COSMOSCOW 2025

This year, MYTH Gallery’s booth #B4 will unite the works of Art Group PROVMYZA, Vadim Mikhailov, and Egor Fedorichev in a meditation on decay as a form of new becoming. Each author will present the result of a deconstruction of "archival" imagery, centering on the idea of unstable and elusive memory, through which the contours of the collective, the material, and the tragic emerge.

In his new large-scale installation, Egor Fedorychev reconstructs and fragments imagery from classical painting. Two walls of the booth are covered with an even grid of black tiles, upon which abstract brushstrokes, blurred spots, and color drips settle, only remotely reminiscing lush compositions of Baroque still-life paintings. Fedorychev suppresses the decorative and sensual nature of Baroque expression through the absence of clear forms and a technique of material layering. The artist examines familiar elements of art history through the ideological filter of utilitarian aesthetics, which tints the private with hues of the public. Unlike his previous series with blue ceramic tiles, he now moves away from the legacy of Soviet and post-Soviet public spaces.

The canvas “Farewell, Garden Ring” by Egor becomes a window into this field of deconstruction. A cityscape at dawn seems to sag on the stretcher frame, and through its perspective grid “re-emerges the mesh: a window frame, a scale grid, pixel markup? Harsh reality, standardization, ‘ideological frameworks’ as a literary cliché… The grid becomes a constant background of reality, surfacing to reveal the illusory nature of the Khrushchev Thaw-era utopia.”

This motif of disintegration continues in “Juvenile Sea” by PROVMYZA. Galina Myznikova and Sergey Provorov turn to the technique of "boiling print" as an allegory of instability. Bubbling water mixed with suspended particles leaves abstract traces on the surface of the paper, and their fixation—the moment when the substrate ceases contact with water—occurs unpredictably. This principle of uncertainty and unintended image selection becomes the conceptual foundation of “Juvenile Sea”.

Another approach to reflecting on the collapse of the whole is offered by Vadim Mikhailov. In his work “LACRYMAE HINC, HINC DOLOR”, he dissects layers of culture and mythology through “sgraffito”—a gesture of destruction and a desperate attempt to “scratch through” to history itself. Inspired by French culture and personal experiences in Paris, the piece transforms the dramatic episode of the duel between King Henry II and Count Montgomery into a surreal tableau featuring handmade plush toys.

The artists demonstrate how blurred and distorted human memory can be—yet it is precisely in the act of its decomposition that the potential for constructing a new image is born.

We look forward to welcoming you at booth #B4!