BRURAL: Skin of Liberty, Fractured and re-Structured

EKATERINA AKSENOVA (US) Coexistence Wood, urethane, paint, foam, 2014 Using common materials and hung on the wall like a painting, this works engages all the peculiar materiality and spatial property of sculpture. With a visual vocabulary that consists of natural, organic forms, this work seeks a correlation between nature, social environment and the human body.

MARIA BELOVA AND ANNA MINEEVA (RU) Portraits of the family Worn clothes, crochet, wooden frames, 2014  Works created from worn clothing and the crochet technique of Russian peasants. Each portrait relates to the person whose clothes they used.

RON BARRON (US) The Statue of Liberty, The New York Times Building, Moon Room Scanned collages, 2012 From a two year project, Trashscans: Street Archaeology, a series of digital collages assembled from discarded objects picked up in gutters and on sidewalks in various locations in New York.

JOHN BOONE (US) Ten Landscapes Going Around a Corner Photograph of a mural for World Wide Frames, in East Williamsburg, Brooklyn, 2004 John Boone works with colloquial expressions using a digital font interface.

OLEG BLYABLYAS (RU) 887788 video, 2001 Giant crater of Mountain Tall gave birth to the city of Nizhny Tagil. An umbilical cord of pure magnetite in the belly of Mountain Tall reared the Demidov plants. Vysokogorsky mine was sustaining lives and weaving fates. The energy of the labor of thousands of people made the crater deeper. By now the umbilical cord was totally removed. The pit, an exhausted womb, is filled with waste and is rotten and viscous. Mast of the boat and white sail are the hope for a new revival, the attempt of pollination and regeneration.

TODD BRYANT (US) Blue Ridges Video Sculpture, Baltic Birch, SLA Plastic, 2014 Animation, to scale, of the sun's 24 hour cycle over the Blue Ridge Mountains of Western North Carolina where Todd spent the majority of his youth.

ALBERTO MARCOS BURSZTYN (US) Utilitarian Liberty Mixed media, 25’ utility lamps, pigeon spikes, 2015

VITALY CHEREPANOV (RU) Bull Paper and acrylic, 2014  Vitaly Cherepanov is perhaps the most famous street art artist in Nizhny Tagil, he makes art interventions all over Russia, Specializing in huge hand-drawn figurative posters. Objects in the images on posters differ from animalistic compositions to Ural mythological creatures. Founder and member of the art group JKP

ALBERTO MARCOS BURSZTYN (US) 2 for 10 Digital print, 2015 Perhaps Mixed media, copper wire, printed paper, 2015 R U free now? Mixed media, 2015  His works incorporate carefully selected materials and objects that embody socio-historical memory; their transformation elicits new meanings. The emerging patterns and forms awaken awareness of the familiar but also contain elements of surprise, dislocation, and uncertainty.

BETH DARY (US) Emersion Porcelain, tea and rust, 2010-15  Working with organic forms, Beth Dary uses a wide range of mediums including ceramics, glass and video to create site-specific installations responsive to the environment. While the themes and ideas are related, the choice of form & media are varied in ways that are both site specific/responsive and particular to the time that they are created. Her work is consistent in its sensitivity towards environments in transition.

IRINA FILLIPOVA (RU) URALPROM Collages, 2013-14 Irina Fillipova is engaged in creative activities in the subjects of industrial culture. She uses materials (wood, plastic, glass, metal, cloth, paper) found in her workplace to make collages, assemblages and sculptures in an industrial theme.

ALBERTO MARCOS BURSZTYN (US) Iron Rocker Mixed media, wood ironing board, vestment hangers, cotton mop, 2006 The assemblage explores the aesthetic possibility and psychological meaning of reconfigured old and discarded objects.

KATE STONE (US) The Wholly Human Security of Two Earth-Clotted Hands (or How I Learned to Accept That Things Would Never be the Same) grid of 25 prints, archival inkjet print, concrete installation 2012   A monument to the inevitability of change. Workmen ripped up a section of sidewalk and left behind the torn-up chunks of concrete. Defying change and celebrating futility, an attempt to recreate the past.

TATIANA ISTOMINA (US) AND ANGELINA KOTOVA (RU) Here and There 2-channel video installation, 25:21 min, 2015  An impressionistic video-sketch exploring subtle visual and psychological links between two widely dissimilar urban environments - New York City and Nizhny Tagil (an industrial town in Russia’s Ural mountains) is a long-distance collaboration between Istomina and Kotova, in which the two artists virtually follow each other in their wanderings through their respective hometowns, experiencing the unfamiliar spaces through the other person's camera lens.

GROUP J K P (RU) Work/Labor Public art series, photo-documentation, 2014 Group J K P is a collective of young anonymous street artists from Nizhny Tagil. There are probably up to 10 members. By their series of art objects, created from found construction debris, artists try to draw attention to the work of creative professionals. They work and create something new that carries a positive charge, causing one to think about what they do, while others just smile.

KSENIA KOSHURNIKOVA (RU) Packs Collage and mixed media, 2014 Ksenia Koshurnikova works with recycled materials, transforming rejected and unwanted into art. In her series Packs she is trying to excuse her pernicious craving for smoking, collects empty packets and turns them into small art objects.

LISA HEIN AND ROBERT SENG (US) Stump wood stump, chainsaw, 2012  Made at the Yaddo residency where forest is dotted with tree stumps. After learning that Yaddo was opened to artists after all four of the founders' children died the stumps came to represent the children's shortened lives. Intending to create a fountain basin, it turned into a landscape of stumps or a wrecked city.

KENNETH PIETROBONO (US) Industry, Extraction, Displacement outdoor public installation, 2015 Three advertising banners reflect the civic and social environment in the rapidly changing industrial area of Bushwick, Brooklyn. They call to question many kinds of labor that have and do exist there, how it is valued, who it benefits and who and/or what is dispossessed.

PROJECT 59 (US) Mistress Of Copper Mountain 59 disassembled cartons, copper leaf, 2015  Two fairy tales by the famous writer from Ural region, Pavel Bazhov (published when Bazhov was 59) are about the Mistress of Copper Mountain who wears green dress made of thin malachite and a crown, resembling the image of the Statue of Liberty. Promoter of free speech and protector of natural resources, Mistress of the Copper Mountain allegedly shared copper with the Statue (copper flowers decorated walls of her underground palace).

VLADIMIR SELEZNEV (RU) Meeting of Distant Objects newspaper, acrylic, light-accumulating paint, 2015   The installation depends on the room being lit or dark. Two different pictures appear. With light there is the old Tagil Metallurgical Plant, painted over the newspaper of Tagil metallurgists "Tagil Worker”. In the dark there is the Statue of Liberty and glowing lights of New York at night.

QI YOU (US) Remember Single channel video, 2’08”, 2013  Based on personal mythology and perception. In it memory is defined; afer reviewing all of the photos on her computer, she deletes all of them. Photo and memory; the relationship of virtual and actual existence seems opposite.

ROBERT SENG (US) EXIT 853 Carved Exit sign, Ink on polystyrene, 2013-14

CAROL SALMANSON (US) Fragmentary Evidence Yellow LEDs, wire, plexi, gel filters, 2015  Untitled LEDs, wire, plexi, 2015  Working with light and reflective materials and using elements such as LEDs, fluorescents, prismatic reflective road sign material, and diffusion, the artist builds worlds with color and shape that resonate with memory and experience. Aesthetically rich works created with light allowing technology to integrate color and line into the vocabulary of sculpture and architecture.

RITA LEDUC (US) Tallman Mountain State Park (Trout Lily), Stone Barns Center for Food and Agriculture archival print on paper  The “integrated paintings” achieve an empathetic composition by imbedding presence in the process. First, a composition is improvised through painting and drawing on clear acetate. Aligning the material marks and the environment, a photo is then taken, yielding an image fully reliant on the partnership between the 2-dimensional surface, the environment, and the artist's vantage point.

FYODOR TELKOV (RU) Stone's memory Photographs 2014   The montaine and the stone are major components of Ural life. For ancient people they provided a prayer grounds and shelter; for humans in the era of industry they provided minerals, securing subsistence and life. Stone absorbs the new and at the same time represents the old. Myths and Realities co-exist here, forming a special Ural world like no where else. In the Middle Ages Ural was always a crossroad for pagan, Muslim and Christian culture. Therefore, people of different religions did not destroy each other. Russian, Tatars, Bashkirs, Ukrainians, Udmurt, Zyrians, Mari, and Mansi still live in the Urals, next to each other.

IAN TRASK (US) I Found Your Keys #2 Piano keys, wood, felt, plexiglass, and paper, 2014 Matchbox Spore Match boxes and yarn, 2012 Leather Spore Leather belts and yarn, 2014  Seeing the artistic potential in the waste he was confronted with everyday and working with discarded manufactured goods as the main platform for his pieces, he explores the inherent aesthetics of material waste. Focusing primarily on the disassembly of salvaged, once-functional objects, the outcomes of his practice show a broad range of material, visual and conceptual manifestations.

GROUP ZER GUT (RU) Visualization of Domestication or Incident of Modern Ornithology Video documentation of performance, 2002-3  We would like to express a metaphor of art: when an artist creates a work, it is assumed that it should be aesthetic nourishment for the viewer. It means that art is a product of consumption. We also would like to create such a thing that would literally be food. This results in a video performance, where the main participants were urban birds - pigeons, sparrows and tits pecking our self-portraits, made of sunflower seeds. The portraits dissolve, as the birds peck the seeds - an act of self-destructive creation, till nothing remains.

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