Kirill Makarov
b.1988, Russia, St-Petersburg

Curriculum Vitae
Group Exhibitions:
2020 ''Generation XXI. The gift from Vladimir Smirnov and Konstantin Sorokin'', Tretyakov Gallery, Moscow
2019 'Garage Studios and Artist Residencies, VDNKh, Moscow
2018 ''VDNH'', Marina Gisich gallery, St-Petersburg
2017 ''Orgy of things'', 7 th Moscow International Biennale Parallel program,
Studio of the Vladimir Smirnov and Konstantine Sorokin Foundation, Moscow.
2017 ''Nepokorennye Prospect'', Moscow Museum of Modern Art, Moscow.
2017 ''It Will Start Raining, The Body is Mine, Arms and Legs I Shall Chop'',
Garage Triennial of Russian Contemporary Art, Garage Museum, Moscow
2016 ''Experiences of the imaginary'', New Holland, St.-Petersburg
2015 ''No time'', Parallel program of the 6th Moscow Biennale of Contemporary Art.
2014 ''The Elbow Room'' , «Generation START» , «Manifesta10” Parallel program.
2014 ''Detective'' , Moscow Museum of Modern Art, Moscow.
2013 ''Nothing of the kind'', Museum of Moscow, Moscow
2013 ''New St. Peterburg'' Nieuw Dakota, Amsterdam, Netherlands
2012 ''Conversion», loft Quarter, St-Petersburg
2012 ''Moodboard'', «Navicula Artis Gallery», St-Petersburg
2012 ''Repast of existence'', RuArts Gallery, Moscow
2011 ''Total Contemporary'' – contemporary art night,
Rizzordi ArtFoundation, St-Petersburg
2010 ''Friendship'', 100 Svoih art gallery, St-Petersburg
2009 ''Space of silence'', loft Krasnoe Zanmja, St-Petersburg

Solo Exhibitions:
2019 ''-13.690353, 18.834137, 1638391.625000'',
in collaboration with Ksenia Kononenko, Triangle Gallery, Moscow,
2019 ''After Us'', 5th Ural Biennale of Contemporary art, NCCA, Ekaterinburg
2018 ''Atlas of textures and writing'', Triangle Gallery, Moscow
2017 ''Ray marching, volumes convincingly lit, material set to unlit, subsurface scattering, NPC under IBL'', Triangle Gallery, Moscow
2014 ''...misspelling which showed Adele the border of irreproachable conduct..”
Manifesta 10 Parallel program, Business center “Bereg”, St-Petersburg.
In collaboration with Marie Briffa and Eugene Dedov.
2014 “INTER”, Media-work in collaboration with Eugene Dedov and chamber choir “Festino”,
Sergey Kuryokhin Centre for Contemporary Art, St-Petersburg
2013 ‘‘2’’, Start, Centre of Contemporary Art Winzavod, Moscow
2013 ‘‘To my only desire’’, Aperto gallery, St-Petersburg
2012 ‘‘Drawings‘‘, Miramiru, St-Petersburg
2011 “Secert level”, Nepokorennie studio, St-Petersburg

2019- VYKSA Artist-in-Residency, Vyksa, Russia
2019 - Garage Studios and Artist Residencies, VDNKh, Moscow, Russia
2013-2015 The Artist-in-Residence Center of L’Abbaye de la Prée, France.
2012-2013 Garage Center for Contemporary Culture grant program

2020 Zona Maco (Mexico City)
2019 Art Berlin (Berlin), Cosmoscow (Moscow)
2017 Viennacontemporary (Vienna)


Actual Work
In this game, the body of gamer, object of contemporary art and poetry there are in the post-utopian world of the game, which is both an understanding of the real as the temporality of the place and time of what is happening. The Present, the Real, depriving the truth her veil - are the main theme. the player gets the opportunity to comprehend his own history as the history of becoming a body, his own language as languag individuality, his own history as Others wolds history (in Lacanian version -- a Big Other, the civilization)
Poetry in the game acquires the status of not only the Word, but - the Sign, an object visual arts with which you can play, study, changing your purpose of being heard - to be visible, to be studied and lived in interaction.
In collaboration with Ksenia Kononenko

-13.690353, 18.834137, 1638391.625000
The exhibition consists of paintings, graphics and prints with the poetry of Ksenia Kononenko, the author of the essay «Place Ta Make An Act Possible», written specially for the show.
Kirill Makarov, uses the traditional technique of figurative painting as well he explores such media as ultraviolet print, augmented reality, and a video game.
Triangle Gallery, Moscow, 2019
December 3rd 2019 — January 12th 2020
The exhibition ''-13.690353, 18.834137,1638391.625000'' is devoted to the idea of subjective experience of presence, kinesthetic and non-kinesthetic affection, that a viewer perceives while interaction with a piece and that Makarov is researching not only in painting, but also through a videogame, that is used «as something like a workbench where the composition is being build».

The narratives of his paintings are composed of the photographs, taken during meetings, walks, sudden events, and 3d-objects that were modulated of those photographs, arranged in the videogame and then placed on the canvases. Hence, the videogame stays beyond the frame but turns out to be a metaproject effecting the whole series of works. The cipher in the name of the show is the coordinates of the object, hidden in a secure place outside of of the game’s map.

After Us
Vladimir Seleznev, curator
5th Ural Biennale of Contemporary art, NCCA, Ekaterinburg, 2019

Atlas of textures and writing
‘‘By the way, yesterday! I really wanted to tell you! I’ve ordered a taxi at night, was wandering down the street, looking, frankly, not in the best way: after a 29-hour work shift on my heels and with the remnants of shine in my eyes, - I am waiting for a car. Waiting, waiting. Here it comes. I get in the car and sit down. The driver is a fat, smelly gray-haired man and about fifty-five years of age. He started talking about some vague nonsense, I wasn’t listening. I looked at the light of a streetlamp, somehow it always fascinates me. At nights, naturally. When you drive really fast and you get kind of like a zebra light all over. It doesn’t matter to the story. Then I saw that the light fell on his hands and noticed that he has not nails, he’s got claws! - about five centimeters big. And then he scratches the torpedo, creating a most unpleasant sound. And in the cabin, as I said, it smelled really bad, and at the moment when I realized that a dead cat’s body was to my left, everything cleared up. To my (obviously which) question he answered, “I will eat it. And I’ll eat you. Have you ever been eaten? Thankfully, we already drove into the yard, I threw money into the front seat and that is it.’’
Triangle Gallery, Moscow, 2018
September 11 - October 20

Ray marching, volumes convincingly lit, material set to unlit, subsurface scattering, NPC under IBL

A man was walking along the canal embankment and constantly repeated one phrase: ‘‘It will rain, my body, hands and legs will be hewed’’. Harsh, rhythmically repeated words, which are not addressed to anyone, but time after time, claiming the right to own and manipulate their own, and possibly another’s body, captured attention.
He was going my way, and all I had to do to enter the space of this alarums and excursions is slow down. Reclamation to yourself, an iteration, self-reproduction of the system (the act of an appeal of a system to itself) and caused by this its complication, mechanisticity of a pure process, similar to the actions of non-game characters in the gaming environment, initiated by the machine, whose body can be quite arbitrarily split into separate objects or cease to function. For me everyday life observation is essential, as well as miscellaneous ways of computer modeling and visualization. I am interested in the relationship between a man, the images, the machines that produce them and graphic languages - a hybrid space, one that combines natural and artificial objects. The technique of UV printing is used in the works as a method of transferring digital images to a physical surface; deliberately disrupting the technological process and including manual labor practices. Instead of an addition a subtraction becomes a method of creation, which implies erasing, scratching paint from the surface of the canvas until it loses its plasticity. Rubbed into the canvas and desiccated on the surface of the fabric, images and textures under the action of ultraviolet remain as if material traces of those digital objects which they originally were, and the situations preceding their appearance.

Triangle Gallery, Moscow, 2017

It Will Start Raining, The Body is Mine, Arms and Legs I Shall Chop

Working in the traditional medium of figurative painting, artist Kirill Makarov takes the eventless and often boring everyday life in the city to a new level of monumentality that is quite unspectacular. Whether strolling in the park, or playing ball, people become the main protagonists in the artist’s works yet they never seem to be entirely present in them. Reduced to colour blobs and washed out silhouettes, Makarov’s main concern seems to capture an atmosphere of a place through painting rather than dwelling in details. Thus the less fairy the situation is, the harder the task is.
Recently, the artist has come back to his background as program designer and has created an interactive virtual game. Build up as an installation, the viewer can access with the help of special glasses the fantastical scenes Makarov has created. Remaining in the physical reality, the viewer is transported in the reality of the works, which for the artist is similar to what happens when facing a painting. What is different, however, is that with the help of a web camera, it is possible to document one’s experiences in the virtual world. Another element of the installation, is a new series of prints on canvas which Makarov prints using a special technique that resembles in many ways according to him the complex algorithms needed in order to make the game.
Snejana Krasteva

Garage Triennial of Russian Contemporary Art, Moscow
10 march 2017 - 14 may 2017

Experiences of the imaginary

Kirill Makarov (b. 1988, Leningrad) graduated in 2011 from the A.A. Stieglitz State University for Arts & Industry in St Petersburg. From 2013-2015, he worked in France at the art residency, Abbaye de La Prée. In his most recent works, Makarov applies computer modeling and visualization to meticulous observations of the daily life of the city, producing a study in the relationship between people and images in contemporary society, and the machines that produce them. The artist lives and works in St Petersburg.
In his practice, Kirill Makarov conducts experiments that challenge the canons of painting. For instance, he studies the synthesis of UV printing and painting, or the underlying principles of computer modeling of the body. His piece, Vortices in Sandboxes (2016), bears witness to how advanced technology is still very human at its core, requiring communication with other people.
For a long time, Kirill Makarov has conducted experiments that challenge the canons of painting. For instance, he studies the synthesis of screen printing and painting, of the underlying principles in modeling of human body, which is not based on the anatomy lessons taught in every classical art academy, but rather on the principles of digital modeling. But despite the references to technology, at the core of Makarov’s work is a secret humanistic drive. And perhaps for this reason, Makarov’s practice on the whole bears a very human element at its core, in its communication with other people, as demonstrated by his piece.

Andrey Misiano

New Holland, St.-Petersburg

“…misspelling highlighted the limits of Adele’s irreproachable conduct.”

Our work involves an idea of fragment as a possible way of constructing an image. The starting point is the space of the business center in which the exhibition takes place.
Step by step among the customary everyday plastics, an image of either a guest, or a lost office client is trying to form. The teaser, as a form of advertising discourse, hints at her name - Adele and at the same time, being the only dynamic object, a sequence of alternating digital images, constructs an image of desire and authoritatively captures the viewer’s eye. Another element of space is the text, which is the main source of imagery in the work. The documented momentary observation of the person waiting for admission, his turn in the confined space of the office, is left on the bench. The metal part, the construction armature, which lies passively on the floor and seems to be waiting for the opportunity to perform its function, refers to the integral form of space and at the same time does not belong to it. These objects, which were thrown into space with an active gesture and, as a result, were forced to enter into some strange speculative relations with each other, give the viewer an opportunity to detect the intersection between phenomena distant from each other. In particularistic details, they are embedded in the algorithm of an artistic action, like a sketch that opens up for a moment the landscape of a new experience. The image, as a form of abstraction, transforms the space into a machine for the production of relations, but they are not obvious, lacking rigorous logic. These are superfluous fragments that make sense only due to their inclusion in our field of vision. There is a need in the effort of the imagination, peering, on which different levels of work-reading and the reading of the elements of space arise, an experience is being manifested, which is gained in the search of analogies.

Maifesta10 Parallel program
St-Petersburg, Business center Bereg, , 2014
Marie Briffa, Kirill Makarov, Eugeny Dedov

The Elbow Room

... The space of the room presents itself. Light touch, formally weakened visual effect through imagery creates a position for the perception, it indicates the direction in space. This direction of recognition of the usual visual field relegating image to the level of set of data and determines the possibility of its connection, the creation of conditions which may serve as a membrane between what is in itself exists in space and awakening experience ...
‘‘Manifesta 10’ Parallel program
Generation START
First Cadet ’s Corpus,
St-Petersburg, 2014


Moscow Museum of Modern Art is proud to present ‘‘Detective’’, a show that is dedicated to interpreting works by contemporary Russian artists through structures and genre specifics of whodunits and crime literature. The main core of the show is formed by pieces of young artists who have debuted in late 2000s - beginning of 2010s. These artists are surrounded by a system of historical references from other eras, namely the 1990s and even Cubist experiments by Russian artists of the early 20th Century.
Crime fiction became more and more widespread and popular as the infrastructure of modern cities turned increasingly labyrinthine. State institutions that enforced law evolved parallel to popular media’s influence on all aspects of everyday life. ‘‘he classic crime story, as the term whodunit indicates, is a narrative about who someone is, whether someone is the sought-after murderer or an accessory, witness, avenger, or victim of a crime’’, writes Josef Hoffman in ‘‘Philosophy of Crime Fiction’’. ‘‘The point is not to be fooled by ‘‘what someone is’’, i.e. their social status as a doctor, teacher, minister, midwife, taxi driver etc’’. Urban dweller’s fragmentation into several social agents (a parent, an employee, a football fan, a patient) is crime novel’s nutrient medium: perpetrators of crimes are unmasked no matter what roles they pretend to play within the fabric of society. This unmasking can serve as an analogy to the process of interpreting intentions of an artist, who evades clear-cut discourse to immerse her- or himself in ‘‘reality’’, be it the physical surface of the canvas, a ready-made or a concept that turns an artwork into part of the viewer’s internal intellectual experience.
‘‘Detective’’ suggests a new perspective on the creative process of young artists. They are to be seen as producers of evidence and alibis. Search for a meaning in individual works is possible because of an immersive attention to detail and circumstances of the work’s appearance. All the artists in the show are interested, in varying degrees, in three main topics. Some of the work betrays a new variation of speaking in character, a staple of Moscow Conceptual School. In works by Ilya Kabakov, Victor Pivovarov and Vadim Zakharov the narrative is frequently set by aliases and fictional protagonists, and the viewer identifies either with these protagonists or with the authorial figure. Artists that are featured in ‘‘Detective’’ atomize authorship, giving a distinct role to social theory (Arseny Zhilyaev), processes of nature (Ilya Dolgov) or a museum structure where the viewer assumes the role of a curator (Anna Titova). Other artists are interested in ‘‘drone optics’’ - the latest military and law enforcement invention that impairs an ‘‘objective’’ view of reality, seen where no man has gone before. Still another group of the show’s contributors, painters mostly, construct spaces that exist outside the concept of ownership and individuality. These spaces are a type of critique of notions of individual comfort in today’s vast marketplace.
Curated by Valentin Diaconov
Exhibition architecture by Olga Treivas
Moscow Museum of Modern Art
June 17 - September 21, 2014


The work consists of two parts: a concert and a media work. The figurative sphere of the concert includes two levels. The first level is 8 madrigals from the Gesualdo’s sixth book of the madrigals. The genre of the Madrigal of the Late Renaissance is an essay for the acapella choir, written on a secular text, a distinctive feature of which acts as an attempt to convey with musical instruments shades of the meaning of the text in each line. Carlo Gesualdo di Venosa is a mysterious and paradoxical figure in the music history. Long before the final formation of the modern system of musical theory, he in his madrigals was ahead of its development by several centuries in advance. His complex musical language became topical and clear only in the twentieth century. Madrigals written in the last year of his life truly constitute the pinnacle of his work. Extreme emotional concentration and technical accuracy allows us to achieve the formula precision in the reproduction of key concepts for the aesthetics of the time, such as, for example, the opposites of love and suffering, life and death.
The next level is 6 madrigals from 12 madrigals on poems by Joseph Weinheber” by Paul Hindemith. The score was written within five weeks: from February 20 to March 29, 1958 under the influence of Carlo Gesualdo’s music (1566 - 1613). Inspired by the creativity of Gesualdo, Hindemith tried to transfer this central for Gesualdo genre within the framework of his own musical language. The texts of Hindemith’s madrigals themselves belong to the lyric poet, actively discussed over the past 50 years, Joseph Weinheber. Hindemith was attracted to the contrast of an open pessimism and bitter humor in Weinheber’s texts. They seemed to him as an ideal textual basis that meets all the conditions of the modern madrigal. For his collection of madrigals, Hindemith selected 12 different poems written by Weinheber between the age of 25 and until the last year of his life. The composer emphasized that madrigals do not constitute a closed loop and any option and sequence are, in fact, possible. The palette of conditions extends from irrepressible humor, stubbornness and caustic irony to exaggerated fear of death, selfless deception of the burden of being, human abandonment, bitter renunciation; from godly hope to a frightening tenderness before a dead man. Only Gesualdo’s and his time’s favorite theme is missing - the theme of love; not because it would seem sentimental, but for the reason that it is not found in Weinheber’s texts. Such gloomy themes are based on feelings that are familiar to everyone or elsewhere they are waiting for one. The third level of composition – a media work, represents a synthesizing beginning, reflections on a person in the conditions of the existence of modern media. “

INTER” is a media resource which is actively using forms of media realism. With it, relationships between the world of musical content and an imaginative space are build. Construction and translation of a situation characteristic of a business presentation occur, where the viewer is included in the performance fabric as a necessary participant or even as a partner. This interaction raises the question of the limits of the perception of art, a need of a pause, where in an objective lull of advertising discourse the territory of emotional experience is formed.
Media work
with Eugeny Dedov and chamber choir Festino.
Centre of contemporary art
named after Sergei Kuryokhin,
St.- Petersburg, 2013

The artist thinks of fleeting shapes and images. He is trying to catch something that he seems able to live independently as a set of textured paint stains , that give us so much of the visual information that we want to engage in co-creation and build into the minds notated images.
The artist is interested in the image itself - the painter’s apparatus: the texture of the paint layer, the materiality of the canvas, the composition. Really simple plots are lying in front of us: a woman at the mirror, a child sitting on the ground, a group of people busy with simple things.
Depicted people are immersed in themselves, they are not too interested in their surroundings, seem to be excluded at this empty space, they are partially reticent or are hiding something. Uneasiness arises. There is no clear understanding of what is happening and why, and the whole action takes place in the head of the depicted characters. They are sort of in the mode of contemplating this action, of their inner world. We are seeing a comparison of at least 2 viewpoints, 2 possible scenarios. We can assume that we see the rendered stream of consciousness of some character’s memories.

Start, Winzavod, Moscow
06.09 - 06.10.2013


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