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Fyodor Pavlov-Andreevich
Fyodor Borisovich Pavlov-Andreevich (Russian: Фёдор Бори́сович Па́влов-Андрее́вич, April 14, 1976, Moscow, Russia) is a Brazilian artist, curator, and theater director. Early life and educationPavlov-Andreevich was born in Moscow to film historian Boris Pavlov and writer Lyudmila Petrushevskaya. He is the great-grandson of the linguist Nikolay Yakovlev, and the great-great-grandson of the Ukrainian Jewish revolutionary Ilya Weger. He graduated with MA in European literature from Moscow State University's department of journalism in 1999. Pavlov-Andreevich first made a name for himself in the 1990s as a young journalist and presenter for Russian print and television outlets. At the end of the 1990s, he began producing projects in the contemporary culture sector.[1] From the 2000s onward, he has worked as a theater director, performance artist, and curator. He lives between São Paulo and London.[2] CareerTheatreIn 2002, Pavlov-Andreevich made his theatrical debut with 'BiFem', based on the play by Lyudmila Petrushevskaya. In 2003, the play received the New Word ('Novoe slovo') award at the New Drama ('Novaya drama') Festival.[3] Among his other theatrical works are 'Old Women' ('Staroukhy'), a thirty-minute experimental opera based on the Daniil Kharms story that was nominated for two Golden Mask awards in 2010;[4] and 'Andante', a 'dramatic dance' production based on another play by Petrushevskaya, first performed at the Meyerhold Centre in 2016. Contemporary artSince the end of the 2000s, Pavlov-Andreevich has worked in the field of contemporary art. He has collaborated with Marina Abramović,[5] Serpentine Gallery director Hans-Ulrich Obrist,[6] and MOCA LA director Klaus Biesenbach, and Performa Biennale founder and director RoseLee Goldberg. Marina Abramović once said on Pavlov-Andreevich’s practice: "His art is capable of surprising us with ever new ways of seeing the world we live in."[7] Pavlov-Andreevich's solo presentations have been shown at the Garage Museum of Contemporary Art (Moscow), the Künstlerhaus (Vienna), Faena Arts Center (Buenos Aires), the CCBB Cultural Center (Brasilia), Deitch Projects (New York City), ICA (Institute of Contemporary Arts, London), MAC USP Museum and SESC Cultural Center (both São Paulo), among the others. PerformancePavlov-Andreevich earned international recognition thanks to one of his guerrilla performances, 'The Foundling', in which a nude Pavlov-Andreevich, encased in a glass box, was literally thrown into a series of society events without their organizers' permission. Among them were the gala opening of the new building of the Garage Museum of Contemporary Art in Moscow, a dinner by French patron François Pinault at the Venice Biennale, and the Met Gala in New York. During the performance at the Met Gala on May 2, 2017, he was arrested by New York City police for trespassing on private property and public nudity, then sent to Central Booking prison, where he spent 24 hours.[8][9] His series of performances, Temporary Monuments (2014–2017), along with solo shows by the same name at Moscow's Pechersky Gallery (2016) and the Museum of Contemporary Art at the University of São Paulo (2017), was dedicated to the problem of contemporary slavery in Brazil and Russia. In each of the seven performances in the series, the artist immersed himself in the conditions which slaves were (or are) forced to endure.[10] In one of them (Pau de Arara), he submits himself to a type of medieval torture still used by the Brazilian police's special forces; in another (O Tigre), he performs a Brazilian slave ritualistic punishment, in which a person must cross Rio de Janeiro while carrying a basket of sewage on their head.[11][12] Pavlov-Andreevich's artistic practice focuses on three subjects: the distance between the spectator and the work of art in performance, the temporality and vulnerability of the human body, and the connection between the sacred and the obscene. British art historian Adrian Heathfield described Pavlov-Andreevich's practice as follows: ‘Fyodor is making powerful work in a performance art lineage that deals with power, bodies and participation. He’s also something of brilliant interventionist – his Foundling performances have caused quite a stir.’ Curatorial practiceBeginning the 2000s, Pavlov-Andreevich served as director of the Solyanka State Gallery in Moscow, the country's first gallery dedicated to live art. Political protests and activismHe resigned from Solyanka following the forced cancellation of a solo exhibition by artist/activist Katrin Nenasheva (2018) which was banned from opening by the state authorities.[13] Since day one of the Russian invasion in Ukraine, Pavlov-Andreevich became quite vocal against Putin's aggression, dedicating both his live work and activism to Ukraine and its defenders. Works in collections
Selected solo shows and performances2023
2021
2019
2018
2017
2016
2015
2014
2013
2012
2011
2010
2010
2009
2008
Selected group shows2017
2015
2013
2011
2009
2008
Selected theatre projects2019
2017
2016
2015
2013–2014
2012
2010
2008
2004
References
External linksInformation related to Fyodor Pavlov-Andreevich |
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