Mihai Tarus / Biography

Education
1964 - Graduates "A. V. Sciusev" Art School for children, class of professor Petru Pascaru, Chisinau
1968 - Graduates "Al. Plamadeala" Republican College of Arts, Chisinau, class of professor Vasile Toma (1937-1984) and Ada Zevin, History of Arts professor
1969 - Together with Mihai Grecu, (Moldovan artist 1916-1998) is being engaged in a long-lasting series of intellectual dialogues about the source, the essence, the function and the destiny of art, as well as the condition of the artist. These dialogues had a positive influence on the further development of young Mihai Tarus' vocation.
1971 - Gets in touch with Kazimir Malevich's follower and pupil, Vladimir Sterligov (1904-1973), well known as the "leader of Sankt-Petersburg school", who was promoting a personal creative system under the name of "cup-dome". Once Mihai Tarus was accepted in Sterligov's personal studio as an unofficial student, the efforts of Tarus are being directed towards the concept that the plastic principles are the premises of the creative process -- The brightening of the palette, the chromatic amplification - impressionism; the geometrization - P. Sezanne; the non-objectivity - cubism; the distribution of weight in the imponderable system, the state of stress, suprematism - K. Malevich; the theory of the rectangular analysis of colour - M. Matyushin; the 'cup-dome' system, the spun spherical space, meobiusity, ambient geometry - V. Sterligov - all these have grafted the young artist's creative personality.
1974-1985 - Member of the "Sterligov Group", develops further and exhibits his works in the studio of Tatiana Glebov, a pupil of artist P. Filonov.
1975 - Graduates the Faculty of Painting of the Academy of Fine Arts, Sankt-Petersburg, Russia.
Exibits at the second edition of "Official Exhibition of Unofficial Plastic Artists", at the Palace of Culture of Sankt-Petersburg. Exhibitions of this kind were allowed by the State authorities only in large cities, as a sign of the regime's tolerance to underground art.
1976-1980 - Preoccupied with serial elaborations, Tarus prefers the materialization through the bas-relief technique of bifacial expression as in the: "Fruit", "Leaves", "Sign". The organization of plasticity is centered on the differentiation - integration of volumes with the energetic power of color. Simultaneously, makes the structure of space more complicated, adding heterogeneous materials like: oil-pencil, oil-gypsum, etc. Analyzing the color in co-relation with the volume leads to a series of conclusions. Thus, the bright colors such as red, orange, green and purple diminish up to annihilation of the perception of volumes; yellow and the non-colors - white, gray and black, have the necessary potential to create harmonious combinations favorable to the distinct emphasis of forms. Interpreting the space entity through color, the artist redefines the notion of the creation. The above-mentioned conclusions, in big lines, are nothing else but scientific investigations. The space in paintings presents the direct expression of the effects, which are associated with the admittance/non-admittance of the third color as a means to stabilize, to balance, to equate or to tense either two neighboring colors, or two complementary colors/non-colors.
1980 - Persists in elaborating a new version regarding the instrument of the creative process - the techniques. The technique prevails the form. The artist starts with the axiom that the touch of the brush represents a unity of action, be it applied with the brush, the palette knife or something else. The actions create a variety of modalities. For example, using the palette knife contributes to the creation of the plastic form. That happens at the junction of gestures with the aleatory effects of the specific behavior of the material base (bearer of the chromatic power).
The same year Tarus meets Larisa Astrein, the artist with whom he continues to collaborate up to date.
1981 - The first personal exhibition at the Scholars' House in Sankt-Petersburg, with about 40 works in techniques as: assemblage, painting, collage & graphics. The exhibition has proved to be a far-reaching manifestation, pre-eminently avant-gardist, raising the interest of both: diplomatic circles and those of the party nomenclature. The reactions to this exhibition varied between superlative apologetic notes and disparagements of the genre. "He seems to be a person too undecided in "his intuitions" - was the opinion of state representatives; "He is arrogating too many responsibilities to himself, seen the difficulty and delicateness of the problems", "The essence of V. Sterligov's 'cup-dome' system is vulnerable" - were the opinions expressed by so-called artists - colleagues.
1981-1985 - During these years Tarus works actively as a member of Sterligovan Artists Group, regenerated by G. Zubkov. The aim of this group was to continue the research on form and color started by Sterligov. The research was based on the accomplishments of the cubists, on K. Malevich's researches in the 20s and on those of the precursors who valued the ideas of the avant-garde artists a lot, on the elaborations of the 60s-70s, which were logically matching with V. Sterlingov's "ambient geometry". The program was aiming to different styles of the superior interpretation of the plastic principles such as the division of the form, the cutting of the form, the up-down and left-right/right-left movements, the form creating the form.
1984-1988 - Tarus perceives the form as an imminent state of disintegration of any given thing, meaning that the unity of content of a painting represents a sum of differences, or the plurality which is plastically visualized in a foreground image and namely through the multiplication of the same elements.
1988-1995 - Researches thoroughly the techniques, reconsidering the reverse action of the material base already structured in the plastic modeling of the author. Varies the techniques, materials and dimensions. The subject of his paintings was the sum of differences. The aim of his activity was to end with the OBJECT.
1995-1997 - Goes beyond the affection for the 70s, preferring the logic unrestricted by the conveniences in art. Thus, the retackling of some motives from the earlier bas-reliefs leads Tarus to the creation of objects. Undertakes research and develops the idea of structured information in the artistic image and, implicitly, the communication by its means.
1996-1997 - Organizes large solo exhibitions in Chisinau and Bucharest. Finds new solutions to the already accomplished subjects, motives and styles, by supplementing, completing, amplifying and varying the foreground images. By doing so, Tarus creates his personal representative style.
1999 - Accomplishes the successful project-exhibition under the title of "Time Element in Painting". That was based on Tarus's original concept on form as the time of evolution. He conventionally called it "Compressed Time. Receives the honorary title: MAESTRU IN ARTA offered by the Government of Republic of Moldova.

Selected publications
Afanasieva I., "The sincerity of the plastic expression", Isskusstvo Leningrada, Leningrad, 1991
Bulat Vl., Art and ideology, Cartier, Chisinau, 2000
Bulat Vl., "Visualised music", Sud-Est nr.14, 1993-1994, Chisinau
Bulat Vl., "The philosophy of image in the works of M.Tarus", Tineretul Moldovei Nr.92, 1991, Chisinau,
Kulbin A., "The School of T.Glebova and V.Sterligov", Russkaja Mysli nr.3876, Paris, 1991
Dumitru Raluca Olga, "Space and time in the painting", AD/2, Bucharest, 2000
"The Encyclopedia of the Contemporary Romanian Artists", vol. II, Arc, Bucharest, 2000
Evseeva R.S., "The notebooks of an art critic from Sankt-Petersburg", Sankt-Petersburg, 1996
Kovtun E., "The soul breathes where it wants", Mera nr.2, 1993
Mardare G., Zaharia D. N., "Mihai Tarus", Catalogue, CSAC, Chisinau, 1996
Mardare G., "M. Tarus - at the Intersection of Visual and Spiritual Existence", Literatura si Arta nr-51, 1996
Negru R., "Mihai Tarus' 96", Sud-Est nr-4, Chisinau, 1996
"Postglasnosty and Contemporary Art from Sankt-Petersburg", Catalogue, Purdue University Galleries, USA, 1996
"Russian-Soviet Contemporary Art Exhibition", Catalogue, Bompodo Art Gallery, Japan, Ho-am Gallery, South Korea, 1990
Sinelnikova V., "Once again about the artists of Gazo-Nevsky culture. Non-conformism", Sankt-Petersburg University, 2000
"Sankt-Petersburg Today", Catalogue, LenArt, Mandal, Stavanger, Norway, 1992
Zaharia D. N., "Artists from Basarabia: Mihai Tarus", Cronica nr-32, Iasi, 1991
"Zeitgenossische kunst moldaviens", Catalogue, Ansbah, Germany, 1998
Zemsky V., "Spiritually biological compatibility", NEVA nr-7, Sankt-Petresburg, 1999
Zubkov G., "Visit the exhibition", Leningrad University, April 1981
Soittoa Vareilla, "Kymen Sanomat" nr-149, 1998, Kotka, Finland
"Sterligov's Group: Paintings from Russia", Art News, May 1995
"Schilderkunst uit Sint-Petresburg Vandaag", Catalogue, Gent, Belgium, 2000
"The Disciples of Sterligov", Art Panorama nr-1, Moscow, 1993

Documentaries
- "M.Tarus's confessions" - directed by N. Canter, N. Bruma, Moldova TV, 1996
- "From st.Petersburg to Bucharest", produced by P. Galmeanu, Bucharest, Romania, 1997
- "Exhibition Mihai Tarus in Chisinau", directed by N. Canter, Moldova TV, 1996
- "The phenomenon of the modern artist". dialogue with V. Grigore, directed by L. Stankevich, Moldova TV, 1992
- "The artist M.Tarus". dialogue with the writer A.Burac, Moldova TV, 1989
- "Time element in Painting, Condensed Time", directed by N. Canter, Moldova TV, 1999
- "Signs",TV Moldova, 2001.
- "Enciphering-Signs", TV Moldova, 2003.

Solo Exhibitions
1981 - House of Scholars, Leningrad, Russia
1996 - UAP Gallery, Chisinau, Republic of Moldova
1997 - Galleries of the Romanian Parliament, Bucharest, Romania
1998 - "Variations", Kotka, Finlanda
1999 - "Time element in Painting", National Museum of Fine Arts, Chisinau, Republic of Moldova
2001 - "Signs", Gallery Brancusi, Chisinau
2001 - Site internationale des Arts, Paris
2003 - Enciphering-Signs, Gallery Brancusu, Chisinau
2003 - Space and time,dialogue Tarus-Astrein, museum V.Nabocov, St. Petersburg.

Exhibitions
1975 - "Exhibition of Informal Painters". The Nevsky Palace of Culture, Leningrad, Russia
1988 - "Sterligov and his Disciples". New Passage. Leningrad, Russia
1990 - "Contemporary Art in Sankt-Petersburg", Stavanger, Norway; Leningrad, Russia
"Russian-Soviet Contemporary Art". Bompodo Art gallery. Tokyo, Japan, Ho-am Gallery, South Korea
"Contemporary artists in the memory of Malevich", Tretyakov Gallery, Moscow, Russia

"Sterligov group". The City History Museum, Leningrad, Russia "Our language", UAP Hall, Chisinau
1992 - "In Richtung zu Malewitsch". Karenina Gallery. Vienna, Austria
Art-contract- Sankt-Petersburg, Manege, Russia
"Sankt-Petersburg to day", Mandal, Norvay
1994 - "Halls of Moldova", UAP Hall, Chisinau, Bacau
1995 - "Sterligov Group: Paintings from Russia". Neuhoff Gallery. New York, USA
"L'ame Slave, Le groupe Sterligov". Medias Forum. Beziers, France
"Mostra collective". Ancona. Italy
"M.Tarus - L.Astrein". Museum of sculpture. Sankt-Petersburg, Russia
1996 - "Near Sterligov", Russian Museum, Sankt-Petersburg, Russia
"Eastern Europe: SPATIA NOVA". IV biennial exhibition, Sankt-Petersburg
1997 - "Alla Fiera". With gallery RotaRoss, Italy
"Messages from Tzara, Meditations in RE-". Organized by Soros Center for Contemporary Art, Chisinau, Moldova
1998 - "Jerusalim - 2000". UAP Exhibition Hall, Sankt-Petersburg
"Fall Exhibition". UAP Gallery, Chisinau
1999 - "Sankt-Petersburg' 99", Manej, Sankt-Petersburg
2000 - "Tradition and modernity". UCAP Exhibition Hall, IFA, Sankt-Petersburg
"Schilderkunst uit Sint-Petersburg Vandaag", Gent (Oostakker), Belgium
2000 - Traditions and contemporari,Gallery IFA, St. Petersburg
2001 - Sterligov' space/ Palas Anichkov, St. Petersburg
2002 - Di...segni d,autore,rassegna di maestri del designo del Novecento, Galleria Arte Rotaross, Novara, Italia
2003 - Art of Nations, Moskauw
2003 - Formerely sovietic painters, Novara, Italy
2003 - At home, Bukarest, Romania
2003 - Avangarda de pe Neva, second half of XX century, Treteakov Gallery, St. Petersburg, 2003, Manej, St. Petersburg

Public collections
National Museum of Fine Arts of Moldova, Chisinau, Republic of Moldova
Ministry of Culture, Bucharest, Romania
Tretyakov Gallery, Moscow, Russia
Russian Museum, Sankt-Petersburg, Russia
City History Museum of Sankt-Petersburg, Russia
Museum of Arts, Jaroslavl, Russia
National Museum of Arts. Alma-Ata, Republic of Khazakhstan
The Headquarter of the Museums from the Sankt-Petersburg Regions, Sankt-Petersburg, Russia
Museum "Tsharskoselskaya Collection", Pushkin, Russia
The Norton Dodge Collection, The Ruthger University, USA
Tatiana and Natalia Kolodzey' Foundation, Moscow, Russian Federation
Youth and Sport Foundation, Bucharest, Romania
Nordex Concern, Vienna, Austria
Saturn Bank, Moscow, Russian Federation
Museum of Nations, Company, Moscow, Russia
Moldova Agroindbanca, Chisinau, Republic of Moldova

Private collections
Anatoly and Gala Sidorov Collection, Sankt-Petersburg, Russia
Gala and Felix Chudnovsky Collection, Sankt-Petersburg, Russia
Irina and Victor Kxenzoff Collection, Sankt-Petersburg, Russia
and others.

Biography
1948, born on December, 10 in the family of Ana and Gheorghe Tarus, in the village of Sinesti, Ugheni district, Republic of Moldova Contact Address Mihai Tarus str-la V. Ctasescu 42, MD 2059 Chisinau, Republic of Moldova Tel. studio: (373 2) 44 97 08, home (373 2) 46 06 42 e-mail: tarusmus@yahoo.com Kosmonavtov Bd. 66, apt. 17, 196233 Sankt Petersburg, Russia Tel. studio (812) 233 14 72, home (812) 127 39 92		Education 1964 - Graduates "A. V. Sciusev" Art School for children, class of professor Petru Pascaru, Chisinau 1968 - Graduates "Al. Plamadeala" Republican College of Arts, Chisinau, class of professor Vasile Toma (1937-1984) and Ada Zevin, History of Arts professor 1969 - Together with Mihai Grecu, (Moldovan artist 1916-1998) is being engaged in a long-lasting series of intellectual dialogues about the source, the essence, the function and the destiny of art, as well as the condition of the artist. These dialogues had a positive influence on the further development of young Mihai Tarus' vocation. 1971 - Gets in touch with Kazimir Malevich's follower and pupil, Vladimir Sterligov (1904-1973), well known as the "leader of Sankt-Petersburg school", who was promoting a personal creative system under the name of "cup-dome". Once Mihai Tarus was accepted in Sterligov's personal studio as an unofficial student, the efforts of Tarus are being directed towards the concept that the plastic principles are the premises of the creative process -- The brightening of the palette, the chromatic amplification - impressionism; the geometrization - P. Sezanne; the non-objectivity - cubism; the distribution of weight in the imponderable system, the state of stress, suprematism - K. Malevich; the theory of the rectangular analysis of colour - M. Matyushin; the 'cup-dome' system, the spun spherical space, meobiusity, ambient geometry - V. Sterligov - all these have grafted the young artist's creative personality. 1974-1985 - Member of the "Sterligov Group", develops further and exhibits his works in the studio of Tatiana Glebov, a pupil of artist P. Filonov. 1975 - Graduates the Faculty of Painting of the Academy of Fine Arts, Sankt-Petersburg, Russia. Exibits at the second edition of "Official Exhibition of Unofficial Plastic Artists", at the Palace of Culture of Sankt-Petersburg. Exhibitions of this kind were allowed by the State authorities only in large cities, as a sign of the regime's tolerance to underground art. 1976-1980 - Preoccupied with serial elaborations, Tarus prefers the materialization through the bas-relief technique of bifacial expression as in the: "Fruit", "Leaves", "Sign". The organization of plasticity is centered on the differentiation - integration of volumes with the energetic power of color. Simultaneously, makes the structure of space more complicated, adding heterogeneous materials like: oil-pencil, oil-gypsum, etc. Analyzing the color in co-relation with the volume leads to a series of conclusions. Thus, the bright colors such as red, orange, green and purple diminish up to annihilation of the perception of volumes; yellow and the non-colors - white, gray and black, have the necessary potential to create harmonious combinations favorable to the distinct emphasis of forms. Interpreting the space entity through color, the artist redefines the notion of the creation. The above-mentioned conclusions, in big lines, are nothing else but scientific investigations. The space in paintings presents the direct expression of the effects, which are associated with the admittance/non-admittance of the third color as a means to stabilize, to balance, to equate or to tense either two neighboring colors, or two complementary colors/non-colors. 1980 - Persists in elaborating a new version regarding the instrument of the creative process - the techniques. The technique prevails the form. The artist starts with the axiom that the touch of the brush represents a unity of action, be it applied with the brush, the palette knife or something else. The actions create a variety of modalities. For example, using the palette knife contributes to the creation of the plastic form. That happens at the junction of gestures with the aleatory effects of the specific behavior of the material base (bearer of the chromatic power). The same year Tarus meets Larisa Astrein, the artist with whom he continues to collaborate up to date. 1981 - The first personal exhibition at the Scholars' House in Sankt-Petersburg, with about 40 works in techniques as: assemblage, painting, collage & graphics. The exhibition has proved to be a far-reaching manifestation, pre-eminently avant-gardist, raising the interest of both: diplomatic circles and those of the party nomenclature. The reactions to this exhibition varied between superlative apologetic notes and disparagements of the genre. "He seems to be a person too undecided in "his intuitions" - was the opinion of state representatives; "He is arrogating too many responsibilities to himself, seen the difficulty and delicateness of the problems", "The essence of V. Sterligov's 'cup-dome' system is vulnerable" - were the opinions expressed by so-called artists - colleagues. 1981-1985 - During these years Tarus works actively as a member of Sterligovan Artists Group, regenerated by G. Zubkov. The aim of this group was to continue the research on form and color started by Sterligov. The research was based on the accomplishments of the cubists, on K. Malevich's researches in the 20s and on those of the precursors who valued the ideas of the avant-garde artists a lot, on the elaborations of the 60s-70s, which were logically matching with V. Sterlingov's "ambient geometry". The program was aiming to different styles of the superior interpretation of the plastic principles such as the division of the form, the cutting of the form, the up-down and left-right/right-left movements, the form creating the form. 1984-1988 - Tarus perceives the form as an imminent state of disintegration of any given thing, meaning that the unity of content of a painting represents a sum of differences, or the plurality which is plastically visualized in a foreground image and namely through the multiplication of the same elements. 1988-1995 - Researches thoroughly the techniques, reconsidering the reverse action of the material base already structured in the plastic modeling of the author. Varies the techniques, materials and dimensions. The subject of his paintings was the sum of differences. The aim of his activity was to end with the OBJECT. 1995-1997 - Goes beyond the affection for the 70s, preferring the logic unrestricted by the conveniences in art. Thus, the retackling of some motives from the earlier bas-reliefs leads Tarus to the creation of objects. Undertakes research and develops the idea of structured information in the artistic image and, implicitly, the communication by its means. 1996-1997 - Organizes large solo exhibitions in Chisinau and Bucharest. Finds new solutions to the already accomplished subjects, motives and styles, by supplementing, completing, amplifying and varying the foreground images. By doing so, Tarus creates his personal representative style. 1999 - Accomplishes the successful project-exhibition under the title of "Time Element in Painting". That was based on Tarus's original concept on form as the time of evolution. He conventionally called it "Compressed Time. Receives the honorary title: MAESTRU IN ARTA offered by the Government of Republic of Moldova. Selected publications Afanasieva I., "The sincerity of the plastic expression", Isskusstvo Leningrada, Leningrad, 1991 Bulat Vl., Art and ideology, Cartier, Chisinau, 2000 Bulat Vl., "Visualised music", Sud-Est nr.14, 1993-1994, Chisinau Bulat Vl., "The philosophy of image in the works of M.Tarus", Tineretul Moldovei Nr.92, 1991, Chisinau, Kulbin A., "The School of T.Glebova and V.Sterligov", Russkaja Mysli nr.3876, Paris, 1991 Dumitru Raluca Olga, "Space and time in the painting", AD/2, Bucharest, 2000 "The Encyclopedia of the Contemporary Romanian Artists", vol. II, Arc, Bucharest, 2000 Evseeva R.S., "The notebooks of an art critic from Sankt-Petersburg", Sankt-Petersburg, 1996 Kovtun E., "The soul breathes where it wants", Mera nr.2, 1993 Mardare G., Zaharia D. N., "Mihai Tarus", Catalogue, CSAC, Chisinau, 1996 Mardare G., "M. Tarus - at the Intersection of Visual and Spiritual Existence", Literatura si Arta nr-51, 1996 Negru R., "Mihai Tarus' 96", Sud-Est nr-4, Chisinau, 1996 "Postglasnosty and Contemporary Art from Sankt-Petersburg", Catalogue, Purdue University Galleries, USA, 1996 "Russian-Soviet Contemporary Art Exhibition", Catalogue, Bompodo Art Gallery, Japan, Ho-am Gallery, South Korea, 1990 Sinelnikova V., "Once again about the artists of Gazo-Nevsky culture. Non-conformism", Sankt-Petersburg University, 2000 "Sankt-Petersburg Today", Catalogue, LenArt, Mandal, Stavanger, Norway, 1992 Zaharia D. N., "Artists from Basarabia: Mihai Tarus", Cronica nr-32, Iasi, 1991 "Zeitgenossische kunst moldaviens", Catalogue, Ansbah, Germany, 1998 Zemsky V., "Spiritually biological compatibility", NEVA nr-7, Sankt-Petresburg, 1999 Zubkov G., "Visit the exhibition", Leningrad University, April 1981 Soittoa Vareilla, "Kymen Sanomat" nr-149, 1998, Kotka, Finland "Sterligov's Group: Paintings from Russia", Art News, May 1995 "Schilderkunst uit Sint-Petresburg Vandaag", Catalogue, Gent, Belgium, 2000 "The Disciples of Sterligov", Art Panorama nr-1, Moscow, 1993 Documentaries - "M.Tarus's confessions" - directed by N. Canter, N. Bruma, Moldova TV, 1996 - "From st.Petersburg to Bucharest", produced by P. Galmeanu, Bucharest, Romania, 1997 - "Exhibition Mihai Tarus in Chisinau", directed by N. Canter, Moldova TV, 1996 - "The phenomenon of the modern artist". dialogue with V. Grigore, directed by L. Stankevich, Moldova TV, 1992 - "The artist M.Tarus". dialogue with the writer A.Burac, Moldova TV, 1989 - "Time element in Painting, Condensed Time", directed by N. Canter, Moldova TV, 1999 - "Signs",TV Moldova, 2001. - "Enciphering-Signs", TV Moldova, 2003. Solo Exhibitions 1981 - House of Scholars, Leningrad, Russia 1996 - UAP Gallery, Chisinau, Republic of Moldova 1997 - Galleries of the Romanian Parliament, Bucharest, Romania 1998 - "Variations", Kotka, Finlanda 1999 - "Time element in Painting", National Museum of Fine Arts, Chisinau, Republic of Moldova 2001 - "Signs", Gallery Brancusi, Chisinau 2001 - Site internationale des Arts, Paris 2003 - Enciphering-Signs, Gallery Brancusu, Chisinau 2003 - Space and time,dialogue Tarus-Astrein, museum V.Nabocov, St. Petersburg. Exhibitions 1975 - "Exhibition of Informal Painters". The Nevsky Palace of Culture, Leningrad, Russia 1988 - "Sterligov and his Disciples". New Passage. Leningrad, Russia 1990 - "Contemporary Art in Sankt-Petersburg", Stavanger, Norway; Leningrad, Russia "Russian-Soviet Contemporary Art". Bompodo Art gallery. Tokyo, Japan, Ho-am Gallery, South Korea "Contemporary artists in the memory of Malevich", Tretyakov Gallery, Moscow, Russia "Sterligov group". The City History Museum, Leningrad, Russia "Our language", UAP Hall, Chisinau 1992 - "In Richtung zu Malewitsch". Karenina Gallery. Vienna, Austria Art-contract- Sankt-Petersburg, Manege, Russia "Sankt-Petersburg to day", Mandal, Norvay 1994 - "Halls of Moldova", UAP Hall, Chisinau, Bacau 1995 - "Sterligov Group: Paintings from Russia". Neuhoff Gallery. New York, USA "L'ame Slave, Le groupe Sterligov". Medias Forum. Beziers, France "Mostra collective". Ancona. Italy "M.Tarus - L.Astrein". Museum of sculpture. Sankt-Petersburg, Russia 1996 - "Near Sterligov", Russian Museum, Sankt-Petersburg, Russia "Eastern Europe: SPATIA NOVA". IV biennial exhibition, Sankt-Petersburg 1997 - "Alla Fiera". With gallery RotaRoss, Italy "Messages from Tzara, Meditations in RE-". Organized by Soros Center for Contemporary Art, Chisinau, Moldova 1998 - "Jerusalim - 2000". UAP Exhibition Hall, Sankt-Petersburg "Fall Exhibition". UAP Gallery, Chisinau 1999 - "Sankt-Petersburg' 99", Manej, Sankt-Petersburg 2000 - "Tradition and modernity". UCAP Exhibition Hall, IFA, Sankt-Petersburg "Schilderkunst uit Sint-Petersburg Vandaag", Gent (Oostakker), Belgium 2000 - Traditions and contemporari,Gallery IFA, St. Petersburg 2001 - Sterligov' space/ Palas Anichkov, St. Petersburg 2002 - Di...segni d,autore,rassegna di maestri del designo del Novecento, Galleria Arte Rotaross, Novara, Italia 2003 - Art of Nations, Moskauw 2003 - Formerely sovietic painters, Novara, Italy 2003 - At home, Bukarest, Romania 2003 - Avangarda de pe Neva, second half of XX century, Treteakov Gallery, St. Petersburg, 2003, Manej, St. Petersburg Public collections National Museum of Fine Arts of Moldova, Chisinau, Republic of Moldova Ministry of Culture, Bucharest, Romania Tretyakov Gallery, Moscow, Russia Russian Museum, Sankt-Petersburg, Russia City History Museum of Sankt-Petersburg, Russia Museum of Arts, Jaroslavl, Russia National Museum of Arts. Alma-Ata, Republic of Khazakhstan The Headquarter of the Museums from the Sankt-Petersburg Regions, Sankt-Petersburg, Russia Museum "Tsharskoselskaya Collection", Pushkin, Russia The Norton Dodge Collection, The Ruthger University, USA Tatiana and Natalia Kolodzey' Foundation, Moscow, Russian Federation Youth and Sport Foundation, Bucharest, Romania Nordex Concern, Vienna, Austria Saturn Bank, Moscow, Russian Federation Museum of Nations, Company, Moscow, Russia Moldova Agroindbanca, Chisinau, Republic of Moldova Private collections Anatoly and Gala Sidorov Collection, Sankt-Petersburg, Russia Gala and Felix Chudnovsky Collection, Sankt-Petersburg, Russia Irina and Victor Kxenzoff Collection, Sankt-Petersburg, Russia and others.

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