Marko Ivanovich, 2016, paint on canvas, 76×57 cm, private collection