9 September - 15 October 2020
gallery pop/off/art, Moscow
gallery pop/off/art, Moscow
Irina Nakhova. The Wall
pop/off/art gallery presents a solo exhibition of Irina Nakhova – one of the leading artists of Moscow Conceptual School, one of the first authors of total installations in the USSR. The project "Wall" includes a video of the same title and large-scale picturesque polyptych. The video work was created as a part of the installation for the Pushkin State Museum of Fine Arts' project in cooperation with the Stella Art Foundation in the Cathedral of San Fantin in the framework of the 58th Venice Biennale dedicated to the 500th anniversary of Jacopo Tintoretto. According to Nakhova's concept, three video projections were inscribed into the architectural ensemble and duplicated the relief features of the real church walls. But during the eve of the opening the part that was called the "Wall" was excluded from the exhibition. For the exhibition in the gallery, Irina Nakhova proposed a new concept of space for showing video, supplemented with new material, where the wall literally becomes the central part of the exhibition hall, and the painting acts as a pendant.
pop/off/art gallery presents a solo exhibition of Irina Nakhova – one of the leading artists of Moscow Conceptual School, one of the first authors of total installations in the USSR. The project "Wall" includes a video of the same title and large-scale picturesque polyptych. The video work was created as a part of the installation for the Pushkin State Museum of Fine Arts' project in cooperation with the Stella Art Foundation in the Cathedral of San Fantin in the framework of the 58th Venice Biennale dedicated to the 500th anniversary of Jacopo Tintoretto. According to Nakhova's concept, three video projections were inscribed into the architectural ensemble and duplicated the relief features of the real church walls. But during the eve of the opening the part that was called the "Wall" was excluded from the exhibition. For the exhibition in the gallery, Irina Nakhova proposed a new concept of space for showing video, supplemented with new material, where the wall literally becomes the central part of the exhibition hall, and the painting acts as a pendant.
The material for the project was the current modern history's events – protests in Moscow, London, filmed by the artist herself, and in Paris, provided by journalist Anthony Deperraz. Nakhova synthesizes the painting and video techniques.
The artistic statement that was articulated in the project "Repair" (2012) earlier, is developed in new works for the exhibition. Nakhova's aim is to register fragments of reality and shards of events, representing them as patinated artifacts. The wall, at the same time, performs as a limiter and protection, metaphor for the historical canvas and the time period. "Just as the Tintoretto's crowds came to the canvases from the streets and squares of Venice, so the protesting crowds of the "Wall" rise from the life of modern cities," the artist comments.
The artistic statement that was articulated in the project "Repair" (2012) earlier, is developed in new works for the exhibition. Nakhova's aim is to register fragments of reality and shards of events, representing them as patinated artifacts. The wall, at the same time, performs as a limiter and protection, metaphor for the historical canvas and the time period. "Just as the Tintoretto's crowds came to the canvases from the streets and squares of Venice, so the protesting crowds of the "Wall" rise from the life of modern cities," the artist comments.
Iriha Nakhova. Photo by Anatoly Hrizhuk
The material for the project was the current modern history's events – protests in Moscow, London, filmed by the artist herself, and in Paris, provided by journalist Anthony Deperraz. Nakhova synthesizes the painting and video techniques.
The artistic statement that was articulated in the project "Repair" (2012) earlier, is developed in new works for the exhibition. Nakhova's aim is to register fragments of reality and shards of events, representing them as patinated artifacts. The wall, at the same time, performs as a limiter and protection, metaphor for the historical canvas and the time period. "Just as the Tintoretto's crowds came to the canvases from the streets and squares of Venice, so the protesting crowds of the "Wall" rise from the life of modern cities," the artist comments.
The artistic statement that was articulated in the project "Repair" (2012) earlier, is developed in new works for the exhibition. Nakhova's aim is to register fragments of reality and shards of events, representing them as patinated artifacts. The wall, at the same time, performs as a limiter and protection, metaphor for the historical canvas and the time period. "Just as the Tintoretto's crowds came to the canvases from the streets and squares of Venice, so the protesting crowds of the "Wall" rise from the life of modern cities," the artist comments.
Iriha Nakhova. Photo by Anatoly Hrizhuk
Elena Konyushkhina
Time is standing still
Critic's text
Irina Nakhova's brand new installation 'The Wall' consists of a video, which bears the same name and a pictorial polyptych that showcases recent protests held in Moscow, London and Paris. Silent footage shot in slow motion allows the artist to hold the viewer's attention on what will soon disappear in the continuous media coverage – a video chronicle of police violence. In general, her slow-paced videos of the street protests confront the ongoing news stream and rather shifts the focus to the events that take place in the present moment. Subsequently, 'The Wall' invites the viewer to perceive the video installation as painting, which allows to form one's own opinion about the artwork. It follows that in the time of information overload, the artwork gives people a much-needed pause that may be regarded as an alternative to the people's forgetfulness. Hence, the spectator, trapped in 'slow motion', either takes his time to observe and analyse the artwork in greater depth or simply moves on.
In the manuscript, entitled 'The art of sensual concepts', philosopher and art critic Elena Petrovskaya stated that Irina Nakhova possessed a quite 'complicated relationship' with time. In fact, the artist continues to work on these relationships in 'The Wall'. However, she prefers to focus on the protests and how time exists in a given event, as it takes place in the present moment. In particular, Nakhova portrays various activities that occur on the streets: some people are just standing, some are screaming and the others are being arrested by the police. While some of the bystanders were able to flee the scene, the others had to face the consequences that would follow. Thus, these events seem to have a different impact on people, depending on the degree of their involvement. At the same time, Nakhova does not rate these events nor provides any critical evaluation of the current state of affairs. In contrast, she is fascinated by the action itself, the mechanics of the open confrontation and the peculiarities of human behaviour. It may be important to note that panoramic vision gives Nakhova an opportunity to avoid ambiguity and draw attention to the presence of other adjacent temporalities. All in all, she presents the ordinary nature of the protest, which generally lacks any sense of enthusiasm or devotion. Hence, all that is left is the duration of the moment, the so-called 'durée', the term used by Henri Bergson. Notably, everyone has the means to comprehend the nature of the 'durée' almost instinctively in their own way. As a result, the viewer is perceived by the artist as the epitome of the conscious Bergsonian subject, capable of self-reflection, i.e. the ability to experience from the inside out what is happening on the streets.
In the manuscript, entitled 'The art of sensual concepts', philosopher and art critic Elena Petrovskaya stated that Irina Nakhova possessed a quite 'complicated relationship' with time. In fact, the artist continues to work on these relationships in 'The Wall'. However, she prefers to focus on the protests and how time exists in a given event, as it takes place in the present moment. In particular, Nakhova portrays various activities that occur on the streets: some people are just standing, some are screaming and the others are being arrested by the police. While some of the bystanders were able to flee the scene, the others had to face the consequences that would follow. Thus, these events seem to have a different impact on people, depending on the degree of their involvement. At the same time, Nakhova does not rate these events nor provides any critical evaluation of the current state of affairs. In contrast, she is fascinated by the action itself, the mechanics of the open confrontation and the peculiarities of human behaviour. It may be important to note that panoramic vision gives Nakhova an opportunity to avoid ambiguity and draw attention to the presence of other adjacent temporalities. All in all, she presents the ordinary nature of the protest, which generally lacks any sense of enthusiasm or devotion. Hence, all that is left is the duration of the moment, the so-called 'durée', the term used by Henri Bergson. Notably, everyone has the means to comprehend the nature of the 'durée' almost instinctively in their own way. As a result, the viewer is perceived by the artist as the epitome of the conscious Bergsonian subject, capable of self-reflection, i.e. the ability to experience from the inside out what is happening on the streets.
Irina Nakhova's brand new installation 'The Wall' consists of a video, which bears the same name and a pictorial polyptych that showcases recent protests held in Moscow, London and Paris. Silent footage shot in slow motion allows the artist to hold the viewer's attention on what will soon disappear in the continuous media coverage – a video chronicle of police violence. In general, her slow-paced videos of the street protests confront the ongoing news stream and rather shifts the focus to the events that take place in the present moment. Subsequently, 'The Wall' invites the viewer to perceive the video installation as painting, which allows to form one's own opinion about the artwork. It follows that in the time of information overload, the artwork gives people a much-needed pause that may be regarded as an alternative to the people's forgetfulness. Hence, the spectator, trapped in 'slow motion', either takes his time to observe and analyse the artwork in greater depth or simply moves on.
In the manuscript, entitled 'The art of sensual concepts', philosopher and art critic Elena Petrovskaya stated that Irina Nakhova possessed a quite 'complicated relationship' with time. In fact, the artist continues to work on these relationships in 'The Wall'. However, she prefers to focus on the protests and how time exists in a given event, as it takes place in the present moment. In particular, Nakhova portrays various activities that occur on the streets: some people are just standing, some are screaming and the others are being arrested by the police. While some of the bystanders were able to flee the scene, the others had to face the consequences that would follow. Thus, these events seem to have a different impact on people, depending on the degree of their involvement. At the same time, Nakhova does not rate these events nor provides any critical evaluation of the current state of affairs. In contrast, she is fascinated by the action itself, the mechanics of the open confrontation and the peculiarities of human behaviour. It may be important to note that panoramic vision gives Nakhova an opportunity to avoid ambiguity and draw attention to the presence of other adjacent temporalities. All in all, she presents the ordinary nature of the protest, which generally lacks any sense of enthusiasm or devotion. Hence, all that is left is the duration of the moment, the so-called 'durée', the term used by Henri Bergson. Notably, everyone has the means to comprehend the nature of the 'durée' almost instinctively in their own way. As a result, the viewer is perceived by the artist as the epitome of the conscious Bergsonian subject, capable of self-reflection, i.e. the ability to experience from the inside out what is happening on the streets.
In the manuscript, entitled 'The art of sensual concepts', philosopher and art critic Elena Petrovskaya stated that Irina Nakhova possessed a quite 'complicated relationship' with time. In fact, the artist continues to work on these relationships in 'The Wall'. However, she prefers to focus on the protests and how time exists in a given event, as it takes place in the present moment. In particular, Nakhova portrays various activities that occur on the streets: some people are just standing, some are screaming and the others are being arrested by the police. While some of the bystanders were able to flee the scene, the others had to face the consequences that would follow. Thus, these events seem to have a different impact on people, depending on the degree of their involvement. At the same time, Nakhova does not rate these events nor provides any critical evaluation of the current state of affairs. In contrast, she is fascinated by the action itself, the mechanics of the open confrontation and the peculiarities of human behaviour. It may be important to note that panoramic vision gives Nakhova an opportunity to avoid ambiguity and draw attention to the presence of other adjacent temporalities. All in all, she presents the ordinary nature of the protest, which generally lacks any sense of enthusiasm or devotion. Hence, all that is left is the duration of the moment, the so-called 'durée', the term used by Henri Bergson. Notably, everyone has the means to comprehend the nature of the 'durée' almost instinctively in their own way. As a result, the viewer is perceived by the artist as the epitome of the conscious Bergsonian subject, capable of self-reflection, i.e. the ability to experience from the inside out what is happening on the streets.
The video may be seen as the visual metaphor of the wall. On one hand, Nakhova refers to the physical boundaries that separate people from states. In today's world, the desire to isolate oneself is gradually increasing with the rise of the nationalist feelings, similarly to Donald Trump's obsession with erecting a border wall between the US and Mexico. On the other hand, there is a growing tendency of gathering in peaceful rallies opposing police violence and forming 'chains of solidarity' along the highways and streets that has already transformed into a symbol of support amongst people. It may also be important to point out that the video footage unfolds against the shabby walls as its background and serves to remind the viewer of the divided world during the Cold War. As a consequence, the current events are imprinted on the wall that gathers memories on its surface. And, in this sense, Nakhova's present will soon become history itself. It may be said that in an effort to document and preserve the appearance of the protests, the artist builds a bridge between politics and aesthetics.
The video may be seen as the visual metaphor of the wall. On one hand, Nakhova refers to the physical boundaries that separate people from states. In today's world, the desire to isolate oneself is gradually increasing with the rise of the nationalist feelings, similarly to Donald Trump's obsession with erecting a border wall between the US and Mexico. On the other hand, there is a growing tendency of gathering in peaceful rallies opposing police violence and forming 'chains of solidarity' along the highways and streets that has already transformed into a symbol of support amongst people. It may also be important to point out that the video footage unfolds against the shabby walls as its background and serves to remind the viewer of the divided world during the Cold War. As a consequence, the current events are imprinted on the wall that gathers memories on its surface. And, in this sense, Nakhova's present will soon become history itself. It may be said that in an effort to document and preserve the appearance of the protests, the artist builds a bridge between politics and aesthetics.
Images that hold the viewer's gaze and offer a different experience of time, as in Nakhova's video installation "The Wall," the literary critic and art historian Mika Bal refers to as 'sticky'. In fact, the images help the artist to enhance the feelings that her artwork arouses and thus, create a strong desire to see more. In her essay, 'Sticky images: the foreshortening of time in an art of duration', Bal mentions the effect of the so-called 'involved body', when, due to the intensity of the impact, these 'sticky' images infiltrate the viewer's chronotope and knocks out the adjusted biorhythm of the inner clock. Needless to say, this is Nakhova's ultimate goal that she intends to accomplish with her piece of art. She aspires to fully engage the viewer with the exhibition space, which has been a popular motif in the artist's oeuvre. The artist achieves with the use of modern video editing installation and the architectonic design of the exhibition wall. As a result, the viewers' shadows are cast onto the surface of 'the Wall' and become part of the video, ultimately, swelling the ranks of the protesters.
According to Elena Petrovskaya, time is not the only focus inside Nakhova's installation. In fact, several modes of space perception work simultaneously. Starting with Rooms (1983), the artist clashes together architectural, visual, perceptual and social spaces. Due to a great variety of meanings, Nakhova's art is able to avoid apparent interpretations. In addition, each space may be placed on top of another, thus making them practically indivisible. At the exhibition, the symbiosis between "The Wall" and the pictorial polyptych leads to the transgression of the frame '006158' from the video into the painting's space. This is a scene with a fortified police line, which Nakhova transfers onto the canvas. It appears that time flows even more slowly, since the whole action in the video is now diminished to only one fragment. Subsequently, the change in this mode of time made the attention switch from the internal experience of the situation to its external perception.
According to Elena Petrovskaya, time is not the only focus inside Nakhova's installation. In fact, several modes of space perception work simultaneously. Starting with Rooms (1983), the artist clashes together architectural, visual, perceptual and social spaces. Due to a great variety of meanings, Nakhova's art is able to avoid apparent interpretations. In addition, each space may be placed on top of another, thus making them practically indivisible. At the exhibition, the symbiosis between "The Wall" and the pictorial polyptych leads to the transgression of the frame '006158' from the video into the painting's space. This is a scene with a fortified police line, which Nakhova transfers onto the canvas. It appears that time flows even more slowly, since the whole action in the video is now diminished to only one fragment. Subsequently, the change in this mode of time made the attention switch from the internal experience of the situation to its external perception.
Images that hold the viewer's gaze and offer a different experience of time, as in Nakhova's video installation "The Wall," the literary critic and art historian Mika Bal refers to as 'sticky'. In fact, the images help the artist to enhance the feelings that her artwork arouses and thus, create a strong desire to see more. In her essay, 'Sticky images: the foreshortening of time in an art of duration', Bal mentions the effect of the so-called 'involved body', when, due to the intensity of the impact, these 'sticky' images infiltrate the viewer's chronotope and knocks out the adjusted biorhythm of the inner clock. Needless to say, this is Nakhova's ultimate goal that she intends to accomplish with her piece of art. She aspires to fully engage the viewer with the exhibition space, which has been a popular motif in the artist's oeuvre. The artist achieves with the use of modern video editing installation and the architectonic design of the exhibition wall. As a result, the viewers' shadows are cast onto the surface of 'the Wall' and become part of the video, ultimately, swelling the ranks of the protesters.
According to Elena Petrovskaya, time is not the only focus inside Nakhova's installation. In fact, several modes of space perception work simultaneously. Starting with Rooms (1983), the artist clashes together architectural, visual, perceptual and social spaces. Due to a great variety of meanings, Nakhova's art is able to avoid apparent interpretations. In addition, each space may be placed on top of another, thus making them practically indivisible. At the exhibition, the symbiosis between "The Wall" and the pictorial polyptych leads to the transgression of the frame '006158' from the video into the painting's space. This is a scene with a fortified police line, which Nakhova transfers onto the canvas. It appears that time flows even more slowly, since the whole action in the video is now diminished to only one fragment. Subsequently, the change in this mode of time made the attention switch from the internal experience of the situation to its external perception.
According to Elena Petrovskaya, time is not the only focus inside Nakhova's installation. In fact, several modes of space perception work simultaneously. Starting with Rooms (1983), the artist clashes together architectural, visual, perceptual and social spaces. Due to a great variety of meanings, Nakhova's art is able to avoid apparent interpretations. In addition, each space may be placed on top of another, thus making them practically indivisible. At the exhibition, the symbiosis between "The Wall" and the pictorial polyptych leads to the transgression of the frame '006158' from the video into the painting's space. This is a scene with a fortified police line, which Nakhova transfers onto the canvas. It appears that time flows even more slowly, since the whole action in the video is now diminished to only one fragment. Subsequently, the change in this mode of time made the attention switch from the internal experience of the situation to its external perception.
Whereas the artist's video artwork is intended to document reality, documentary, her paintings allow her to fully explore her imagination with a hint of irony. For instance, one may spot flying tomato and cucumber on both parts of the polyptych. Such a sudden revelation decreases the dramatic effect of the whole action and leads to another perception 'space' – a joke or sarcasm. Petrovskaya refers to such artistic technique as a 'reducing element'. It acts as a crack on the surface and possesses the features of oxymoron in Nakhova's poetry. In fact, she tends to return to this technique in her oeuvre. Significantly, in her early work 'Friends and Acquaintances' (1994), she reduces the value of the ancient images and merely depicts it on old worn coats put on mannequins, shouting different profanities. The viewers are baffled by their expectations, since instead of the sublime, they received was a 'slap in the face'. Similarly, the dramatic action in '006158' is swiftly stopped by a rushing tomato. Another technique employed in Nakhova's works is the deformation of the canvas that may be found in other artists' creative practice. This technique takes various forms in her work, from 'erasure', 'appliqué' to 'stenciling'. Nakhova distorts the footage with the image of a peeling wall and a white film that resembles a 'veil over one's eyes' through which the spectators gaze at the protests. The artist also exploits these techniques in painting - in some places the tones of the colours are muted and there is a general haze across the artwork. Moreover, the 'pieces' of the wall are depicted on the canvases in the form of grey spots.
Whereas the artist's video artwork is intended to document reality, documentary, her paintings allow her to fully explore her imagination with a hint of irony. For instance, one may spot flying tomato and cucumber on both parts of the polyptych. Such a sudden revelation decreases the dramatic effect of the whole action and leads to another perception 'space' – a joke or sarcasm. Petrovskaya refers to such artistic technique as a 'reducing element'. It acts as a crack on the surface and possesses the features of oxymoron in Nakhova's poetry. In fact, she tends to return to this technique in her oeuvre. Significantly, in her early work 'Friends and Acquaintances' (1994), she reduces the value of the ancient images and merely depicts it on old worn coats put on mannequins, shouting different profanities. The viewers are baffled by their expectations, since instead of the sublime, they received was a 'slap in the face'. Similarly, the dramatic action in '006158' is swiftly stopped by a rushing tomato. Another technique employed in Nakhova's works is the deformation of the canvas that may be found in other artists' creative practice. This technique takes various forms in her work, from 'erasure', 'appliqué' to 'stenciling'. Nakhova distorts the footage with the image of a peeling wall and a white film that resembles a 'veil over one's eyes' through which the spectators gaze at the protests. The artist also exploits these techniques in painting - in some places the tones of the colours are muted and there is a general haze across the artwork. Moreover, the 'pieces' of the wall are depicted on the canvases in the form of grey spots.
The work was originally realized for the Romanesque church of San Fantin in Venice in honour of the five hundredth anniversary of the late Renaissance artist Jacopo Tintoretto. However, for some unbeknownst reason, it was never shown to the public. In her art, Nakhova often draws inspiration from the history of art. Hence, 'the Wall' becomes no exception. Nakhova resorts to a dramatic composition, following Tintoretto's style, which is characterized by the large-scale size of the painting, the spatial position of the figures and the color palette. The wall, as an architectural element, serves as the backdrop for the video 'The Wall', which also takes place on the wall. The following artistic choice reminds of the Renaissance frescoes, although in the 21st century, instead of murals, people are presented with the moving images. It may be stated that Nakhova one again uses the principle of the picturesque, which forms the basis for the internal mechanics of the installation, forcing the viewer to slow down and reflect on the entire exhibition.
1 Bal, M., 'Sticky Images: The Foreshortening of Time in an Art of Duration,' 2000
2 Bergson, H., 'Matter and Memory,' 1896
3 Groys, B., 'Comrades of Time,' e-flux journal, no. 11 (December 2009)
4 Nancy, J-L., 'The Ground of the Image,' 2005
5 Petrovskaya, E., 'The art of sensual concepts', 2011
1 Bal, M., 'Sticky Images: The Foreshortening of Time in an Art of Duration,' 2000
2 Bergson, H., 'Matter and Memory,' 1896
3 Groys, B., 'Comrades of Time,' e-flux journal, no. 11 (December 2009)
4 Nancy, J-L., 'The Ground of the Image,' 2005
5 Petrovskaya, E., 'The art of sensual concepts', 2011
The work was originally realized for the Romanesque church of San Fantin in Venice in honour of the five hundredth anniversary of the late Renaissance artist Jacopo Tintoretto. However, for some unbeknownst reason, it was never shown to the public. In her art, Nakhova often draws inspiration from the history of art. Hence, 'the Wall' becomes no exception. Nakhova resorts to a dramatic composition, following Tintoretto's style, which is characterized by the large-scale size of the painting, the spatial position of the figures and the color palette. The wall, as an architectural element, serves as the backdrop for the video 'The Wall', which also takes place on the wall. The following artistic choice reminds of the Renaissance frescoes, although in the 21st century, instead of murals, people are presented with the moving images. It may be stated that Nakhova one again uses the principle of the picturesque, which forms the basis for the internal mechanics of the installation, forcing the viewer to slow down and reflect on the entire exhibition.
1 Bal, M., 'Sticky Images: The Foreshortening of Time in an Art of Duration,' 2000
2 Bergson, H., 'Matter and Memory,' 1896
3 Groys, B., 'Comrades of Time,' e-flux journal, no. 11 (December 2009)
4 Nancy, J-L., 'The Ground of the Image,' 2005
5 Petrovskaya, E., 'The art of sensual concepts', 2011
1 Bal, M., 'Sticky Images: The Foreshortening of Time in an Art of Duration,' 2000
2 Bergson, H., 'Matter and Memory,' 1896
3 Groys, B., 'Comrades of Time,' e-flux journal, no. 11 (December 2009)
4 Nancy, J-L., 'The Ground of the Image,' 2005
5 Petrovskaya, E., 'The art of sensual concepts', 2011
About artist
About artist
Iriha Nakhova. Photo by Anatoly Hrizhuk
Irina Nakhova is one of the key figures of Moscow Conceptual School that formed in the 1970s in the USSR. She is a painter, book illustrator, author of large-scale installations, in which she applies different media and techniques. She is one of the first artists who started creating installations in Russia. Irina Nakhova was born in Moscow in 1955. She graduated from the Graphic Design Department of the Moscow Institute of Polygraphy in 1978. She worked as a book illustrator until 1986. In the beginning of the 1980s, she created a series of large-scale projects "Rooms" that was one of the first examples of environmental art in contemporary Soviet art. In 2013 Nakhova received the Kandinsky Prize for "Project of the Year". In 2015, she became the first female artist who represented Russia in its pavilion at the Venice Biennale. In 2019 she was included in top 10 renowned contemporary Russian artists according to InArt rating. Nakhova has taught contemporary art at Princeton University, Wayne State University, Pittsburg, Carnegie Mellon University, Detroit, the International Summer Academy of Fine Arts, Salzburg, and in other institutions. Irina Nakhova lives and works in the United States and in Moscow, Russia.
Iriha Nakhova. Photo by Anatoly Hrizhuk
Irina Nakhova is one of the key figures of Moscow Conceptual School that formed in the 1970s in the USSR. She is a painter, book illustrator, author of large-scale installations, in which she applies different media and techniques. She is one of the first artists who started creating installations in Russia. Irina Nakhova was born in Moscow in 1955. She graduated from the Graphic Design Department of the Moscow Institute of Polygraphy in 1978. She worked as a book illustrator until 1986. In the beginning of the 1980s, she created a series of large-scale projects "Rooms" that was one of the first examples of environmental art in contemporary Soviet art. In 2013 Nakhova received the Kandinsky Prize for "Project of the Year". In 2015, she became the first female artist who represented Russia in its pavilion at the Venice Biennale. In 2019 she was included in top 10 renowned contemporary Russian artists according to InArt rating. Nakhova has taught contemporary art at Princeton University, Wayne State University, Pittsburg, Carnegie Mellon University, Detroit, the International Summer Academy of Fine Arts, Salzburg, and in other institutions. Irina Nakhova lives and works in the United States and in Moscow, Russia.
