Alexandra Sukhareva
Alexandra Sukhareva is an artist, author of processually oriented works affecting the phenomena of mutual influence of matter and cognitive gestures.

An important place in Alexandra’s work is given to the use of chemical compounds. The first chlorine canvases that went through their own evolution were created in 2011. Being essentially burnt and injured, these canvases were not so much painterly objects, as they were playing them.

Since 2013 Alexandra Sukhareva has been working with the mirror form as an expanded metaphor of connection, firmly and invisibly connecting reality and supersensible being. The artist makes mirror paintings using original technologies of the XVII century, using various toxic alloys. The amalgams applied to the glass are unstable, and the oxidation process cannot be controlled. This effect is what the author needs: in theory, the pattern that is formed on the surface of the mirror bears the imprint of an immaterial influence of the environment. In the becoming mirror, everything that surrounds it is reflected and "remembered" — not only objects and faces, but also events that last in time, inhabiting the minds of people thought forms and memory of places. So an ordinary object (a mirror) turns out to be a kind of "recording device" that stores on the external level what is internal that cannot be otherwise fixed — the magic of everyday life, historical trauma, hidden projections of the individual. – Sasha Obukhova

In 2014 Sukhareva started to compile her own author’s Glossary: a working dictionary of internal methodology, which included meaningful notions of “pseudomorphism”, “practical knowledge”, and others. All of them were conceived by the author from within her own practice. The Glossary was presented in 2015 at ICA (London) for the first time in a conversation with curator Kasia Redzisz.

One of the concepts of the dictionary, important for the context of the first experiments with chlorine, is the “corrosivity” of matter, understood by the author more widely than just the material.

«Our elements tend to deoxidation. And life is a forced oxidation” (Novalis). If for Novalis, oxidation processes are akin to the concept of debt, for these works oxidation or corrosion is an experimental platform for non-rhetorical forms of knowledge recording. The ability of a thing to remember the shape or quality allows one to establish marks of knowledge, afterwards naming them the laws of physics or chemistry, ethics or politics. Chemical aesthesia deals with the problems of forces described and not yet described that can be detected through the trail”.

Participant of such exhibitions as “Things, words and consequences” – MMOMA, Moscow (2012), dOCUMENTA(13) – Kassel (2012), “Human Commonalities” – Vadim Sidur Museum (2016), Garage I Triennial of Russian Contemporary Art – Garage Museum of Contemporary Art (2017) and others. Participant in the grant program of Garage Museum of Contemporary Art, 2016.

The works are in the collections of Castello di Rivoli Museum (Turin), Tate Modern (London), as well as in private collections in Mexico, Italy, Great Britain and Russia.
b.1983, Moscow

2008 – 2010 Valand school of Fine Arts, Gothenburg
2007 – 2008 ICA, Moscow
2000 – 2006 Moscow State University for Arts and Industry, Moscow

Exhibitions and projects
2020 “We Treasure Our Lucid Dreams.” The Other East and Esoteric Knowledge in Russian Art 1905–1969 Garage Museum, Moscow
2019 Time, Forward! – V-A-C, Palazzo Zattere, Venice
2019 «2016-19» – Osnova gallery, Moscow
2018 Landis Museum – Glazgow International, Glazgow, Scotland/ CCA Derry, Northern Ireland
2017 Solo exhibition – Liberating Knowledge: Progress Report II – Garage Museum, Moscow
2017 1st Triennial of Russian Art – Garage Museum, Moscow
2017 Omnipotence – Marso Gallery, Mexico city
2016 Experiences of Imaginary – New Holland, Saint-Petersburg
2016 Human Commonalities – Vadim Sidur Museum, Moscow
2015 and ongoing Display permanent collection, Castello di Rivoli, Museo d’Arte Contemporanea, Rivoli, Torino, Italy
2015 Witness – Grebnevo estate, Moscow region (published by V-A-C-press and Mousse Publishing)
2015 The Rose has teeth in the mouth of a beast – A Palazzo Gallery, Brescia
2014 Manifesta10 – General Stuff, St.Petersburg
2013 Fusiform Gyrus – Lisson Gallery, London
2012 Things, words and consequences – MMOMA, Moscow
2012 Counter-illusions – 3 Inernational Biennale For Young Art, DK ZIL, Moscow
2012 The Way of Enthusiasts – Palazzo Tre Oci, Venice
2012 dOCUMENTA (13), Aue Park – Kassel
2011 From the Field of Practical Knowledge – GMG Gallery, Moscow
2011 Solo exhibition – Eurauraga – Project Fabrika, Factory of technical papers “Oktober”, Moscow, Russia

Investigative projects
The Witness (2013-15, Mousse Publishing & VAC-press)
The comb in the grass (started in 2015 with the support of the Field Research Program of Garage Museum of Contemporary Art)

Selected bibliography
2012 Text by Stanislav Shuripa on Being of mother is bone, booklet issued by dOCUMENTA(13) and V-A-C Foundation
Things, words and consequenses by Jonathan Griffin, Stanislav Shuripa, Sanya Kantarovsky, Alex Kitnick