Alexander Dashevskiy was born in 1980 in Leningrad.
The artist works with different media, but considers his main activity to be exploring the possibilities of modern painting. His interest in the properties of an image made with paints, its illusoriness and materiality, was formed thanks to his communication with artists of Leningrad unofficial culture.
CV
1980 born in Leningrad.
Graduated from the Economics Department of the St. Petersburg State University of Cinema and Television.
Studied at the Russian Academy of Arts, the Faculty of Theory and History of Art at the Repin Saint Petersburg State Academic Institute of Painting, Sculpture and Architecture.
Since 2005, member of the Artists’ Union of Saint Petersburg.
Since 2006, member of the Free Culture partnership and the Society of Amateurs of Painting and Drawing.
The project Partial Losses / Moderate Positive Dynamics was short-listed for the Kandinsky Prize in 2013.
In 2013 Dashevskiy was also included in the list of the seven most promising young Russian artists according to Forbes magazine.
Winner of the Arte Laguna Prize (2016) and the Anatoly Zverev Prize (2021).
The works are in the collections of the Moscow Museum of Modern Art, the State Russian Museum, St. Petersburg, the AZ Museum, Moscow, the Erarta Museum of Contemporary Art, St. Petersburg, the Tsarskoye Selo Collection Museum, St. Petersburg, Krasnoyarsk Museum Center, National Art Museum of the Republic of Sakha, Yakutia, State Biological Museum named after. K. A. Timiryazev, Moscow and private collections in Russia, USA, Germany, England, France, Holland, Spain, Italy, Turkey, South Korea, Switzerland and Israel.
The “Swimming Pools” project was created in 2008-2012 based on my impressions from an exhibition tour of the North Caucasus. In almost every city, from Sukhumi to Vladikavkaz, there was a swimming pool that was destroyed in the post-Soviet period. I looked for old archival photographs of these structures, architectural designs, and painted the previous and current state of the pool at that time. In this research, I came across an article from the late 60s, which stated that the architecture of Soviet sports facilities should educate, improve a person, and show him an image of the future. A couple of years later, visiting the same places, I discovered that most of these pools were being restored. It became obvious that the authorities again needed an image of the future, albeit a completely decorative one.
ARTWORKS
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