BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Stedley Art Foundation - ECPv6.8.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Stedley Art Foundation X-ORIGINAL-URL:https://stedleyart.com X-WR-CALDESC:Events for Stedley Art Foundation REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Moscow BEGIN:STANDARD TZOFFSETFROM:+0300 TZOFFSETTO:+0300 TZNAME:MSK DTSTART:20200101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20251201T180000 DTEND;TZID=Europe/Moscow:20260131T180000 DTSTAMP:20260421T160325 CREATED:20251202T095323Z LAST-MODIFIED:20260116T143659Z UID:29024-1764612000-1769882400@stedleyart.com SUMMARY:KOSTIANTYN ZORKIN. CARDIOMACHIA DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/zorkin-cardiomachia/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2025/12/Зоркін_афіша.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20251021T110000 DTEND;TZID=Europe/Moscow:20251130T180000 DTSTAMP:20260421T160325 CREATED:20251021T122933Z LAST-MODIFIED:20251021T123140Z UID:28910-1761044400-1764525600@stedleyart.com SUMMARY:Ivan-Valentyn Zadorozhnyi. MYTHOGRAPHICS DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/ivan-valentyn-zadorozhnyi/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2025/10/DSC07946-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20250823T110000 DTEND;TZID=Europe/Moscow:20251013T180000 DTSTAMP:20260421T160325 CREATED:20250826T132355Z LAST-MODIFIED:20251010T135543Z UID:28810-1755946800-1760378400@stedleyart.com SUMMARY:Polina Shcherbyna. Not Everyone Will Be Taken into the Past DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/not-everyone-will-be-taken-into-the-past/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2025/08/shcherbyna_fb-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20250617T110000 DTEND;TZID=Europe/Moscow:20250815T060000 DTSTAMP:20260421T160325 CREATED:20250610T102528Z LAST-MODIFIED:20251010T135445Z UID:28551-1750158000-1755237600@stedleyart.com SUMMARY:My Liza. Graphics by Yelyzaveta Kremnytska from the 1960s DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/my-lisa/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2025/06/16_DSC03292-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20250408T110000 DTEND;TZID=Europe/Moscow:20250531T180000 DTSTAMP:20260421T160325 CREATED:20250403T113443Z LAST-MODIFIED:20250408T092509Z UID:28479-1744110000-1748714400@stedleyart.com SUMMARY:Vera Blansh. Valkyrie DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/vera-blansh-valkyrie/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2025/04/486298621_1078996600913753_2888450571338953476_n-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20250204T110000 DTEND;TZID=Europe/Moscow:20250302T180000 DTSTAMP:20260421T160325 CREATED:20250130T123519Z LAST-MODIFIED:20250204T100825Z UID:28402-1738666800-1740938400@stedleyart.com SUMMARY:Anna Gidora. EDGE OF THE HORIZON DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/edge-of-the-horizon/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/png:https://stedleyart.com/wp-content/uploads/2025/01/Gidora_web.png ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20241105T000000 DTEND;TZID=Europe/Moscow:20250115T180000 DTSTAMP:20260421T160325 CREATED:20241031T093456Z LAST-MODIFIED:20241223T093940Z UID:27871-1730764800-1736964000@stedleyart.com SUMMARY:Worlds of Oleksandr Aksinin DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/worlds-of-oleksandr-aksinin/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/10/Aksini-fb_1.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240924T110000 DTEND;TZID=Europe/Moscow:20241020T180000 DTSTAMP:20260421T160325 CREATED:20240922T155253Z LAST-MODIFIED:20241107T121025Z UID:27696-1727175600-1729447200@stedleyart.com SUMMARY:KRAING. VITALII KRAVETS DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/kraing-vitalii-kravets/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/09/Зелена-трава-АФІША-СТЕДЛІ-фб-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240817T050000 DTEND;TZID=Europe/Moscow:20240915T060000 DTSTAMP:20260421T160325 CREATED:20240813T110112Z LAST-MODIFIED:20241107T133921Z UID:27249-1723870800-1726380000@stedleyart.com SUMMARY:Oberig. Margaryta Zhurunova and Bohdan Lokatyr DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/amulet-zhurunova-lokatyr/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/08/фб-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240716T110000 DTEND;TZID=Europe/Moscow:20240809T180000 DTSTAMP:20260421T160325 CREATED:20240411T112350Z LAST-MODIFIED:20240813T113756Z UID:26915-1721127600-1723226400@stedleyart.com SUMMARY:Dzenia. Halyna Zhehulska DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/dzenia_zhehulska-3/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/png:https://stedleyart.com/wp-content/uploads/2024/07/dzenia_scaled.png ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240517T110000 DTEND;TZID=Europe/Moscow:20240519T180000 DTSTAMP:20260421T160325 CREATED:20240711T143713Z LAST-MODIFIED:20240711T143824Z UID:27162-1715943600-1716141600@stedleyart.com SUMMARY:Olexandr Glyadyelov. FAREWELL OF SLAVIANKA DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/glyadyelov-farewell-of-slavianka/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/04/glyadyelov_ukraine005-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240307T110000 DTEND;TZID=Europe/Moscow:20240331T193000 DTSTAMP:20260421T160325 CREATED:20240221T111439Z LAST-MODIFIED:20240328T124943Z UID:26496-1709809200-1711913400@stedleyart.com SUMMARY:Alexander Zhyvotkov. The Sacred Tablets of Ukraine DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/the-sacred-tablets-of-ukraine/ LOCATION:Galleria Cavour municipal gallery\, Piazza Cavour\, Padua\, Italy CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/02/1.jpg ORGANIZER;CN="Stedley Art Foundation in cooperation with the municipality of Padua - Department of Culture":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20240126T110000 DTEND;TZID=Europe/Moscow:20240225T210000 DTSTAMP:20260421T160325 CREATED:20240124T094118Z LAST-MODIFIED:20240128T175955Z UID:26263-1706266800-1708894800@stedleyart.com SUMMARY:Exhibition project for the International Holocaust Remembrance Day "RAW WOUND" DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/raw-wound/ LOCATION:Exhibition pavilion ‘Living Memory’ (BYHMC)\, Yuriy Illenko Str 46A\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2024/01/photo_5283010658746618565_y.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20231117T110000 DTEND;TZID=Europe/Moscow:20240114T180000 DTSTAMP:20260421T160325 CREATED:20231117T124733Z LAST-MODIFIED:20231226T222346Z UID:25531-1700218800-1705255200@stedleyart.com SUMMARY:Alexander Sukholit. When the Wind Returns DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/when-the-wind-returns/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/11/9_DSC_8245-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20230919T000000 DTEND;TZID=Europe/Moscow:20231112T000000 DTSTAMP:20260421T160325 CREATED:20230914T153050Z LAST-MODIFIED:20231004T144104Z UID:25068-1695081600-1699747200@stedleyart.com SUMMARY:Kostiantyn Zorkin. Lullaby DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/kostiantyn-zorkin-lullaby/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/09/Lullaby-1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230801 DTEND;VALUE=DATE:20230912 DTSTAMP:20260421T160325 CREATED:20220608T080055Z LAST-MODIFIED:20230904T130419Z UID:8858-1690858800-1694401199@stedleyart.com SUMMARY:Serhiy Zhyvotkov. Postlude DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/serhiy-zhyvotkov-postlude-2/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/07/2-DSC_9698-scaled.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20230608T000000 DTEND;TZID=Europe/Moscow:20231001T000000 DTSTAMP:20260421T160325 CREATED:20230726T152258Z LAST-MODIFIED:20230726T152258Z UID:25062-1686182400-1696118400@stedleyart.com SUMMARY:Alexander Dubovik. The Standoff… DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/the-standoff/ LOCATION:East Slovak Museum\, Hrnčiarska 7\, Kosice\, Slovakia (Slovak Republic) CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/10/dubovik-afisha-fb-event.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230506 DTEND;VALUE=DATE:20230911 DTSTAMP:20260421T160325 CREATED:20230501T124053Z LAST-MODIFIED:20230501T125937Z UID:24352-1683331200-1694390399@stedleyart.com SUMMARY:Kaleidoscope of (Hi)stories. Ukrainian Art 1912–2023 DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/kaleidoscope-of-histories-ukrainian-art-1912-2023/ LOCATION:Albertinum\, Tzschirnerplatz 2\, Dresden\, 01067\, Germany CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/05/csm_Maria_Siniakovasaf.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20230317T230000 DTEND;TZID=Europe/Moscow:20230409T190000 DTSTAMP:20260421T160325 CREATED:20230312T152119Z LAST-MODIFIED:20230512T102838Z UID:23930-1679094000-1681066800@stedleyart.com SUMMARY:Alexander Zhyvotkov. Altar DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/alexander-zhyvotkov-altar/ LOCATION:National Center “Ukrainian House”\, Khreshchatyk 2\, Kyiv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/03/Altar.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20230213 DTEND;VALUE=DATE:20230411 DTSTAMP:20260421T160325 CREATED:20230212T112141Z LAST-MODIFIED:20230227T160706Z UID:23217-1676246400-1681171199@stedleyart.com SUMMARY:Alexander Zhyvotkov. Tocsin DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/alexander-zhyvotkov-tocsin/ LOCATION:Galerie Saint-Séverin\, 4 Rue de Pretres Saint-Séverin\, Paris\, 75005\, France CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2023/02/Tocsin__web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20220801T030000 DTEND;TZID=Europe/Moscow:20220919T025900 DTSTAMP:20260421T160325 CREATED:20220918T191027Z LAST-MODIFIED:20230221T125554Z UID:8344-1659322800-1663556340@stedleyart.com SUMMARY:Alexander Dubovik. Premonition DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/alexander-dubovik-premonition/ LOCATION:National Center “Ukrainian House”\, Khreshchatyk 2\, Kyiv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/114A4608-1536x1024-1.jpg ORGANIZER;CN="Stedley Art Foundation%2C Bouquet Kyiv Stage":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20220708 DTEND;VALUE=DATE:20230304 DTSTAMP:20260421T160325 CREATED:20220701T051521Z LAST-MODIFIED:20230227T155647Z UID:283-1657249200-1677812399@stedleyart.com SUMMARY:Alexander Zhyvotkov. REVELATION DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/revelation-alexander-zhyvotkov-2/ LOCATION:Edem Foundation\, Strilky\, Lviv Oblast\, Ukraine\, Lviv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/07/Revelation_web.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20211015 DTEND;VALUE=DATE:20211128 DTSTAMP:20260421T160325 CREATED:20190604T055223Z LAST-MODIFIED:20221014T051056Z UID:480-1634266800-1637981999@stedleyart.com SUMMARY:Alexander Dubovik. THE SIGNS DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/alexander-dubovik-the-signs/ LOCATION:YermilovCentre\, Svobody Place 4\, Kharkiv\, Ukraine\, Kharkiv\, Ukraine CATEGORIES:Exhibitions,Invitation ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2019/06/DSC_3944.jpg ORGANIZER;CN="Stedley Art Foundation%2C YermilovCentre":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20210903T030000 DTEND;TZID=Europe/Moscow:20210926T030000 DTSTAMP:20260421T160325 CREATED:20220926T095028Z LAST-MODIFIED:20221014T051135Z UID:7816-1630638000-1632625200@stedleyart.com SUMMARY:Alexander Dubovik. Self-portrait DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/self-portrait-dubovik/ CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/Дубовик-Основи.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20210816T030000 DTEND;TZID=Europe/Moscow:20211231T030000 DTSTAMP:20260421T160325 CREATED:20221010T172915Z LAST-MODIFIED:20221014T051217Z UID:8494-1629082800-1640919600@stedleyart.com SUMMARY:Mykola Trokh. Enfant Terrible of Ukrainian Photography DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/enfant-terrible/ LOCATION:Stedley Dental Clinic\, 25/18 Hetmana Pavla Skoropatskoho Street\, Kyiv\, Ukraine CATEGORIES:Exhibitions,STEDLEY DENTAL CLINIC ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/10/DSC_6655.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210811 DTEND;VALUE=DATE:20220207 DTSTAMP:20260421T160325 CREATED:20190606T054320Z LAST-MODIFIED:20221014T050236Z UID:690-1628650800-1644116399@stedleyart.com SUMMARY:Pinsel\, Ołędzki\, Zhyvotkov. CATHARSIS DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/catharsis-pinsel-zhyvotkov/ LOCATION:The National Sanctuary Complex “Sophia of Kyiv”\, Volodymyrska street 24\,\, Kyiv\, Ukraine CATEGORIES:Exhibitions,Galleries ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/24DSC_4913-переснять.jpg ORGANIZER;CN="Stedley Art Foundation%2C Bouquet Kyiv Stage":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210626 DTEND;VALUE=DATE:20210712 DTSTAMP:20260421T160325 CREATED:20190531T050808Z LAST-MODIFIED:20221014T050947Z UID:277-1624676400-1625972399@stedleyart.com SUMMARY:Kostiantyn Zorkin\, Sandro Garibashvili. THE HILL DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/the-hill-kostiantyn-zorkin-sandro-garibashvili/ LOCATION:Residence Open Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2019/05/Зоркін.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20210325T030000 DTEND;TZID=Europe/Moscow:20210922T030000 DTSTAMP:20260421T160325 CREATED:20220926T101926Z LAST-MODIFIED:20221013T091253Z UID:7837-1616641200-1632279600@stedleyart.com SUMMARY:Alexander Zhyvotkov. Tecum Veniam DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/tecum-veniam-zhyvotkov/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/Tecum-Veniam.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20200918T030000 DTEND;TZID=Europe/Moscow:20201025T030000 DTSTAMP:20260421T160325 CREATED:20220928T141401Z LAST-MODIFIED:20220929T064908Z UID:7932-1600398000-1603594800@stedleyart.com SUMMARY:Alexander Zhyvotkov. Keep the Roots DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/zhyvotkov-keep-the-roots/ LOCATION:YermilovCentre\, Svobody Place 4\, Kharkiv\, Ukraine\, Kharkiv\, Ukraine CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/IMG_5424-scaled.jpg ORGANIZER;CN="Stedley Art Foundation%2C YermilovCentre":MAILTO:info@stedleyart.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Moscow:20200725T030000 DTEND;TZID=Europe/Moscow:20200820T030000 DTSTAMP:20260421T160325 CREATED:20220926T103219Z LAST-MODIFIED:20221014T050926Z UID:7850-1595646000-1597892400@stedleyart.com SUMMARY:Vitaliy Kokhan. Girlish DESCRIPTION:ABOUT \n \n \n \n \n \n \n \n \n \n \n In his new series “Monumental Miniatures”\, Alexander Zhyvotkov turns to the small format without relinquishing the monumentality inherent in his art. Though modest in size\, these works do not feel intimate or confined; they retain the inner tension\, density\, and sense of scale characteristic of large-format painting. Here\, space does not diminish together with the format — it compresses\, concentrates\, and acquires a particular intensity. In this context\, monumentality is not connected to physical dimensions. It manifests through the structure of the composition\, the weight of the sign\, and the interaction between matter and void. Each miniature functions as a self-sufficient image — complete and focused\, free of incidental detail. In these works\, the artist continues to develop the symbolic system central to his practice. The circle\, the bird\, the female figure\, and the cross reappear not as illustrative symbols but as archetypal forms — signs that exist beyond specific time or context. They emerge in a purified state\, stripped of narrative and reduced to structural essence. In this reduction lies a striving toward the universal\, toward a language that operates at the level of inner perception. At the same time\, the artist revisits recognizable images from his paintings of the 2000s. The motif of the Moroccan Women returns in a new scale and a different plastic quality — as a memory reconsidered through the experience of time and the reduction of form. In parallel\, these works contain paraphrases of European art\, with references to the imagery of Francisco Goya and Diego Velázquez. This is not quotation but dialogue\, in which historical images pass through the filter of the artist’s language\, lose their narrative specificity\, and transform into concentrated points of tension. The small format compels the viewer to approach closely\, to enter the space of the work physically and attentively. At the same time\, these pieces do not require prolonged “reading”; they act directly\, like a sign or a presence. Their monumentality lies in their ability to hold the gaze\, to create a sense of weight and silence regardless of scale. The exhibition Monumental Miniatures marks a new stage in Alexander Zhyvotkov’s practice — a stage of concentration and inner rigor\, in which form achieves ultimate clarity and the image reaches its fullest intensity. \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n SELECTED GALLERY URL:https://stedleyart.com/exhibition/girlish-kokhan/ LOCATION:White Space\, Bohdana Khmelnytskogo 62B\, Kyiv\, Ukraine CATEGORIES:Exhibitions,WHITE SPACE ATTACH;FMTTYPE=image/jpeg:https://stedleyart.com/wp-content/uploads/2022/09/Кохан.jpg ORGANIZER;CN="Stedley Art Foundation":MAILTO:info@stedleyart.com END:VEVENT END:VCALENDAR