Landscape as Premonition
Curator Marina Fomenko
Landscape as Premonition takes place at Center for Creative Industry Fabrika in Moscow October, 15 — November, 15 2026.
Curator: Marina Fomenko
Artists: Gentle Women Art Group (Alexandra Artamonova,
Eugenia Lapteva), Marina Fomenko, Vika Ilyushkina, Alexandra Mitlyanskaya, Tuan Mu, Veronika Solovyova.
Landscapes take many forms. There is the landscape we see before us, the one we imagine, and the one we remember. A landscape has a life of its own. It preserves traces of time, registers changes in light, gathers sounds, and senses what remains hidden, sometimes detecting the approach of something unnamed.
In the artists' works, the landscape becomes an independent participant in what unfolds, a bearer of hidden signals and rhythms.
Curator: Marina Fomenko
Artists: Gentle Women Art Group (Alexandra Artamonova,
Eugenia Lapteva), Marina Fomenko, Vika Ilyushkina, Alexandra Mitlyanskaya, Tuan Mu, Veronika Solovyova.
Landscapes take many forms. There is the landscape we see before us, the one we imagine, and the one we remember. A landscape has a life of its own. It preserves traces of time, registers changes in light, gathers sounds, and senses what remains hidden, sometimes detecting the approach of something unnamed.
In the artists' works, the landscape becomes an independent participant in what unfolds, a bearer of hidden signals and rhythms.
In Veronika Solovyova’s Untitled, the horizon flickers, appearing and disappearing into darkness, as if marking the boundary between the visible and the invisible.
In Marina Fomenko’s Distant Thunder, an unsettling signal whose source remains outside the frame sends flocks of birds suddenly into the sky, as though in response to an invisible threat.
In Alexandra Mitlyanskaya’s Don’t Miss the Moment, a white snowball gradually loses its familiar contours, revealing a recognizable image, as though memory were emerging through the snow.
In Tuan Mu’s Calligrapedia: A Universal Algorithm #2, the gesture of calligraphy transforms into a landscape, and the landscape into a sign left by the movement of the hand.
In the diptych by the artist collective
Gentle Women, comprising I Know That a Puncture Leaves a Wound and An Ice Hole is an Unhealed Scar on the River, the human body and the river landscape are connected through a shared metaphor of a rupture in the surface, evoking premonition, loss, and memory.
In Vika Ilyushkina’s Camp, an abandoned Soviet pioneer camp becomes a landscape of an unrealized future. The place itself holds a premonition of what has been lost.
The videos presented in the exhibition explore the uncertainty inherent in premonition, inhabiting a space of anticipation: between calm and anxiety, between the familiar and the unknown, between the visible and what may soon emerge. The landscape becomes a sensitive medium, capable of preserving traces of the past and sensing the approach of what is yet to come.
In Marina Fomenko’s Distant Thunder, an unsettling signal whose source remains outside the frame sends flocks of birds suddenly into the sky, as though in response to an invisible threat.
In Alexandra Mitlyanskaya’s Don’t Miss the Moment, a white snowball gradually loses its familiar contours, revealing a recognizable image, as though memory were emerging through the snow.
In Tuan Mu’s Calligrapedia: A Universal Algorithm #2, the gesture of calligraphy transforms into a landscape, and the landscape into a sign left by the movement of the hand.
In the diptych by the artist collective
Gentle Women, comprising I Know That a Puncture Leaves a Wound and An Ice Hole is an Unhealed Scar on the River, the human body and the river landscape are connected through a shared metaphor of a rupture in the surface, evoking premonition, loss, and memory.
In Vika Ilyushkina’s Camp, an abandoned Soviet pioneer camp becomes a landscape of an unrealized future. The place itself holds a premonition of what has been lost.
The videos presented in the exhibition explore the uncertainty inherent in premonition, inhabiting a space of anticipation: between calm and anxiety, between the familiar and the unknown, between the visible and what may soon emerge. The landscape becomes a sensitive medium, capable of preserving traces of the past and sensing the approach of what is yet to come.