Interview with Ink, the artist<\/p>\n
When you are an artist, you are an artist. When you are a musician, you are a musician. When you are a professor, you are a professor. This has its own charm. I call this \u201cliving personas\u201d. You exist in a number of incarnations, and they all are alive. But there are you as well, who is nobody with no name. But it is you.<\/strong> \u2013 What do you do while painting?<\/em><\/p>\n \u2013 Paintings are my self-expression, that is the projection of my inner world into the outer one. It is the outcome of getting acquainted with my subjectivity, and objectification of its contents. And moreover painting is my loneliness that is joyful, because there are only me, canvas, paints, and brush \u2013 that\u2019s all.<\/p>\n \u2013 Tell me, please, about yourself as an artist \u2013 artist Ink.<\/em><\/p>\n \u2013 Art has always been present in my life. In youth I drew a lot, before that in Pioneer\u2019s House I painted in watercolor, one of my works was even shown at the Municipal exhibition. \u00a0 \u00a0It began in earnest later on, in Saint-Petersburg. We had got an art-center there, the room was freshly redecorated. I came there, looked around, and said: \u201cIt would be great to have at this blank wall a painting\u2026 Prime it. I\u2019ll paint\u201d. Having said it, I forgot my words. A month passed, and I received a call. They notified me that the wall had been readied, paints, and brushes as well. I came there and saw a huge piece of particleboard with an incredibly qualitative prime. I had been meditating for a week, and I saw what should appear on it. But I wasn\u2019t an expert in painting at all! It was very interesting to me to take notices on how my hand had been learning by means of self-regulation method of DFC, and resonant interactions. My hand was finding out which paint to take, how to pick up the paint on the brush, how to lay it on. It seemed as if my hand was acting by its own will, while I was only holding to the contrivance. \u2013 Have any artist influenced you? Have you imitated anyone? Have you learned at anybody\u2019s examples? How do you feel in the world of painting? Do you think you belong to it?<\/em><\/p>\n \u2013 Certainly, there are artists whose works are more appealing. I like Van Gogh, Modigliani. I adore decadence, members of \u201cMir Iskusstva\u201d circle, Klimt, Mucha, because I can\u2019t do it like they could, and because it\u2019s beautiful, exquisite. I like Kramskoy, I consider him to be one of the most outstanding portraitists. Dali. He was a genius, of course. But I like more his book \u201cNotes of the Genius\u201d. I appreciate expressionists, especially American. Well then, I like oeuvres that involve me, that I can emotionally connect to. \u2013 Could you tell me about your almost endless portrait gallery?<\/em><\/p>\n \u2013 I think, there is always something of utmost importance. I\u2019m a conservative person so, probably, for me the most significant phenomenon is the man, and his subjective world. The man is his own subjectivity. I was always interested in what is one certain man\u2019s sense of life? There had been a period in my life when I was able to get in contact with human spirit, and even communicate with it. I could find out some facts\u2026 When you paint a portrait, it is sort of the same \u2013 you recognize the person. Each time I feel intrigued, what would eventually come out to the fore. \u2013 Did you start from portraits at once?<\/em><\/p>\n \u2013 At the beginning there was a landscape period. I like the space as it is very much, and what is it filled with, is significant for me too. Now this love to landscape painting preserved from romantic times still peeps out once in a while. I almost never paint landscapes from life, sometimes I take photos, but they are only a motive. I dream scenery up as a rule. I keep inside me many sunrises and sunsets, and something always originates from this. For me the most important thing is image. What is it? And what is it about?<\/p>\n \u2013 Do you usually set goals when you paint? Do you define for yourself, what you are going to express?<\/em><\/p>\n \u2013 To tell you the truth, when I\u2019m an artist \u2013 I\u2019m an artist. I do plan nothing consciously, the image appears, and then I put it on canvas. My greatest work was made after I had been impressed by Leonardo da Vinci\u2019s \u201cThe Last Supper\u201d. I named it \u201cThe Spirit. The Flesh. The Blood\u201d. It consists of many big size canvases. \u2013 Do you know something about your pictures before you have painted them?<\/em><\/p>\n \u2013 One man told me once: \u201cI\u2019d like you to paint archangel Uriel, if possible\u201d. This archangel was sent by the God to teach people. He holds the flame in one hand, and the sword in the other. I answered: \u201cOh, what are you talking about…\u201d I hadn\u2019t ever though of such a deed. But it happens often to me that while drinking coffee or sitting in front of the computer an impulse sweeps me over suddenly. I get up, sometimes I even forget to change clothes, and go to my easel to start painting. So I painted Uriel. I don\u2019t know how I did it. He is very strange by his stature, he is strange by texture, he is weird by range of expression. I\u2019m not able to replicate it, moreover I even can\u2019t remember how it all has happened. [Artist INK\u2019s pictures are shown at galleries and showrooms, his exhibitions are being hosted, permanent expositions of his works are opened. His pictures live in private galleries. Each person having been lucky to purchase Ink\u2019s creations can tell you how do master\u2019s pictures work changing the life space. <\/em> <\/p>\n <\/p>\n In 1996 Igor Kalinauskas discovered an interest for fine arts. Paintings of INK (Igor Nikolajevich Kalinauskas) fascinate with their exciting simplicity and the power of inspiration.<\/p>\n INK as a painter has been strongly concentrated in working exclusively for personal orders. More than 900 paintings have been sold. Most of his works reside in private collections in Canada, USA, England, Cyprus, Czech Republic, Israel, Holland, Italy, Russia, Ukraine, Slovak Republic and Lithuania.<\/p>\n “Many paintings of INK give feeling of something romantic and monumental. Therefore, in spite of the romantic pathos, the motives chosen by the painter are particularly laconic and symbolic. Each painting has a dominating idea that serves a kind of pictorial metaphor or a sign which exposes the author\u2019s intention. Colour is of great importance for INK, who tends to monochrome, trying to archive maximal effect with the help of minimal means.”<\/p>\n Algis UZHDAVINIS PhD, Research associate of Lithuanian Institute of Culture, Philosophy and Art.<\/strong><\/p>\n “His canvases, like still\u2014 frames of a philosophical film, possess their own rhythm, succession and logic. They deal with eternal parable motives, i.e. love, hope, harmony, peace\u2026 Kaleidoscope of rapid modern transnational life is represented in a peaceful synthesis. Slowly but inevitably the painter charms the spectator, coming in contact with the innermost areas of his soul, liberating him and making him see a secret aesthetics of hidden emotions and notions. And like every real painting it satisfies the human\u2019s thirst for the inner peace.”<\/p>\n Mikhail German, Professor, Doctor of Arts, Full Member of the Academy of Humanities, Member of the International Association of Art Critics (AICA), Chief Research associate of the State Russian Museum<\/strong><\/p>\n In April 2008, Igor Kalinauskas has been awarded the Gold Medal of Franz Kafka (Czech Republic)<\/p>\n In March 2009, Igor Kalinauskas was elected to become a member of Masareka Academy of Arts (Czech Republic)<\/p>\n In august 2009, Igor Kalinauskas was elected to become a member of International Vesuvian Academy (Italy)<\/p>\n <\/p>\n November 2008, Moscow, Russia September 2008, Vilnius, Lithuania July 2006, Kiev, Ukraine March 2006, Milan, Italy December 2004, St.-Petersburg, Russia June 2003, St.-Petersburg, Russia February 2003, St.-Petersburg, Russia November 2002, St.-Petersburg, Russia January 2003, Vilnius, Lithuania March 2001, Moscow, Russia February 2001, St.-Petersburg, Russia August 1998, Kaunas, Lithuania June 1998, St.-Petersburg, Russia List of Personal Exhibitions:<\/p>\n December 2015 \u2013 February 2016, INK Gallery, Kazan, Russia. Exhibition \u201eThe Man\u201c <\/p>\n February 2014 \u2013 Nice, France, Depardieu Gallery project, \u00abUltraviolet Light\u00bb \u2013 art in making \u2013 live art & film project (international curator Christina Katrakis). \u00a02013 \u2013 Gary Bowman Gallery, British Club, Lviv. \u201eThe Sacred \u2013 Wandering Stars II\u201c (International curator Christina Katrakis). March 2010 \u2013 Moscow, Russia. Master-studio Chronotope. Exhibition \u201cImpressions. Travelling notes\u201d.<\/p>\n February 2010 \u2013 Moscow, Russia. Elena Vrublevskaya gallery. The exhibition \u201cThe Space Of Primary\u201d. November 2007 \u2013 Moscow, Russia. International Exhibition Centre Crocus Expo. Millionaire Fair. Moscow 2007 \u2013 \u201ePrimordial\u201c, \u201eCreation of planets\u201c. June 2006 \u2013 Paris, France. Creation. List of Group Exhibitions<\/p>\n November 2007, Moscow, Russia September 2007, Moscow, Russia September 2007, Fortanellato (Parma), Italy June 2006, Paris, France January 2006, St.-Petersburg, Russia April 2005, Piacenza, Italy September 2004, Salzburg, Austria 2004, Paris, France 2004, Municipality Vilnius, Lithuania 2003 , Vilnius, Lithuania 2000, Geneva, Switzerland 2000, St.-Petersburg, Russia 1999, St.-Petersburg, Russia 1999, Moscow, Russia <\/p>\n \n June 2006 \u2013 Paris, France. Chapelle Saint-Louis de la Salpetriere. The exhibition \u201eGenese: Paroles de la Creation\u201c. \u201eAh!\u201c, \u201eWOLF\u201c Publications, London, United Kingdom, 2012 Interview with Ink, the artist When you are an artist, you are an artist. When you are a musician, you are a musician. When you are a professor, you are a professor. This has its own charm. I call this \u201cliving personas\u201d. You exist in a number of incarnations, and they all are alive. But […]<\/p>\n","protected":false},"author":1,"featured_media":57,"parent":0,"menu_order":46,"comment_status":"closed","ping_status":"closed","template":"template-page1.php","meta":{"footnotes":""},"class_list":["post-244","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/pages\/244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/comments?post=244"}],"version-history":[{"count":18,"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/pages\/244\/revisions"}],"predecessor-version":[{"id":4392,"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/pages\/244\/revisions\/4392"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/media\/57"}],"wp:attachment":[{"href":"https:\/\/uigoria.ru\/en\/wp-json\/wp\/v2\/media?parent=244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Igor<\/strong><\/p>\n
\n \u00a0 \u00a0In 1996 or 1997, I can\u2019t remember accurately, I started to experiment with gouache, watercolor. I painted fancy flowers, but it all was lightweight. <\/p>\n
\n \u00a0 \u00a0It was madly interesting. The painting had to be 1,5 by 2 meters. I kept fretting for long, but still managed to finish that work. It was named \u201cChasha\u201d (\u201cThe Chalice\u201d). It didn\u2019t bother me who and what would see in it. I cared that it had appeared. It was my first painting.
\n \u00a0 \u00a0And it seemed as if the story had ended. But then we went to Lithuanian Zarasai to spend summer near the lake\u2026 And suddenly I said (it\u2019s always interesting to me when something inside me blurts out unexpected suggestions): \u201cLet\u2019s prepare four canvases \u2013 one for a sketch, and the others for real painting\u201d. We did it. I painted pictures. And the price for \u201cThe Call\u201d picture was considered as starting point for many years.
\n \u00a0 \u00a0How old was I that time? Fifty, I think. I tried to take lessons. The best in Saint-Petersburg painting teacher was found for me. I visited him once, and understood: here it was \u2013 my death. I paid him for three lessons, and didn\u2019t show up again at his studio.
\n Surely, I have read a great deal about painting technique, but usually I invent all on the move. I\u2019ve worked out my own textures and strokes. Or may be they had existed a long time ago, but I discovered them for me myself. I tried it this way and that way. Something had been guiding me from inside. I switched to oil painting fairly quickly, what is more \u2013 I used Dutch oil paints that could be diluted with water. So oil painting became the preferable technique for me for all my life. I can paint anything with oil. I almost never do pencil, charcoal or sepia sketches. I fulfill all the work with a brush.
\n \u00a0 \u00a0I had been standing in front of the easel each day for the first three years no matter if I had the mood or not. I always painted something. Abstract\u2026 I was moving the brush, combining colors, textures. But I did it each day without fail. After three years I painted \u201cThe Consecration\u201d in Cyprus. This picture is dedicated to woman’s esoteric initiation. And I told to myself: \u201cThis is my graduation work\u201d.<\/p>\n
\n \u00a0 \u00a0I believe that inner development, growth of subjectivity isn\u2019t possible without emotional connection to some part of culture. What is culture? All that has outlived the time. Culture doesn\u2019t tell us about human\u2019s deeds in the outer world, but about the man himself, about his internal content that is rich.
\n \u00a0 \u00a0What is more, I extract physiological pleasure from painting. When I paint a picture I get certain sensual enjoyment.<\/p>\n
\n \u00a0 \u00a0I painted more than 400 portraits. I create portraits when I\u2019m asked to, and I adore it. I never know, how would it all turn out. You can paint a man, and suddenly something childish sprouts out to the surface. You start the other portrait, and the man recognizes his mother or father. In the third case you begin with hair nobody knows why. What is happening between me and painting character? How does it get objectified at canvas? It\u2019s an enigma. And I value very high any occasion when I happen to unravel it. A human is a wonderful entity, really admirable.<\/p>\n
\n \u00a0 \u00a0The story is quite weird. I stayed in Milan, and I managed to look at \u201cThe Last Supper\u201d twice. The impression was very strong\u2026 I even saw for a moment my future painting as it would be. I saw the composition, the glass frames, and how many canvases it would be painted on. After a while in Lithuania I heard myself telling to the friends which canvases they need to buy \u2013 what size, and how many. The next time I came there, canvases were on hand. It took three \u201cbouts\u201d, each one a week long, and the work was finished.
\n \u00a0 \u00a0Three of the most numerous collections of my works are now in Bratislava. One collector made me a huge order. But I have got an idea yet, that was formed after visiting Hagia Sophia, where I had seen mosaics preserved from the times of the Byzantine Empire. When the cathedral was turned into the mosque, pasha prohibited to demolish mosaics. I titled my idea \u201cThe Ancestors Gold\u201d. This is the painting series showing as if the process of scouring out cathedral\u2019s walls: all the surface was covered with chalk, then they started to take it off, and something began to appear in the cleaned out spaces\u2026
\n \u00a0 \u00a0But I also painted \u201cThe Twelve Angels\u201d. This picture was exhibited in Leonardo da Vinci\u2019s Museum in Milan at first. It is symbolical. I was stunned that some Italians were crossing themselves looking at this picture. But there is nothing distinct on it. One Japanese man was coming each day, while the exhibition was opened, he got seated in lotus position and meditated. He sat facing the picture. The last visitor who had come to the exhibition was walking on crutches. He was taken there by his friends. He walked in, sat on a bench, and was sitting for very long. It was the most important evidence to me. I think this contemplation had given him something.<\/p>\n
\n \u00a0 \u00a0But there are pictures I see, and I paint them step by step. I wait for one layer to dry, then for the next, I\u2019m sure that I\u2019ll finish this painting whatever. It happens sometimes that I begin knowing nothing\u2026 I stare, stare. Then I make a background consisted of six layers at times, after that I get down to a texture suddenly, and so on. Gradually all the picture reveals as if you are developing a photo.<\/p>\n
\n Professionals of the arts world recognized talent and skill of the artist in 2015 giving him the title of Russian Academy of Arts honorary member. <\/em>
\n The artist INK began his carrier from \u201cFlowers of Kindness\u201d. Later on there was landscape period. Artistic searches were moving on from figurative painting to the unique INK\u2019s style, to his spatial manner, that gives an impression of music laid with paints on canvas. <\/em>
\n \u201cThe Mystery of Time\u201d, \u201cThe Wandering Stars\u201d, \u201cThe Spirit. The Flesh. The Blood\u201d, \u201cThe Ancestors Gold\u201d are iconic series of paintings executed in a unique manner involving interaction with alive space. <\/em>
\n The gallery of entity portraits represents the separate trend in the artist\u2019s work. Knowledge of Kalinauskas-psychologist about a man, and his artist\u2019s skill are conjoined in this series. <\/em>
\n We can describe INK\u2019s style of work with these words: \u201cI see like this\u201d. We are fortunate enough to look at the world through the eyes of the man, who embodied his knowledge about it on his canvases. <\/em>
\n \u201cThe Entery into the Fire\u201d, \u201cThe Gate\u201d, \u201cThe Schwarzwald\u201d\u2026 One can travel along INK\u2019s paintings finding there energy, knowledge, and spiritual strength. \u201cThe Art is a touch to eternity\u201d, \u2013 said Igor Kalinauskas in one of his lectures on culture thus enunciating the main principle of his work.]<\/em><\/p>\nList of Personal Exhibitions<\/h2>\n
\n The Slovak institute in Moscow
\n The exhibition \u201cWandering stars\u201d<\/p>\n
\n Gallery \u201cActus magnus\u201d
\n The exhibition \u201cAbstract erotica. Series \u201cBreast\u201d<\/p>\n
\n American Chamber of Commerce
\n The exhibition \u201cWandering stars\u201d<\/p>\n
\n The Museum of a science and technique Leonardo Da Vinci
\n \u201cThe Last Supper: Spirit, Flesh, Blood\u201d<\/p>\n
\n House-museum of Brodsky
\n \u201cMagician\u2019s Office or Mystery of Time\u201d<\/p>\n
\n Gallery \u201cINK CLUB\u201d
\n \u201cElements of fire\u201d<\/p>\n
\n Gallery \u201cINK CLUB\u201d
\n \u201cThe Mystery of loneliness\u201d<\/p>\n
\n Gallery \u201cINK CLUB\u201d
\n \u201cDedication\u201d<\/p>\n
\n Gallery \u201cStiklo karoliukai\u201d
\n \u201cThe Mystery of loneliness\u201d<\/p>\n
\n Gallery \u201cParadise\u201d
\n \u201cPrank\u201d<\/p>\n
\n Gallery \u201cPalette\u201d
\n \u201cDedication\u201d<\/p>\n
\n House of Percunas<\/p>\n
\n Fund of the free Russian modern art<\/p>\n
\n \u201ePortraits\u201c, 2015, solo art exhibition,\u201cJump Gallery\u201c, Poltava, Gallery, Ukraine
\n March 2015 \u2013 \u201eEternal Light\u201c Art Project, \u201eThe Last Supper\u201c installation, Poltava Museum of Art, Poltava, Ukraine.
\n September 2014 \u2013 RAR Gallery, Berlin, Germany,. Part of Art Berlin Art Fair Project \u00abThe Last Supper\u00bb installation (international curator Christina Katrakis).
\n September 2014 \u2013 \u00abEich Blatt Gallery\u00bb Berlin, Germany, Part of Art Berlin Art Fair Project \u00abUltraviolet Light\u00bb (international curator Christina Katrakis).<\/p>\n
\n January 2014 \u2013 New York, USA Caelum Galley, Chelea. \u201eThe City \u2013 New York\u201c (international curator Christina Katrakis).<\/p>\n
\n 2012 June-July \u2013 \u201eEternal Light\u201c the exhibit of \u201eThe Last Supper\u201c installation. Lavra Gallery, Kyiv (curator Galina Pogorelova).
\n 2012 January \u2013 \u201eRebirth: dreams and Memories\u201c installation, for Bond Magazine, Saatchi Gallery, London.
\n 2012 April \u2013 \u201eThe Gray Circle\u201c Installation, Saatchi Gallery, London.
\n 2012 December \u2013 \u201eThe Enigma\u201c by U:3D, contemporary dance performance art piece, director & artist Igor Kalinauskas, for Bond Magazine & U:3D, Saatchi Gallery, London (part of the \u201eRebirth: Dreams and Memories\u201c project).
\n 2011 October-November \u2013 \u201eThe Cage\u201c, installation & performance art, artist & director Igor Kalinauskas, for The Cage Magazine, Bratislava.
\n 2011 March \u2013 \u201eTenderness\u201c Performance Art, Slovak National Theater, Bratislava, Slovak Republic.
\n May-July 2011 \u2013 Moscow, Russia. Elena Vrublenskaya gallery. The exhibition \u201cMagician\u2019s office\u201d.
\n April-May 2011 \u2013 Bratislava, Slovakia. Slovak National Theatre SND. The exhibition \u201cSpirit. Flesh. Blood\u201d.
\n August 2010 \u2013 Art Concept Gallery, Zurich, Switzerland. The exhibition \u201eWandering Stars\u201c.<\/p>\n
\n November 2008 \u2013 Moscow, Russia. Slovak Institute \u2013 Slovak Cultural Center.
\n September 2008 \u2013 Vilnius, Lithuania. Gallery \u201eActus magnus\u201c. The exhibition \u201eAbstract erotica. Series \u201eBreast\u201c.<\/p>\n
\nSeptember 2007 \u2013 Moscow, Russia. International festival \u201eTransformation\u201c. The exhibition \u201eThe Last Supper: Spirit, Flesh, Blood\u201c.<\/p>\n
\nJuly 2006 \u2013 Kiev, Ukraine \u2013 American Chamber of Commerce. The exhibition \u201eWandering stars\u201c.<\/p>\n
\n June 2006 \u2013 Odessa, Ukraine. Odessa City Museum of Literature.
\n March 2006 \u2013 Milan, Italy. Leonardo da Vinci National Science & Technology Museum. The Last Supper: Spirit, Flesh, Blood.
\n December 2004 \u2013 St. Petersburg, Russia. The Joseph Brodsky Museum. Mystery of Time (The Magician\u2019s Office).
\n June 2003 \u2013 St. Petersburg, Russia. INK Club. The Fire Element.
\n February 2003 \u2013 St. Petersburg, Russia. INK Club. Mystery of Loneliness.
\n January 2003 \u2013 Vilnius, Lithuania. Stiklo karoliukai Gallery. Mystery of Loneliness.
\n November 2002 \u2013 St. Petersburg, Russia. INK Club. The Dedication.
\n March 2001 \u2013 Moscow, Russia. Paradise Gallery. Pranks.
\n February 2001 \u2013 St. Petersburg, Russia. Palitra Gallery. The Dedication.
\n August 1998. Kaunas, Lithuania. House of Perkunas.
\n June 1998 \u2013 St. Petersburg, Russia. Free Russian Contemporary Art Fund.<\/p>\n
\n International Exhibition Centre Crocus Expo
\n Millionaire Fair Moscow 2007
\n \u201cPrimordial\u201d , \u201cCreation of planets\u201d<\/p>\n
\n International festival \u201cTransformation\u201d
\n The exhibition \u201cThe Last Supper: Spirit, Flesh, Blood\u201d<\/p>\n
\n Rocca dei Sanvitale
\n The exhibition \u201cGenesi: Parole della creazione\u201d<\/p>\n
\n Chapelle Saint-Louis de la Salpetriere.
\n The exhibition \u201cGenese: Paroles de la Creation\u201d<\/p>\n
\n The Russian State Ethnographic Museum.
\n The exhibition of modern artists of St.-Petersburg
\n \u201cArtindex \u2013 2006\u201d<\/p>\n
\n The exhibition \u201cChakra\u201d<\/p>\n
\n Gallery Berchtoldvilla
\n The exhibition \u201cDeeper\u201d<\/p>\n
\n International festival of Montmartre<\/p>\n
\n The exhibition \u201cRed\u201d in the project \u201cthe Greatest gallery in Lithuania\u201d<\/p>\n
\n International festival \u201cDays of capital\u201d
\n The exhibition-project \u201cGallery of prospectus Gediminas\u201d<\/p>\n
\n International fair of the EURO-ART<\/p>\n
\n The Annual exhibition of the St.-Petersburg artists
\n \u201cPetersburg 2000\u201d<\/p>\n
\n The Annual exhibition of the St.-Petersburg artists
\n \u201cPetersburg ‘ 99\u201d<\/p>\n
\n The central House of the Artist
\n The exhibition of the Russian artists<\/p>\n
\n January 2006 \u2013 St.-Petersburg, Russia. The Russian State Ethnographic Museum. The exhibition of modern artists of St.-Petersburg. \u201eArtindex \u2013 2006\u201c.
\n April 2005 \u2013 Piacenza, Italy. Chakra.
\n September 2004 \u2013 Salzburg, Austria. Berchtoldvilla Gallery. Deeper.
\n 2004 \u2013 Paris, France. International festival of Montmartre.
\n 2004 \u2013 Municipality Vilnius, Lithuania. The exhibition \u201eRed\u201c in the project \u201ethe Greatest gallery in Lithuania\u201c.
\n 2003 \u2013 Vilnius, Lithuania. International festival \u201eDays of capital\u201c. The exhibition-project \u201eGallery of prospectus Gediminas\u201c.
\n 2000 \u2013 Geneva, Switzerland. International Art Fair Europ\u2019ART.
\n 2000 \u2013 St. Petersburg, Russia. Annual Exhibition of the St. Petersburg artists \u201ePetersburg 2000\u201c.
\n 1999 \u2013 St. Petersburg, Russia. Annual Exhibition of the St. Petersburg artists \u201ePetersburg\u201999.
\n 1999 \u2013 Moscow, Russia. Central House of Artists. Exhibition of Russian Artists.
\n Catalogs:<\/p>\n
\n \u201eBond Magazine Project\u201c, Saatchi Gallery, London, United Kingdom, 2012
\n \u201eThe Cage \u2013 The Story of Beauty\u201c, The Cage Magazine Project, Bratislava, 2011
\n \u201eSpirit, Flesh, Blood\u201c, Leonardo da Vinci National Science & Technology Museum, Milan, Italy, 2006
\n \u201eEternal Light\u201c, Lavra Gallery, Kyiv, 2012
\n \u201eThe Sacred\u201c, Gary Bowman Gallery, Lviv, 2013
\n \u201eIgor Kalinauskas \u2013 Painting\u201c, Moscow, 2002<\/p>\n","protected":false},"excerpt":{"rendered":"