Katya Bochavar, Lexus Hybrid Art architect

All four exhibitions of LHA in which I have taken part have been different — in idea, spirit and architecture — thanks to the festival’s variety of exhibition spaces. Sometimes, it has been reminiscent of an alchemist’s laboratory, sometimes a cosmic portal, then a futuristic city growing through the architecture of the past… As I work with total installation, first I listen to what one or another space has to say, and then I initiate a dialogue between the space and the work of art. This year, visitors will enter a mystical cinema, reminiscent of the famous David Lynch series or an abandoned adventure park.

Katya Bochavar (Russia / USA) — аrtist and curator, Katya has been participating in the Lexus Hybrid Art project as aspace architect and co-curator since 2012. She also worked as the architect of the Russian Pavilion at the 53rd Venice Biennale (2009), curator of the visual program at the GOGOLFEST International Festival of Contemporary Art (Kiev, 2010) and the Archstoyanie 2013, and Leaving the Forest Festival (Nikola-Lenivets, 2013). Katya combines the curatorial activity with the desire for interdisciplinarity and collaboration with other artists.

spectives: Le Parc Lumière in Zurich (2005), Mexico City (2006), Bogotá (2007), Rio de Janeiro (2013) and Buenos Aires (2014), solo shows at the Palais de Tokyo in Paris in 2013 and at the Serpentine Gallery, London in 2014.Lumiere en movement (Light in Motion) is a fresh modi­cation of the classical «mobile» from the year 1962. As a result of complex mathematical calculations and by the simplest of materials (mirrors made of stainless steel, nylon yarn and a pair of spotlights), the artist overcomes the statics of traditional sculpture. The «mobile» soul is an open self-transformation algorithm, resulting from a combination of unique space characteristics, such as temperature and humidity, the speed of air ‑ow, spectators’ presence and movement.


From July, 22 to August, 2 Rossiya Theatre is hosting the 6th annual Lexus Hybrid Art exhibition. Following the ‘Creating Feelings’ concept of the season, the curator Bernardo Mosqueira (Brazil) collected kinetic installations, videos and performances by leading contemporary artists from all over the world inside a giant labyrinth.


Bernardo Mosqueira, Lexus Hybrid Art curator

For me, presence, doubt and surprise are the substance of the spirit of this exhibition. I want the public to leave the exhibition energized, feeling a lot of love and power inside and that the best and most transformative decisions can be made in this very moment. I want this show to be an experience of surprise, wonder, doubt, tension, reflection, excitement, pleasure and relaxation.

Bernardo Mosqueira was born in Rio de Janeiro (Brazil) in 1988, where he currently lives and works. He was the curator responsible for more than 55 exhibitions in Rio and São Paulo galleries. Bernardo is the director of the Award «Prêmio FOCO Bradesco ArtRio» since 2012 and one of the curators of IBEU Art Gallery since 2010. Currently, he teaches at the Parque Lage Visual Arts School.


Fyodor Pavlov-Andreevich, Lexus Hybrid Art artistic director

The difference between the view of a city, fields and forests from a car window — and the city itself as well as the fields and the forests themselves — is enormous, sometimes irreconcilable. Such is the difference between the Russian expression «там хорошо, где нас нет» (literally: things are good where we aren’t) and the English one «The grass is always greener on the other side of the fence». The exploration of that difference — as well as the question of who we feel ourselves to be and who we actually are — is the subject of the sixth Lexus Hybrid Art.

And that’s very true. We get into a fitting room and look at the mirror — and there is nothing but eternity behind that mirror. Or — we hear the music behind the door, and once we open it, the weird silence embraces us. Needless to say about the length of an extended hand that separates us from the scary void — or from someone surprisingly shaking it. The artists only talk about any of the casual feelings (and especially of the events which create them) that could be easily taken as a work of art — our daily life is filled with them. Lexus Hybrid Art not only helps us to define the difference but also to identify the presence of art in our own life. In 2015 this exhibition settled at the Rossiya Theatre — the place out of time, the cinema with no cinema in it, the temporary (thanks to LHA) museum of contemporary art. In 2015 this exhibition will discover several top state secrets to its loyal visitor — first of all, the secret of a sacred saying that explains the car mirror principle: «Objects in the mirror are closer than they appear». To say the truth, this exhibition is dedicated to that real distance that separates us from the objects — both already reflected and yet to be reflected — and the emotional meaning of them.

Fyodor Pavlov-Andreevich (Russian, lives between Moscow, London and São Paulo) is a Brazilian artist, British curator, and Russian museum director but also a writer, theatre director and filmmaker.

In group and solo shows, he has created installations and performances. Fyodor’s Performance Carousel (2014), Faena Arts Center, Buenos Aires, Argentina. In 2015 Fyodor received the Grand Prix at Kuryokhin Art Prize 2015. His works are included into Marina Abramović and The Future of Performance Art published by Prestel (2010) and Performance Now: 2000-2013 by Roselee Goldberg (Thames and Hudson, 2015).






Bill Viola (1951, New York) is an internationally renowned artist, who had a decisive influence on the development of video art. During 40 years of work, Viola has greatly expanded the boundaries of the genre from the standpoint of technology, content and historical significance, experimenting with architectural elements, sound and lighting design, electronic music, television and other means of expression and ways of video representation. Eclectic works by Viola became classics of postmodernism: the artist borrows motifs and symbols of the European Renaissance, Muslim and Buddhist art, re-framing cultural heritage to reflect on contemporary issues.

The medieval mystic Ibn al’ Arabi said, “The Self is an ocean without a shore. Gazing upon it has no beginning or end, in this world and the next”. This is eloquently expressed in “Three Women”. In the dim lighting, a mother and her two daughters slowly approach an invisible boundary, passing through a wall of water at the threshold between life and death, and moving into the light. Soon, the mother recognizes that it is time for her to return, and her children slowly follow, tempted to have one more look at the world of light.


Born in Mendoza, Argentina in 1927, Julio Le Parc lives and works in Cachan near Paris. A politically engaged artist, Le Parc was closely involved in the events of May 1968, leading to his expulsion from France. He worked on numerous collective anti-fascist projects, many of them attacking the dictatorships of Latin America. He was the major proponent of the geometrical and kinetic art that marked the 1960s, and a founding member of GRAV (Groupe de Recherche d’Art Visuel, 1960-68) and an active participant in all of its shows, as well as in those of the Nouvelle Tendance group. In 1972 he had a retrospective at the Kunsthalle in Düsseldorf. More recently, his work has given rise to major exhibitions and retrospectives: Le Parc Lumière in Zurich (2005), Mexico City (2006), Bogotá (2007), Rio de Janeiro (2013) and Buenos Aires (2014), solo shows at the Palais de Tokyo in Paris in 2013 and at the Serpentine Gallery, London in 2014.Lumiere en movement (“Light in Motion”) is a fresh modi­cation of the classical «mobile» from the year 1962. As a result of complex mathematical calculations and by the simplest of materials (mirrors made of stainless steel, nylon yarn and a pair of spotlights), the artist overcomes the statics of traditional sculpture. The “mobile” soul is an open self-transformation algorithm, resulting from a combination of unique space characteristics, such as temperature and humidity, the speed of air, spectators’ presence and movement.


Annika Kahrs is a Hamburg-based artist (b. 1984) who primarily works with fi­lm, performance and photography, combining staging and documentary-like observation in her fi­lms. The artist has been awarded a number of prizes and scholarships including the George-Maciunas-Förderpreis in 2012 and First Prize at the 20th Bundeskunstwettbewerb of the German Federal Ministry of Education and Research. Kahrs has exhibited internationally, including Hamburger Bahnhof, Berlin (2015); the Bienal Internacional de Curitiba, Brazil (2013); Hamburger Kunsthalle (2013); Goldsmiths University, London (2011), and the Velada de Santa Lucia festival in Maracaibo, Venezuela (2010). She is participating in the 5th Thessaloniki Biennale of Contemporary Art in June 2015. “For Two to Play on One” is an experiment in role-exchange. As soon as the viewer sets foot on the red carpet, the music stops and the performers ­fix their eyes on the lone visitor who unwittingly becomes the protagonist of a silent conflict, becoming a fifth wheel in this theatre of embarrassment.

DOORS, 2004/2005 CHANGING ROOMS, 2008

Leandro Erlich, born 1973, lives and works in Buenos Aires and Montevideo. Erlich started his artistic career in New York, has also lived in Houston, Texas and spent a few years in Paris. He has participated in many collective exhibitions and art biennales, such as the Whitney Biennale (2000), the 49th Venice Biennale (2001), the 3rd Shanghai Biennale (2002), the 51st Venice Biennale (2005), the Echigo-Tsumari Art Triennial, Japan (2006), Liverpool Biennial (2008), Centre Georges Pompidou, Paris (2011), MOT, Tokyo (2013), Shanghai Art Festival (2013), Montevideo 2nd Biennial, Urugay (2014), etc. He made individual exhibitions in El Museo del Barrio, New York (2001), Santa Monica Art Center, Barcelona (2003), MACRO Museum of Contemporary Art of Rome (2006), P.S.1 MoMA, NY (1999), Barbican Center, London (2013), MMCA, Seoul, Korea (2014), etc. Upon entering a dark room people discovered a series of doors that glowed brightly from beneath the threshold. This situation created a natural desire and curiosity to ­find out what was on the other side. Spectators could open the door, but when they did, light accompanied the movement because it was connected to the underside of the door.


Born in Catanduva, Brazil, in 1980, Lucas Simões is based in São Paulo, with a background in architecture and arts. His experience as a trainee-architect rede­ned his perception of art and opened new paths of discovery. Thus, he uses many material in his works, considering each new piece of research as an opportunity to explore materials and spaces. In all his odd experiments, using many layers and creating distortions, his intention is to intervene in objects or images that carry meanings, and then create a new representation that oscillates between beauty and strangeness, movement and depth, since «there is a certain perversion in changing the meaning of things». He says, “The strange fascinates me, and to make it beautiful is even more interesting.” The Hybrid Art space has 17 different levels, distorting the original space. At the entrance of the lower level, the walls are 207 cm high, and as the visitor moves through the labyrinth he starts to rise against the height of the walls, until he gets to see the upper spatial view of the room, where the walls are only 90cm high. The effects of light and color provide a cinematic experience.


Vadim Fishkin (1965, Penza) is a Ljubljana-based artist, working at the intersection of art and science, exploring the ability of technological inventions to recreate images of wildlife and everyday reality. Technological inventions, languages and voices, synthesized by computer programs, have become the artist’s mediator in communication with the audience. The artist has had twenty solo shows and more than a hundred group exhibitions, including the Venice Biennale (1995, 2003, 2005), III Istanbul Biennial (1992), the Moscow-Berlin, Berlin-Moscow exhibition (2003), Manifesta I in Rotterdam (1994) and Manifesta X in St. Petersburg (2014). He is currently a teaching professor at the Center for Art and Media in Karlsruhe (Germany).Projected on a plain wall, there is a door which keeps constantly opening and closing. When the door opens we can see a bright space behind it. Each time the door opens, the light from behind the door leaks and flows out towards the visitors observing it.


Moscow-based artist, performance-maker, art therapist, Psy. D., teacher at the Free Workshops school at the Moscow Museum of Modern Art, maintaining her own socio-educational project called Performance Art Studio since 2004. She has participated in numerous exhibitions and festivals around the world, including Moscow Biennale (2005, 2007, 2009), Prague Biennale (2003), the Biennale of Thessaloniki, Greece (2011), PERFORMA (2011) and the Venice Biennale (2005, jointly with the ESCAPE program).A confessional-like box with a special sleeve lets two people communicate using left hands. The installation simulates the state of existential isolation in the modern world, and is an attempt to overcome it. Return of the active position of the left hand during the performance is the call for solidarity with the alternative otherness, an attempt to release repressed Western culture channels of perception, switching to the language of images and live experience.


Laura Lima lives and works in Rio de Janeiro, where she graduated in Philosophy at the Universidade Estadual and studied at the Escola de Artes Visuais do Parque Lage. In 2014, she received the Bonnefanten Award for Contemporary Art (BACA prize). Laura has participated in many international solo and group shows: the 24th and 27th São Paulo Bienalle; the 2nd and the 3rd Mercosul Bienalle, Porto Alegre, Brasil; Instancias To Age, Chapter Art Centre, Cardiff, Wales; A Little Bit of History Repeated, Kunst Werke, Berlin; La Centrale, Montreal, Canada;, 11st, 12nd, 13rd and 14th Rooms at UK, Germany, Australia and Switzerland; 11st Lyon Bienalle, France; Migros for Gegenwartskunst, Zurich, Switzerland; MUAC, Ciudad del Mexico; National Gallery of Denmark, Copenhagen; among others. The viewer moves through three heavy velvet curtains (in sequence of colors burgundy, blue and black) structured in a passage of speci­c dimensions that may block the light and the sound of the space where the viewer enters. The place is entirely without light, and the feeling of loss of space is immediate, but the viewer is free to continue or stop the trip. “Escolha” (“The Choice”) was previously built at the House France Brazil, Rio de Janeiro, in 2010, and Konsthal Bonniers, Stockholm, in 2014.


Tom Beale is a New York-based artist who works primarily with found natural materials. From 2008 to 2012, he was also the founder/director of the independent Honey Space exhibition site, based in Chelsea. Tom has received grants and awards from the New York Foundation for the Arts, the U.S.-Japan Creative Artist Fellowship, and participated in residencies at Yaddo, Watermill Center, Pioneer Works, and the Vermont Studio Center, among others. Beale’s exhibitions include Museum of Old and New Art (Tasmania, 2013), Family Business (New York, 2013), Art Squat Forum, Moscow Biennale (2011), Gogolfest (Kiev, 2010), etc.The artist processes found and reclaimed materials into workable units in order to create organic and sensual sculpture shapes. The exuberance and kinesthetic aura of his works achieve a new level in landscape installation for Lexus Hybrid Art 2015, evolving through several days of endeavor by the artist on-site.


Gary Hill (b. 1951, Santa Monica, CA) has worked with sculpture, sound, video, installation and performance since the early 1970s, exploring the physicality of language, synesthesia, and interactivity. He has exhibited worldwide, including solo exhibitions at San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, New York; Museum für Gegenwartskunst, Basel; Museu d’Art Contemporani, Barcelona; Center for Contemporary Art, Tel Aviv, among others. Hill has been the recipient of numerous awards and honors, most notably the Leone d’Oro Prize for Sculpture at the Venice Biennale (1995) and the Kurt-Schwitters-Preis (2000). Recent projects include directing Beethoven’s opera Fidelio and Feedback Path, amulti-projection installation in the Grotte du Mas D’Azi, France.

“Red Yellow” is an elevated viewing structure. There are always perfect waves rolling through the oceans somewhere. The repetition of perfection oddly leaves you with the feeling you’re already dead; you’ve come upon your very own still point from where you dangle in “No Drama” time.


David Birkin (b. 1977) is an artist based between New York and London. Birkin was the recipient of the 2010 Sovereign Art Prize (Barbican, London) and the 2012 Celeste Prize for Photography (Museo Centrale Montemartini, Rome). He has performed in fi­lms by Nathaniel Mellors for the ICA, Tate Triennial, British Art Show, Hayward Gallery, Venice Biennale and Hammer Museum, Los Angeles. Birkin has exhibited internationally at the Saatchi Gallery, London; the Solyanka State Gallery, Moscow; Gervasuti Foundation, Venice; Centre d’Art et Photographie, Lectoure; MUDAM Museum of Modern Art, Luxembourg; FotoFest, Houston; MoMA PS1 Rockaway Dome and the ISP at the Whitney Museum of American Art, New York, among others.Regularly working in the genres of photography, performance and sculpture, David Birkin will unveil a site-speci­c performance in the walls of Rossiya theatre.


“Dim Mirror” is a site-specific installation presented as a first episode of Lexus Hybrid Art – the 6th annual exhibition of hybrid art – and inspired by “creating feelings” concept.

The installation complicates the relationship between photography and sites of tourism. In this intervention Rossiya Theatre and the stairway connecting it to Pushkin Square become the postcard for a printed blue-skies snapshot of the square itself. This process of printing on architecture fragments the image and the cinema complex is made to resemble a broken mirror. The seemingly self-aware public square prompts the viewer to re-consider how they understand and move through their local hangout.

Opening up a dialogue between art and architecture, Hewson’s large-scale installations question the nature of our relationship to civic spaces. He has primarily used digital print to accentuate, distort and mirror existing features of a location – such as a museum, bridge or church – in order to amplify the viewer’s experience of that environment and challenge their perception of the space. His work explores ways to extend our physical understanding of the built environment through site-specific artworks.



Installation opening



Public talk at Strelka Institute



Julio Le Parc and Bernardo Mosqueira

Discussion at the Pushkin Museum of Fine Arts