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 Army Girls (I) 2000 |
 Army Girls (II) 2000 |
 Chechen Sniper (I) 2000 |
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 Army Girls (V) 2000 |
 Army Girls (IV) 2000 |
 Army Girls (VI) 2000 |
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 Soldiers (I) 2000 |
 Soldiers (II) 2000 |
 Soldiers (III) 2000 |
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 Soldiers (IV) 2000 |
 Soldiers (V) 2000 |
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 Secretaries (I) 2000 |
 Secretaries (II) 2000 |
 Secretaries (III) 2000 |
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 Secretaries (IV) 2000 |
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 Guitarists (I) 2002 |
 Guitarists (II) 2002 |
 Guitarists (III) 2002 |
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 Guitarists (IV) 2002 |
 Guitarists (V) 2002 |
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 Souvenirs (I) 2002 |
 Souvenirs (II) 2002 |
 Souvenirs (III) 2002 |
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 Souvenirs (IV) 2002 |
 Souvenirs (V) 2002 |
 Souvenirs (VI) 2002 |
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 Fayur-Soyuz (I) 2001 |
 Fayur-Soyuz (II) 2001 |
 Fayur-Soyuz (III) 2001 |
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| Sergey Bratkov was born in Kharkiv, Ukraine in 1960. From 1969 through 1978 he attended the Repin Art College in Kharkiv. In 1983, he graduated from the department of Industrial Electronics at the Polytechnic Academy in Kharkiv to complete the typical Soviet education. In 1987, Bratkov’s had his first solo shows in Kharkiv, Cheb, and Tel Aviv. In the following years, he enjoyed international recognition from his solo exhibitions at the Forum Stadtpark Graz, in Berlin, Nuremberg, Wisconsin, and Triest. He also took part in smaller and larger post-Soviet group exhibitions in Finland and New York, international art fairs, the Sao Paulo Biennale 2002, the Moscow Photobiennale, and recently at the Venice Biennale 2003. Bratkov’s work is heavily influenced by his Kharkiv origin. For many years he worked with Boris Mikhailov, a mature artist who developed his radical realist style with the underground Vremia group. During this time, Mikhailov learned to confront social taboos without trepidation. In Kharkiv, a large industrial town, misery and poverty are omnipresent: homeless children, prostitutes, frozen corpses, and drunks depress the already devastated landscape. In this setting, social realism is essential and the portrait, in its transcendent and stereotypical form, of special value. Whether portraying party members, workers, peasants, space travelers, scholars, or soldiers, every individual is presented as a hero. This crude standardization also characterizes National Socialist art. Bratkov must be considered in the Soviet and post-Soviet context. After the collapse of the Soviet Union, Russian and Ukranian photography reconstructed itself according to the Western tradition. It managed, however, to maintain a unique identity due to its original form and content. The nineties witnessed a radical change in photographic tendencies. On one hand, there was a return to the Constructivism pioneered by Rodchenko; on the other, forms of staged photography emerged, including tableaux vivants, landscape, documentary, and action photography. Artists also experimented with photographic manipulation to create ironic and cynical images using Photoshop. In Moscow, many important artists launched a new era of photography with the Group AES, Efimov, Group Fenso, Infante father and son, Liberman, Kulik, and Mukhin, among others. Prior to this revolution, there were signs of a bourgeoning avant-garde Russian and Ukranian photography. In the 1960’s, there was a special development in Ukraine’s Kharkiv. A group of photographers established themselves in the underground art world as pioneers of a radical realism. Members of the Vremia group not only transformed “permitted” subject matter such as architecture and labor, but also confronted taboo themes such as of male nudity. Bratkov’s, Michailov’s and Solonski’s resistant and progressive “Fast Reactoin Group” grew up out of this movement. |
| Sergey Bratkov - Selected Group Exhibitions | |
2010 |
Russia Today: video arte dalla nuova Russia, Galleria Nina Lumer, Milano (Italy) |
| Diary of a Madman, Regina Gallery, Moscow (Russia) | |
2009 |
Russian Lettrism, Central House of Artist, Moscow (Russia) |
| Future depends on you. New Rules, Moscow Museum of Modern Art, Moscow (Russia) | |
| Azioni molto semplici senza uno scopo preciso, Galleria Artra, Milano (Italy) | |
2007 |
Provocation? II, Fotogalerie Wien, Vienna (Austria) |
| 2nd Moscow Biennale, Moscow (Russia) | |
| Progressive Nostalgia, Centro per l'Arte Contemp. Luigi Pecci, Prato (Italy) | |
| 52nd Venice Biennale, Ukrainian Pavilion, Venice (Italy) | |
| Moscow Museum of Modern Art, Moscow (Russia) | |
| BALTIC Centre for Contemporary Art, Gateshead (UK) | |
| Supermodels II: Real vs Unreal, LipanjePuntin artecontemporanea, Roma (Italy) | |
| Russia Miami 2007, Collins Building, Miami, Florida (Usa) | |
| So Close / So far Away, Be-Part, Waregem (Belgium) | |
| Bellezza pericolosa, Palazzo Roccella, Napoli (Italy) | |
| On Geekdom, parallel project of Art Athinai, Athens (Greece) | |
2006 |
Full House: Gesichter einer Sammlung, Städtische Kunsthalle Mannheim, Mannheim (Germany) |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Catodica, Different locations, Trieste (Italy) | |
2005 |
Transit, Mechelen (Belgium) |
| Collectie herfst 2005, MUHKA, Antwerp (Belgium) | |
| Urbane Realitäten, Fokus Istambul, Berlin (Germany) | |
| First Moscow Biennale of Contemporary Art, Moscow Biennale, Moscow (Russia) | |
| Beyond the Red Horizon, Centre for Contemporary Art, Warsaw (Poland) | |
| The Artists in Their Own Words, MUHKA, Antwerp (Belgium) | |
2004 |
Moscow-Berlin 1950-2000, Central Historical Museum, Moscow (Russia) |
| Esperando una chamada, Cengtro Galego de Arte Contemporanea, Santiago de Compostela (Spain) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Arco, LipanjePuntin artecontemporanea & Regina, Madrid (Spain) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Manifesta 5, San Sebastián (Spain) | |
| Shrinking Cities, KW Kunst-Werke Berlin e. V., Berlin (Germany) | |
| Collection Autumn 2004, Antwerpen (Belgium) | |
| Beauty of Darkness, Reflex Modern Art Gallery, Amsterdam (The Netherlands) | |
2003 |
Arco, LipanjePuntin artecontemporanea, Madrid (Spain) |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| ARCO, LipanjePuntin & Regina Gallery, Madrid (Spain) | |
| Corpo sociale, Galleria Pack, Milano (Italy) | |
| 50th Venice Biennale, Russian Pavilion, Venice (Italy) | |
| Berlin-Moscow/Moscow-Berlin 1950-2000, Martin - Gropius - Bau, Berlin (Germany) | |
| Horizons of Reality, MUHKA, Antwerp (Belgium) | |
| Neue Anzatze, Kunsthalle, Dusseldorf (Germany) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
2002 |
Art Cologne, Regina Gallery, Köln (Germany) |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Sans Consentement, CAN, Neuchatel (Switzerland) | |
| Brand Ukrainian, Center for Contemporary Art, Kiev (Ukraine) | |
| XXV Bienal de Saõ Paulo, Saõ Paulo (Brasil) | |
| Photobiennale 2002, Manezh, Moscow (Russia) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Artissima, LipanjePuntin & Regina Gallery, Turin (Italy) | |
| Melioration, Moscow (Russia) | |
| Shock & Show, LipanjePuntin artecontemporanea, Trieste (Italy) | |
2001 |
Artissima, LipanjePuntin artecontemporanea, Torino (Italy) |
| Art Cologne, Regina Gallery, Cologne (Germany) | |
| Winter Exhibitions, Inst. of Visual Arts Univ. of Wisconsin, Milwaukee (Usa) | |
| Inverse Perspectives, Edvik Cultural Center, Sollentuna (Sweden) | |
2000 |
Olaf Breuning & Sergey Bratkov, Museum-Fortress Cosoi Caponir, Kiev (Ukraine) |
| Two Sides, Center for Contemporary Art, Kiev (Ukraine) | |
| Clean Room, Promzona Club, Kiev (Ukraine) | |
| Contemporary Photographers of Ukraine, Contemporary Art Center, Thessaloniki (Greece) | |
1999 |
The Taste of the Other, Tokyo Japanese Club Restaurant, Kiev (Ukraine) |
| Face Value, Ukrainian Stock Exchange, Kiev (Ukraine) | |
| 3rd Triennale of Photography, Graz (Austria) | |
| Regards sur l'Ukraine, Passage du Retz, Paris (France) | |
| Contemporary Photofraphers of Ukraine, Le Quai, Mulhouse (France) | |
| The Future Is Now. Ukrainian Art of '90s, Museum of Contemporary Art, Zagreb (Croatia) | |
| Carte-blanche a Boris Mikhailov, Cité International des Arts, Paris (France) | |
| Photographers from Kharkov, Gallery Kohlenof, Nürnberg (Germany) | |
| Contemporary Photographers of Ukraine, Festival Est-Ouest, Die (France) | |
| After the Wall, Moderna Museet, Stockholm (Sweden) | |
| Moscow Art Fair, Manege, Moscow (Russia) | |
1998 |
Accomodation, Gallery U Iezuitov, Poznan (Poland) |
| Public Interest, Gallery of the Artists' Union, Kiev (Ukraine) | |
| Humanature, Nortalie (Sweden) | |
| Intermeedia, Soros Center for Contemporary Art, Kiev (Ukraine) | |
| A Day in the Life, Crimean Project-I, Soros Center for Contemporary Art, Kiev (Ukraine) | |
| Dressed in White, The Art Gallery at Pamapo College, Mahwah, New Jersey (Usa) | |
1997 |
Photo Synthesis, Gallery of the Artists' Union, Kiev (Ukraine) |
| Intrigue-Provocation, Zilinkas Art Gallery, Kaunas (Lithuania) | |
| Simptomatic Anonimity, Soros Center for Contemporary Art, Kiev (Ukraine) | |
| Lege Artist. By the whole Artist Rules, Photo Center Exar, Kiev (Ukraine) | |
1996 |
The Family Album, Kyiv Mohyla Academy Gallery, Kiev (Ukraine) |
| Hermetic Forest, Soros Center for Contemporary Art, Kiev (Ukraine) | |
| Commodity Feticism, Ukrainian House Cultural Center, Kiev (Ukraine) | |
| Sugar Plum Vision, Soros Center for Contemporary Art, Kiev (Ukraine) | |
1995 |
Illya Chichkan & Sergey Bratkov, Rutgers University, New Brunswick, New Jersey (Usa) |
| The Art of Photography From Ukraine, Rutgers University, New Brunswick, New Jersey (Usa) | |
| Black and White, Center for Contemporary Arts Brama, Kiev (Ukraine) | |
| Barbaros, Artists Union Gallery, Kiev (Ukraine) | |
| Bred in the Bone, Soros Center for Contemporary Art, Kiev (Ukraine) | |
| Mouth of Medusa, Center for Contemporary Arts Brama, Kiev (Ukraine) | |
| Sergey Bratkov - Selected Solo Exhibitions | |
2010 |
How Much?, Deweer Gallery, Otegem (Belgium) |
| Ukraine, Pinchuk Art Centre, Kiev (Ukraine) | |
| Male Games, Espacio Minimo, Madrid (Spain) | |
2009 |
Balaklavsky Drive, Regina Gallery, Moscow (Russia) |
| Glory Days, PHoto España - Channel of Isabel II, Madrid (Spain) | |
2008 |
Searching for the Horizon, Regina Gallery, Moscow (Russia) |
| Searching for the Horizon, Transit Gallery, Mechelen (Belgium) | |
| Glory Days, Fotomuseum Winerthur, Winterthur, Zurich (Switzerland) | |
| Heldenzeiten (Glory Days), Fotomuseum Winterthur, Winterthur (Switzerland) | |
2007 |
Conversazioni... pericolose! Sergey Bratkov, PAN, Palazzo delle Arti Napoli, Napoli (Italy) |
| BALTIC Centre for Contemporary Art, Gateshead (UK) | |
| Moscow Museum of Modern Art, Moscow (Russia) | |
2006 |
SPA, Regina Gallery, Moscow (Russia) |
| Misanthrope, Espacio Minimo, Madrid (Spain) | |
| Part of My Life, Moscow Museum of Contemporary Art, Moscow (Russia) | |
| Sergey Bratkov: Dream Rooms, Deweer Art Gallery, Otegem (Belgium) | |
2005 |
Collecti@n, Torch Gallery, Amsterdam (The Netherlands) |
| Sergey Bratkov, S.M.A.K., Gent (Belgium) | |
| Birds, Galerie Anita Beckers, Frankfurt (Germany) | |
| Installation, Palais des Beaux-Arts, Brussels (Belgium) | |
2004 |
Seven, Regina Gallery, Moscow (Russia) |
| Prison, Photobiennale 2004, Moscow (Russia) | |
| On a Volcano, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Manifesta 5, San Sebastian (Spain) | |
2003 |
Faust and Margherita, Center for Contemporary Art, Kiev (Ukraine) |
| Souvenirs, Scena Gallery, Moscow (Russia) | |
| Dreams and Conflicts. Tondo, Venice Biennial - Russian Pavillion, Venice (Italy) | |
| Kids, Espacio Mínimo, Madrid (Spain) | |
| Steelworkers, Transit Gallery, Mechelen (Belgium) | |
2002 |
Souvenirs, Atelier Karas, Kiev (Ukraine) |
| www.girls.ru, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| My Moscow, Regina Gallery, Moscow (Russia) | |
| Djeti - Kinder - Kids, Kunstverein Rosenheim, Rosenheim (Germany) | |
2001 |
Fayur-Soyuz, Regina Gallery, Moscow (Russia) |
2000 |
Kids, Regina Gallery, Moscow (Russia) |
| Sailors, Regina Gallery, Moscow (Russia) | |
1999 |
Alien, Cultural Dept. of the German Embassy, Kiev (Ukraine) |
1998 |
America House, Kharkov (Ukraine) |
| Performance at A Day in the Life/Crimean Project-I, Tennis-Courts of Kiev Tennis Club, Kiev (Ukraine) | |
1997 |
The Daily Journal of Chicatilo, Galerie in der Brot Fabrik, Berlin (Germany) |
1996 |
There Is No Paradise, Up/Down Gallery, Kharkov (Ukraine) |
| There Is No Paradise, Mixt Gallery, Kiev (Ukraine) | |
| The Daily Journal of Chicatilo, The Medical Cabinet of Prof. D. Pirogov, Kharkov (Ukraine) | |
1995 |
In the Haystacks, Galerie in der Brot Fabrik, Berlin (Germany) |
| Frozen Landscape: Photo-Action, Soros Center for Contemporary Art, Kiev (Ukraine) | |
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