Tania Antoshina

Tatyana Antoshina (Russian: Таня Антошина, Татьяна Константиновна Антошина; also transliterated as Tania Antoshina, Tatiana Antoshina, Tanya Antoshina, Tatjana Antoschina, Tatyana Antoschina. From 1977 to 1997 she bore the surname Машукова (Tatyana Mashukova)) (b. 1 May 1956, Krasnoyarsk Siberia, Russia), is a French-Russian ultra contemporary artist, curator, PhD in art history, one of the first participants of the gender movement in Moscow art. In 1991 she completed postgraduate studies and received a PhD in Fine Arts Stroganov Moscow State University of Arts and Industry.

Tania Antoshina is one of the most significant Russian female artists since Perestroika. Her work explores the role of women artists in society and in art history and was exhibited in the iconic ‘After the Wall’ exhibition at the Moderna Museet, Stockholm and Hamburger Bahnhof, Berlin; ‘Gender Check’, MUMOK, Vienna; and the 56th Venice Biennale. Her works are in the collections of MUMOK, Vienna; National Museum of Women in the Arts, Washington; Neues Museum Weserburg Bremen; State Russian Museum, St Petersburg; and The Tretyakov Gallery, Moscow.

Antoshina lives and works in Paris.

Collections
MUMOK, Vienna, Austria;

New Museum Weserburg Bremen, Bremen, Germany;

National Museum of Women in the Arts, Washington DC, US;

Corcoran Art Museum, Washington DC, US;

American University Museum, Washington DC, US;

Omi International Arts Center collection, New York, US;

Mint Museum, Charlotte, North Carolina, US;

Casoria Contemporary Art Museum, Naples, Italy;

Olympic Fine Arts Museum, Beijing, China;

Penang State Art Museum, Penang, Malaysia;

Russian Museum, Saint Petersburg, Russia;

Tretyakov Gallery, Moscow, Russia;

National Centre for Contemporary Arts, Moscow, Russia;

Museum of Decorative-Applied and Folk Arts, Moscow, Russia;

Perm Museum of Contemporary Art, Perm, Russia;

Krasnoyarsk Cultural Historical Museum complex, Krasnoyarsk, Russia;

Asia-Pacific Institute of Art & Research, Jeollabuk-do, South Korea;

The Francis J. Greenburger collection, New York;

Kolodzei Art Foundation, New York;

Tony Podesta collection, Washington;

Sir Elton John Collection, London.

Solo shows

 * TANIA ANTOSHINA : L'ARCHE DE L'ESPACE / TANIA ANTOSHINA : SPACE ARK, Galerie Vallois Modern and Contemporary Art, Paris, 2023
 * Cold Land. Northern Tales, ZARYA Center for Contemporary Art, Vladivostok, 2017-2018
 * Reggae Feminism or 88 March, Dukley Art Center, Kotor, Montenegro, 2017
 * Museum of a Woman, Podgorica Museums & Galleries, Gallery Art, Podgorica, Montenegro, 2015
 * Cold Land, Krasnoyarsk Museum Center, Krasnoyarsk, Russia, 2014
 * My Favorite Artists, Galerie Vallois, Paris, France, 2010
 * Alice and Gagarin, VP Studio, Moscow, Russia, 2010
 * My Favorite Artists, Mario Mauroner Gallery, Vienna, Austria, 2008
 * Space Travelers, Guelman Gallery, Moscow, Russia, 2006
 * Museum of a Woman, White Space Gallery, London, UK, 2004
 * The Voyeurism of Alice Guy, Guelman Gallery, Moscow, Russia, 2002
 * Museum of a Woman, Florence Lynch Gallery, NY, US, 2001
 * April in Moscow, Guelman Gallery, Moscow, Russia, 1999
 * Museum of a Woman, Guelman Gallery, Moscow, Russia, 1997
 * Women of Russia, Guelman Gallery, Moscow, Russia
 * To Moor, Expo 88, Moscow, Russia, 1996
 * The Hound of Baskervilles, Regina Gallery, Moscow, Russia, 1992

Group shows

 * DARK ROOM: VIDEOWORDS The fifth special project by Magmart, Torrance Art Museum, Torrance, USA, 2021
 * Moves Like Walter: New Curators Open the Corcoran Legacy Collection, Katzen Arts Center, American University Museum, Washington, DC, USA, 2019
 * From Non-Conformism to Feminisms: Russian Women Artists from the Kolodzei Art Foundation, Museum of Russian Art (TMORA), Minnesota, 2018-2019
 * 18-th ASIAN ART BIENNALE BANGLADESH, Bangladesh Shilpakala Academy, National Academy of Fine and Performing Arts, Dhaka, 2018
 * Women at Work: Subverting the Feminine in Post-Soviet Russia, White Space Gallery, London, 2018
 * ART RIOT: POST-SOVIET ACTIONISM, Saatchi Gallery, London, 2017-2018
 * 17th Asian Art Biennale Bangladesh, Bangladesh Shilpakala Academy National Art Gallery, Dhaka, Bangladesh, 2016
 * 56 Venice Biennale, State pavilion of Mauritius, 2015
 * Gender Check, MUMOK, Vienna, 2012
 * Moscow — NY = Parallel Play, Chelsea Art Museum, NY, 2008
 * Moscow Biennale, Moscow, Russa, 2007
 * SIGHT/INSIGHT, Corcoran Art Museum, Washington DC, 2006
 * Photo London, Royal Academy of Arts, London, 2005
 * After the wall, National Gallery (Berlin), Berlin, Hamburger Bahnhof, 2001
 * After the Wall, Ludwig Museum, Budapest, 2000
 * After the Wall, Moderna Museet, Stockholm, 1999

Honours and awards
Scholarship Residence Center for Contemporary Art "Zarya", Vladivostok, Russia, 2017;

Scholarship Residence Dukley European Art Community, Kotor, Montenegro, 2017;

Scholarship Residence Dukley European Art Community, Kotor, Montenegro, 2015;

Scholarship Residency KRITI Varanasi, India, 2013;

Scholarship Residences MARIPOSA Canary Islands, Spain, 2012;

Olympic Art Gold Medal, Olympic Fine Arts, London, United Kingdom, 2012;

Alternative Prize “Russian Activist Art”, Moscow, Russia, 2012;

Olympic Art Gold Medal, Olympic Fine Arts, Beijing, China, 2008;

Five Rings Prize, Olympic Landscape Sculpture Design Contest, Beijing, China, 2008;

Laureate of the Magmart video festival, Naples, Italy, 2005;

Scholarship Omi International Arts Center, NY, US, 2005;

Winner of the "Silver Camera", Multimedia Art Museum, Moscow, 2005;

Winner of the "Silver Camera", Multimedia Art Museum, Moscow, 2002;

Scholarship of the Yaddo Residence, New York, US, 2001;

Winner of the contest "Modern Russia", Photo Center on Gogol Boulevard, Moscow, Russia, 2001;

Participant of the International Symposium CERAMICS - PAINTING - GRAPHICS Bad Lippspringe, Germany, 1992;

Best Report at the Scientific Conference of Post-Graduate Students and Teachers of the Moscow Institute of Industrial Arts, Moscow, Russia, 1985;

Silver Medal of VDNH for Teaching Work, Moscow, Russia, 1985;

Best Teacher of the Krasnoyarsk Art Academy, Krasnoyarsk, Russia, 1984.

Curatorship projects
The Quest of Power, special project of 6 Moscow Biennale 2015;

Terra Incognita, expedition to South Siberia for collection of ethnic and cultural material, 2014;

V-5, Space as a Presence, in partnership with A.Galenz and G.Kuznetsov, InteriorDAsein, Berlin, 2012;

Sons of the Big Dipper, together with G.Kuznetsov, PROEKT FABRIKA, Moscow, 2011;

Two Museums, in partnership with G.Vysheslavsky, Champino, Velletri, Italy, 1992.

Select publications

 * “TANIA ANTOSHINA: L'ARCHE DE L'ESPACE”, 2023-04-06, Galerie Robert Vallois, Paris, France;
 * “ART JUDGMENTS: Art on Trial in Russia after Perestroyka” by Sandra Frimmel (University of Zurich), ISBN 978-1-62273-277-7, Vernon Press, March 2022;
 * Thomas Deecke, Markus Bulling (2001). ‘’8. Triennale Kleinplastik Fellbach Vor-Sicht, Rück-Sicht’’. Germany, Stadt Fellbach Auflage;
 * Александр Боровский. «Как-то раз Зевксис с Паррасием... Современное искусство: практические наблюдения». Литрес, 2017. ISBN 978-5-227-07198-9;
 * Jonson Lena (2015). ‘‘Art and Protest in Putin's Russia’‘, Taylor and Francis, pp. XII, 207, 227, 240, 261, ISBN 9781317542995;
 * Viola Hildebrand-Schat (2014). ‘‘Appropriation oder Simulacrum?’‘, p. 229-233, in Guido Isekenmeier, ‘‘Interpiktorialität: Theorie und Geschichte der Bild-Bild-Bezüge’‘, transcript Verlag, ISBN 978-3-8376-2189-1;
 * ‘‘Working with Feminism: Curating and Exhibitions in Eastern Europe, Acta Universitatis Tallinnensis: Artes’’, Angela Dimitrakaki, Katrin Kivimaa, Katja Kobolt, Izabela Kowalczyk, Pawel Leszkowicz, Suzana Milevska, Bojana Pejic, Rebeka Põldsam, Mara Traumane, Airi Triisberg, Hedvig Turai, p. 85. Estonia: Tallinn University Press / Tallinna Ülikooli Kirjastus. ISBN 978-9985587539, 2012;
 * Klaus Krüger / Leena Crasemann / Matthias Weiß: (Hgg.) (2011). ‘‘Re-Inszenierte Fotografie’‘. Munich, Germany: Wilhelm Fink Verlag.(2011) ISBN 978-3-7705-5133-0;
 * Thomas Deecke (2010). ‘‘Leben mit der Kunst’‘. Germany: Nicolaische Verlagsbuchhandlung. ISBN 978-3-89479-599-3;
 * Alain Monvoisin (2008). ‘‘DICTIONNAIRE INTERNATIONAL DE LA SCULPTURE MODERNE ET CONTEMPORAINE’‘, p. 26-27. Paris, France, Regard. ISBN 978-2-84105-211-0;
 * Julia Tulovsky (2008). ‘’The Claude and Nina Gruen Collection of Contemporary Russian Art’’, pp. 24, 79. Jane Voorhees Zimmerli Art Museum, ISBN 9780976903079;
 * Matthias Winzen; Nicole Fritz (2007). Bodycheck: Catalog of the 10th Fellbach Triennial of Contemporary Sculpture. Germany: Snoek Verlagsgesellschaft. ISBN 978-3936859645, p. 292;
 * Tatiana Smorodinskaya (Russian, Middlebury Coll.), Karen Evans-Romaine (Russian, Ohio Univ.), and Helena Goscilo (Slavic languages, Univ. of Pittsburgh) (ed.) (2007). ‘‘Encyclopedia of contemporary Russian Culture (Encyclopedias of Contemporary Culture Series), pp. 19, 42-43. Abingdon, UK and New York, USA: Routledge. ISBN 0415758629;
 * Игорь Кон (2003) Мужское тело в истории культуры p. 378-382; Издательство: СЛОВО/SLOVO ISBN 978-5-85050-704-6;
 * АРТ-Конституция (иллюстрированная АРТ – Конституция Российской Федерации, в создании которой принимали участие наиболее актуальные художники начала 21 века). сс. 110, 111, 131, 132, 272, 273. Тексты: Зураб Церетели, Екатерина Деготь, Наталья Колодзей. Москва: Музей современного искусства, 2003. ISBN 978-5-91611-007-4;
 * СЛОВАРЬ ГЕНДЕРНЫХ ТЕРМИНОВ / Под ред. А. А. Денисовой / Региональная общественная организация "Восток-Запад: Женские Инновационные Проекты". М.: Информация XXI век, 2002. c. 256;
 * Renee Baigell, Matthew Baigell (July 1, 2001). ‘’Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia, and Latvia. The First Decade’’. The Dodge Soviet Nonconformist Art publication series, p. 55. New Brunswick, NJ, USA: Jane Voorhees Zimmerli Art Museum: Rutgers. ISBN 0-8135-2946-8;
 * Женщина в обществе: мифы и реалии : сборник статей / редактор-составитель Круминг Л.С., сс. 1, 4. Москва : Информация - XXI век, 2001. ISBN 5-86391-043-7, сс. 1, 4;
 * Женщина и визуальные знаки : сборник / Ин-т "Открытое общество", сс. 232-234. - М. : Идея-Пресс, 2000. ISBN 5-7333-0043-4.

Periodicals

 * “FEMINISM OF THE TENDER KIND Tatyana Antoshina: performative ceramics”, by Anna Tolstova for “Kommersant Weekend”, 01.09.2023;
 * “ANTOSHINA AND RAIDERS OF THE LOST ARK”, by Alexey Tarkhanov for “Art Focus Now”, 13.04.2023;
 * This Leads to Fire: From Nonconformism to Global Capitalism, Selections from the Kolodzei Art Foundation Collection, Neuberger Museum of Art at Purchase College, SUNY, 2015;
 * Google Arts and Culture. Quantum Leap, May - November 2015;
 * Female Artists and the Nude Male, Part 5, July 14, 2014;
 * Gesellschaft vor Gericht, Neue Zürcher Zeitung, 5.3.2013;
 * IWMpost 110 by Institut für die Wissenschaften vom Menschen - Issuu, N110 may – August 2012;
 * Die Einheit des Universums, taz, BENNO SCHIRRMEISTER, 23.12.2006;
 * Revolution, Transit Art Space, April 2006;
 * Hans-Dieter Fronz, KUNSTFORUM, Bd.171 Juli-August 2004, p. 370-371, ‘’Na Kurort! Russische Kunst heute’‘, Zurich, 2004;
 * Pat Simpson, ‘’Peripheralising Patriarchy? Gender and Identity in Post-Soviet Art: A View from the West’‘, Oxford Art Journal, Vol. 27, No. 3 (2004), Oxford University Press, pp. 406, 407, 2004;
 * Brian Dillon, ‘’Tatiana Antoshina’‘, MODERN PAINTERS, summer 2004, pp.120-121.
 * ‘’СAPITAL PERSPECTIVE’‘, Moscow, pp. 5-6, 2002;
 * Francesca Piovano, ‘’Art-Forum’‘, CVA, issue 33, 2001;
 * Texte zur Kunst, Band 11, Ausgaben 41-42, Texte zur Kunst GMBH, p. 142, 2001;
 * Elfi Kreis, ‘’Absurdistan’‘, Kunstzeitung, nr. 57, mai 2001;
 * ‘’Letzte Tage IsKusstwo 2000’‘, Oberbauer, Volksblah, 24/25, 2.2001;
 * Chrictopf Wiedemann, ‘’Freie Radikale auf ihrem Weg in den Westen’‘, Seite 18, Suddeutsche Zeitung, Nr.13, 17.1.2001;
 * Von Michael Dultz, ‘’Klassische Frauenszenen mit Mannern nachgestellt’‘, Die Welt Bayern, 15.01.2001;
 * Brita Sachs, ‘’Sei frech und zeige deine Katastrophen’‘, Frankfurter Augemeine Zaitung, Februar 2001;
 * Rod Mengham, ‘’The refugee aesthetic?’‘, TATE, issue 20, 2000.