Svyatoslav Igorevich Ponomarev

SOLO EXHIBITIONS
1991 "Projective Ritual Space". Artist's Studio on B. Molchanovka, Moscow
1992 "Internal Security. Environmental Experiment". Kuntsevo Gallery, Moscow
1992 "Showcase. Street. Passers-by". 'Tvorchestvo' Exhibition Hall, Moscow
1995 "Golden Brush". Central House of Artists, Moscow
1995 "New Technologies in Art" (seminar). Pereslavl-Zalessky
1995 "Configura 2. Dialog Der Kulturen". Erfurt, Germany
1995 "Anthology" (with M. Roshnyak). Center for Contemporary Art, Moscow
1995 "Spirit and Soil-2". "Kashirka", Moscow
1995 "Art Reality". Manezh, St. Petersburg
1995 "Four Winds Towards Paganism". Kuntsevo Gallery, Moscow
1995 "Crusade". "Expo-88" Gallery, Moscow
1995 "Extremism and Erotica". Limonov Gallery, Moscow
1996 "Comments – 10". European Cultural Club
"Inside" (with F. Infante). "Kino" Gallery, Moscow
1996 "Christmas Exhibition". "Kino" Gallery, Moscow
1997 "Credo". Russian Cultural Foundation, Moscow
1997 "Eastern Motifs". "Kino" Gallery, Moscow
1997 "Spring Bleeding, or Jauss!" M. Gruzinskaya, 28, Moscow
ACTIONS AND PERFORMANCES
1996 "Manhattan Express" (with M. Roshnyak and A. Tegine), Moscow
1996 As part of the festival of contemporary music "Alternative," Moscow
1996 "Soundscapes" (as part of the exhibition "Summer Control"). Central House of Artists, Moscow
1996 "Moscow – Petersburg – Noise Scene. In memory of Sergey Kuryokhin". Central House of Artists, Moscow
1997 "Performance" (with M. Roshnyak). "Expo-88" Gallery, Moscow
1997 "Purba – Creation of a Mandala under the Influence of Gravity and Sound", "Yamskoye Pole" Club, Moscow
1997 Performance at the opening of the "Kreiser" Club, Moscow
Since 1994 ongoing project "Purba" (with A. Tegine). Bolotnaya Sq. 6, Moscow

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The experience of modeling a kind of ritual space through a structure of influence created in the inhabited studio-apartment, which included both environment art and installations, as well as carefully directed musical performance—all this we find in S. Ponomarev's work. His two activities: on the one hand, a rethinking of painting, radically reinterpreting the tradition of hyper- and photorealism by shifting attention to the discrete pointillist grid of magnified raster, the contemplation of which acquires a meditative nature of peering into the elementary particles of existence, the language of art; on the other hand, his experience of "neo-shamanic" performance—these two areas, at their core, speak about the same thing, concentrating a holistic mythological world. Its archaeological foundation is the mystery arsenal of Ancient Egypt, theosophical symbolism, motifs of sacred burials and the "Book of the Dead." This archaeological documentary support in the artist's hands acquires the ability for multiple transformations: the recognizable iconicity of the sacred topography and topology of his mythologized Egypt emerges equally both through the dotty veil of brush-made photo raster, and through the visual planes of his installations, and through the articulated noises of his musical "shamanizing."
S. Kuskov, N. Brilling. From the catalog of the exhibition "Moscow Romanticism." Central House of Artists, Moscow, 1992