Valera Cherkashin – born in 1948 in Kharkov, former USSR. 1963 – first conceptual photo actions. 1978 – first show with Boris Mikhailov and Klim. 1978-80 – worked with Sterligov art group in Leningrad, USSR 1980 – moved to Moscow, USSR 1984 – joined the Moscow Union of Graphic Artists 1990 – joined the USSR Union of Artists 2003 – joined the Union of Artists Photographers of Russia
Natasha Cherkashin – born in 1958 in Damascus, Syria. 1980 – graduated from Moscow State Teacher's Training University 1994 – joined the International Federation of Artists
After the Cherkashins paid their last respects to the Soviet Epoch and buried it, they began their work with the new Epoch in Russia - that of capitalism. They founded the Cherkashin Metropolitan Museum. Then they privatized the government sculpture found in the Moscow metro station, Revolutionary Square. They arranged a public wedding ceremony with a real woman of our time, and the revolutionary worker from the 1930s, found in the historic, three-dimensional bronze sculptures. The Cherkashins discovered the most secretive voting methods in the world. They also found the way to succeed in the fight against inflation in the USSR. Valera Cherkashin presented an official tea party with Russian vodka in honor of his wife's birthday at the Russian Kremlin in Moscow and United States Capitol Building in Washington DC. The Cherkashins discovered the artistic solution to the issue of Northern Territories in Japan and signed a Peace agreement with the Japanese people. They sold their photographic work to major museums throughout the United States and laundered money inside the World Bank Headquarters for over half a year.
Now after these historic achievements with their art, the Cherkashins decide to bring together the greatest metro stations from around the world, to merge thirty-three subways into one Global Underground. Valera and Natasha Cherkashin are artists who have been exploring the cultures of the USSR, Russia, the United States, Great Britain, Germany, Spain, Japan and Mongolia for more than 15 years. They have held more than 80 individual exhibitions and more than 40 performances. Their work has been the subject of 30 television programs and over 250 publications.
2008 - Exhibition “Global Underground” in Moscow Museum of Modern Art. Catalog. 2007 - Work on the project “Global Underground”. Trips to Beijing, Stockholm, Paris, New York. 2006 - Participation in Art Moscow Fair; ARCO Fair, Madrid; Vienna’s Fair, Austria, Vienna. 2005 - Began work on “Global Underground” project. 2005 - Participation in the XV International Festival "Month of Photography in Bratislava"(MMOMA). 2004 - Participation in the cultural program for Olympics in Greece, Athens. 2003 - Were given an award as from Creative Magazine and The Union of Journalists. 2002 - Grant from the Soros Foundation for the participation in "Intersection", Mongolia. 2002 - Exhibition in the State Russian Museum, St. Petersburg. Catalog. 2001 - Permanent exposition “Good-bye Favorite European Portraits” in the World Bank Headquarters. 2000 - Participation in the International Photo Festival PhotoEspana 2000, Caja Madrid, Madrid, Spain. 2000 - "Rapprochement of Japan and Russia", Hokkaido; "Solving the problem of Wonders of the World", Niagara Falls. 1999 - An underwater installation “Good-bye Favorite European Portraits: Hello Euro” was held in atrium pool, World Bank Headquarters, Washington, DC. 1999 - The Cherkashins have started to work with digital production with the assistance of MFA Photography and Related Media Department of the School of Visual Arts, located in New York City. www.che.dfcz.net 1999 - A four-month grant from Japan Foundation to live and work in Japan. 1999 - “Art as a tool for diplomacy” - an artistic solution in Japan on the issue of Northern Territories. 1996 - Worked on project “Atlantis of the World”. The underwater exhibition “The German Atlantis” was held in the swimming pool of the Olympic Stadium in Berlin. 1997 - Began work on the theme of “Favorite Portraits of People in the World”. 1995 - Began work on the theme of “Mirages of Empires”. 1994 - Began work on the theme of “Travel as Art”. www.dfcz.net/che/travel/ 1993 - Awarded grant from the Foundation of Social Innovations, USA, “New Leaders of Russia”. 1992 - Developed the conceptual museum “The Cherkashin Metropolitan Museum”. 1982 - The first exhibition in Moscow. 1978 - The first exhibition in Kharkov together with Boris Mikhailov and Vladimir Klim. 1962 - First art happenings, Kharkov, Ukraine.
University of California,
Princeton University; Columbia University;
The Kennan Institute,
Woodrow Wilson Center,
New York University; Museum of Fine Arts, Santa Fe, New Mexico;
The School of Visual Arts, New York City;
The Goldsmith University, London;
University of Southern California;
San Francisco State University;
The Art Academy of Cincinnati;
University of Rochester;
Cosmos Club, Washington, DC;
Georgetown University, Washington DC;
PhotoEspana, Madrid; Tokyo University, Japan;
Rodchenko School of Photography, Moscow.
The Cherkashins are ones of those rare artists of Soviet underground, who continued their radical search after the collapse of surveillance over artists and successfully integrated into contemporary multicultural art world. The image of a new Russian artist created by them runs counter to the overused romantic stereotype of the Soviet epoch where an intellectual or an artist was supposed to be distanced as much as possible from social and political problems and the institutions of power. Not only Natasha and Valera managed to celebrate their birthdays in the White House and Kremlin, but they also signed a peace treaty on the Northern Territories with the Japanese, invented and made public the most secret in the world method of voting and new anti-inflation measures.
The unusual activity of the Cherkashins on the international art scene is quite an exception for contemporary Russian art scene as well. They managed to position themselves as citizens of the world and endow their projects with a truly global and meta-historical scale, the projects that were born and carried out during their frequent traveling (“Global Underground”, “The Evolution of Chaos”, “The Atlantidas of Empires”, “Traveling as Art”, “The Portraits Loved by the Peoples of the World” etc.).
When in the beginning of the nineties the Cherkashins parted with the Soviet Empire as a political system, they did not say good-bye to the image of the Empire as a model of world order. Its mirages and its perception as a crossover between Utopia, historic reality and the contemporary continue to agitate the imagination of the artists and manifested itself in multimedia, having become the subjects of numerous actions and performances. To the artists the Empire has become a phantasm that has received a new meaning in the epoch of globalisation. Their project forestalled the philosophical bestseller “Empire” by Michael Hardt and Antonio Negri who applied the notion of ‘Empire’ in the analysis of the new world order. “ The thesis of Empire is that the globalization and informatization of world markets since the late 1960s have led to a progressive decline in the sovereignty of nation-states and the emergence of "a new form (of sovereignty), composed of a series of national and supranational organisms united under a single logic of rule. The authors call this new, global reconfiguration of sovereignty Empire. This shift both enacts and results from "the real (as opposed to formal) subsumption of social existence by capital," wherein there is no longer any "outside" to capital—everything is always already subsumed into the capitalist network. Valera and Natasha Cherkashin explore these structures that level and subsume multicultural parts of the world into a global super system.
One of the most ambitious projects of the artists - the series “Global Underground” – is dedicated to underground railways all over the world. Moscow metro charged with fetishes and myths was built as an absolute model of a perfect Soviet universe. The characters of this universe became the heroes of the Cherkashins art projects; they staged a pompous and surrealist wedding of a live girl with a bronze sculpture of a worker in the station “Revolution Square” (performance “Underground wedding” of 1993).
Today the metro constitutes a widely spread urban metaphor of post-modern epoch, an image of decentralized and polycentric city made up of intersections of multiple routes and infinite changes of subjects and scenes. In glossy digital photo collages of the Cherkashins the metro is presented in the form of a wide-screened and mesmerizing kaleidoscope that involves the beholder in its game of images and reflections, including his or her own reflection. This strange symmetry reminds one of many things at the same time: an exotic oriental carpet, protective colouring of insects, a toy kaleidoscope and theatre sets, and is reminiscent of the utopian past of the metro idea. Despite the indigenous character of local underground stations from all over the world, there exists a universal ornamental (nearly Baroque) structure in all the artworks of the series that reminds us that we are watching the same show.
During the early modern era, artists turned to urban subjects from traditional genre in time and space. Modern photography emerged in the mainstream of modern art movements as the quintessential medium of visual expression. Modern artists established an advanced vocabulary to articulate global change for the early twentieth century.
A variety of photographic mediums were unique in how they revealed the transformation of human values around the world. They provided a myriad of new art forms, from camera-made and camera-less photographs (photograms), to photomontage and cinema. The modern artist understood that two things determined reality and truth with a diversity of photographic mediums. What was created in front of, as well as behind, the camera.
Today another revolution of change is taking place after the modern epoch. Ideologies continue to vanish in an international exchange of ideas. New technologies of information and photography, including the Internet and travel, move beyond past culture. Photographic forms of expression are central to leading artists who want to articulate the new epoch. Art moves beyond the modern history of isms and historical classifications.
The photographic art of the Cherkashins speaks to a new milieu of possibilities. Their camera-based installations include a rich complexity and universal themes. Made from around the world, they create a network that links human sensibility. The Global Underground is timeless. The project moves away from the ideology of self-serving cultures or traditions of old internal politics.
The Global Underground consists of digital and video works that are combined with other mediums. It appropriates the essence of people in a universal time and space. Metros become a postmodern metaphor of collective history. Within the photographic installation is an interrelated system with others. Everything takes place in the larger, emerging world order.
In the 1920s, some of the first, modern photographic artists sensed related forms of global change. As people migrated to cities and factories to build new lives with the masses, a major shift took place in the content and meaning of art. Artists looked into the future boldly while inventing visual forms with new ideas and materials that better expressed their time.
Paul Citroën, a friend of the Berlin Dadaists who invented modern photomontage, created his Metropolis series in 1923. He was a student at the Weimar Bauhaus where modern forms of photography and architecture flourished. Metropolis is filled with multiple points of view from high and low vantage points. Fragments of architectural photographs are assembled from international newspapers and magazines. They take the place of painted brush strokes and traditional perspective as photomontage replaced the conventional horizon line found in traditional landscape painting. At the core of Citroen's series is the density and multifaceted order of modern life, which was emerging around the world. Metropolis is a metaphor of new urban structures.
Filmmakers of the period expanded the idea of montage in related cinematic art. They envisioned the co-existence of the modern worker
together with society. Director Fritz Lang collaborated with his wife, writer Gabriele von Harbou, to expose the emerging cultural hierarchies in the film Metropolis in 1926 ). While modes of travel and skyscrapers embolden the sky, only the life of the wealthy appears above the ground. Cinematic movement of modern vehicles and airplanes add to the fluid dynamics of change.
Painter, cellist and film director Walter Ruttmann anticipates a more ominous life for the worker in Berlin - Symphony of a Great City in 1927. Human figures are depicted as mechanical parts inside large clocks. They are fragments of the same machinery that is used in the life of factories on an unprecedented scale. Mechanistic rhythms and fragments of time, which are used throughout the film, suggest an array of consequences. The masses are part of the process of never-ending construction. Human figures interact inside the new bureaucratic order.
The Cherkashins move beyond the city and its politics from the past and the present. The metropolis of the modern era advances to the global underground. Rather than embracing temporary ideological models, the Cherkashins reconnect with the world at large, to express developing ideas about global change. Their art engenders many of the unique qualities of today's worldwide transformation.
Historical collaboration shed light on the importance of insights found in such rare photographic work.
During the 1920s and 1930s, Gustav Klutsis and painter Valentina Kulagina made their own photographs to use in their photomontage with future vision. They used photography in various technologies of the day such as lithography. Their extraordinary sense of color and design helped create incomparable icons of workers and industry. How they mastered mediums and technologies together remains to be more critically appraised. Their collaboration produced important contributions artistically beyond the political continuum of the modern era.
Like their modern predecessors, the Global Underground anticipates new realities with a diversity of technologies and mediums. Artists from both periods establish breakthroughs after the hardships of World War I and the Cold War. While classical artists such as Goya and Picasso targeted the senseless acts of war in their art, these photographic artists look ahead with future anticipation. The Cherkashins share the new freedoms of post-war advances and embody innovative aspirations.
The visual genius of collaboration is again a critical part of today's milieu. The Cherkashins are not simply revealing the character of globalization from past cultures on an unprecedented scale. The Global Underground, in all its manifestations and mediums, marks a new understanding of worldwide sensibility beyond politics. Commonality and universality outweighs past differences and ideologies.
Distinctions found in their installations and photographic art reveal more than what the camera portrays. Such visionaries provide judicious indications about the matrix of change for the new century.
Since East-European artists began to participate in the international art scene, one can observe a radicalization of the performative practice. The Western art world faces this fact with a mixture of fascination and skepticism. This attitude is not only due to the excessive character of this practice (see the exhibition in Stockholm Interpol, 1996), but it also implies that Western tendencies are simply recycled and imitated. Under such considerations, the existence of an independent artistic development in Eastern Europe is largely ignored.
The artistic couple Valera and Natasha Cherkashin is part of these “new” protagonists from Eastern Europe. Even though they work all over the world today, their methods can only be understood while keeping in mind their origins and their artistic formation in the ex-Soviet Union. Beside Western artists, such as Robert Rauschenberg and Gilbert & George, whom the Cherkashins count as sources of inspiration, the non-conformist art practice and post-Soviet transformation in particular have also had a major influence on their work.
The performative art in the autocratic nations of Eastern Europe has developed in a different manner than in the West. It was rigidly determined what an artist and art in general had to represent; the artists who did not match the official criteria lost their status of artist. This meant: no commissions, no studios, no exhibitions, and, at the worst, persecution by the authorities on the grounds of parasitism. The artists, who wanted to continue their work in spite of everything, had to do this outside their main occupational activity. Their works were displayed to a private circle of interested people during shows in a living-room or in a studio; an extension of this circle always carried the risk of being discovered by the authorities. Various attempts to reach out to a wider audience – such as the famous initiative by Oskar Rabin and Alexander Glezer and their “Bulldozer” exhibition in a field outside Moscow in 1974 – were punished by the authorities through reprisals.
Gaining access to a larger public was one of the main problems in the non-conformist Soviet art. The public space, claimed by the official ideologies as their domain, did not tolerate any opposition; even when the ideological symbolism and its language use in view of the Soviet everyday reality had long ago become meaningless. Some movements within the Moscow Conceptualism tried to use this situation as a basis for their productions and imitated the official imagery while adapting it to their own artistic aims. An example is the group Kollektivnye deystviya (Collective Actions); their discrete activities at the edge of the forest, in bus and metro stations claimed the public space for themselves without explicitly appearing as an artistic performance. In this manner, the group managed to occupy a clandestine space within the official space without being identifiable as such by outsiders. Meanwhile, the artists borrowed gestures of the official ideological practice, such as unrolling large-sized banners or handing out officially-looking certificates of attendance to the privy spectators. While questioning their own identity, the acquisition of ideologically unoccupied space as well as the different usage of its forms in order to achieve one’s own artistic goals became one of the major concerns of the non-conformist Soviet artists.
The performance in particular was an important element of artistic existence during the Soviet period: the act of photographic documentation, even if done alone in the privacy of one’s own home without an audience with the aid of the automatic release, conferred an artistic meaning to the performance. Traditionally, this meaning would have been guaranteed by a specific site and an appropriate audience. The artists had to work with an imaginary audience through the extensive documentation. This fact explains why the meticulous records of the work had such a great significance within the non-conformist art. The subsequent presentation of the records itself to a real audience had the quality of a performance; a fact that is sometimes seen with some surprise in the Western context.
The self-reference and sometimes the individual character of this artistic production can also be explained by the fact that most circles of unofficial artists, for the reasons given above, represented closely knit communities with little contact between each other. The isolated artistic existence was the norm in the lives of many artists and made the basis for very independent views, which fully manifested themselves in a confrontation with other protagonists.
Valera Cherkashin was born in 1948 in Kharkov, where he lived until the end of the seventies. A substantial body of photographic work attests to his early artistic development: many photographic series from the sixties and seventies have been preserved, most of them referring to performative moments. He made his living with various jobs, but since he combined his numerous occupations every now and then with his artistic work, his occupational engagements did not last long. Later he moved to Saint Petersburg and in 1980 - to Moscow; these relocations during this period seem to be a consequence of his artistic search, because both capital cities were the centers of the non-conformist art. In Saint Petersburg, the contact with the heritage of Soviet Modernism, which was still practiced there by a few artists (for example, by the Sterligov group, named after a disciple of Kasimir Malevich), had a great formal influence on the future work by Cherkashin. In Moscow, the encounter with the conceptual tendencies as well as the personal meetings with exponents of the non-conformist movement such as Ilya Kabakov, the photographer Boris Mikhailov, the painter Michail Schwarzmann and the ex-member of the Dvizhenie group (Movement Group), Francesco Infante, became a formative moment. The encounter in 1982 with Natasha, who was born in 1958 in Syria and who was attending a seminar for future teachers, also falls into the early years in Moscow. In 1988 the artistic tandem of Valera and Natasha Cherkashin took its beginning; innumerable photographic records as well as productions and works testify to its gradual formation at the end of the eighties.
The rebellious impulse of this artists’ duo unfolds into a number of exciting productions after the collapse of the Soviet Union: in 1990 - the symbolic privatization of the Soviet art; in 1991 - the foundation of the Cherkashin Metropolitan Museum; in 1993 - the marriage of a girl to the sculpture of a Soviet worker of the thirties in the metro station Ploschad Revolutsii; also in 1993 - a beauty contest for Stalinist sculptures of women, to name but a few. It is not a coincidence that many of these performances involve the once dominant official art that has now become meaningless: although the official art with its absolute sovereign rights represented an opposing position, conceptually it still was a point of reference. Now, after having lost its official claim, it nevertheless maintained its conceptual form and caused the main concern of the artists. The Cherkashins called their act of transformation “From Euphoria to Nostalgia”. The interpretation of the issue of old/new art illustrates what nostalgia means: the male sculptures of steel at the metro station Ploschad Revolutsii are the recipients of tender treatment from young women – not in order to reawaken the ideological spirit they were created with, but in order to transport their steel souls safely into a new era. Thereby, an ironic acquaintance was established, which could justify further existence of these artworks beyond their ideological spheres.
The deeply symbolic venue of the performance, the metro station Ploschad Revolutsii, a central cross point of the Moscow underground network, stands for the daring inheritance of the formerly ideologically composed space by the Cherkashins. Here, deep under the Red Square, the Stalinist utopia found its culminating point in which armies of bronze sculptures, and abundance of mosaics and richly ornamental art represented the collective vision of the Soviet society. The construction of the Moscow underground network by Lazar Kaganovich attracted the highest attention in the middle of the thirties and became „the most important metaphor “of Stalinist culture (Boris Groys). The artistic appropriation of this topography by the Cherkashins addresses not only the former task of shaping collective consciousness; it provoked a reaction of the general public which had neglected this artworks for a long time as an empty facade. At the same time, the Cherkashins knew how to involve the media into the coverage of their performance, which seemed to be adequate for the symbolic gravity of the chosen topography. Besides the original appropriation of this artistic inheritance, the artists revived the once intended fame of the place and simultaneously referred it to its place in Soviet history.
The performances in Moscow Metro at the beginning of the nineties have established some guidelines for future work of the Cherkashins. As to the subject matter, the occupation with the power structures of the 20th century constitutes a central place in their art representation and performances till this day, whereby the thematic perspective has subsequently acquired global overtones. The previous pre-occupation with the history of post-Soviet Russia seems to have coagulated into a model, which served as a basis for staging a power image in public spaces and was extensively studied and documented. With the appropriation of these authoritarian forms, originating from Soviet-Russian Modernism and seen also in the works of the Cherkashins, another working strategy finds itself in many of the following installations. And not least, the predilection for the symbolic-laden and famous venues as a scene of performances finds its repetitive redemption. Precisely, the postcard subjects should be photo captured with the happening of Puteshestvie kak Iskusstvo (Traveling as Art), if one of the works from the series Cherkashin Metropolitan Art Museum is to be symbolically sacrificed at a historic place or monument. The deliberately amateurish snapshots of the Niagara Falls, of the New York Statue of Liberty or the London Piccadilly Circus show one of the artists and the destruction of the work that is about to happen, but hardly focus on the famous location itself. A recurring theme is the bathing of the artwork, a kind of impregnation with the fluid of the location, be that the Roman Victory fountain, the water of the Niagara Falls or at Miami Beach. An act of symbolic appropriation is brought forward – the registering of a „we were here“, which belongs to the mundane repertoire of tourist digital photography, combines with the pathos of the Moscow Metropolis series: the symbolic baptism in the waters of the Western world recognizes the East as a part of its own past and future. In these tourist commonplaces, in this topography of Western stereotypes the true undercurrents surface and materialize in these vernacular forms. In this way, Puteshestvie kak Iskusstvo becomes a prologue for the Global Underground.
Subsequently the localization of the underground, the material appearance of its streams of consciousness, become the leitmotiv of numerous other actions: in 1996 the blurred effigies of German representation culture are staged as an underwater installation in the Berlin Olympia swimming pool – Atlántida Germanii (German Atlantis) refers through the mythical place to the fanciful character of these representational forms and shows them broken through the prism of the water, as blurred visions of formerly imposed, collective ideals. Another underwater exhibit introduces the show Proschajte, ljubmye portrety Evropejskogo naroda (Good-Bye, Favourite European Portraits) in the head office of the World Bank in 1999-2000, where the official portraits on the former European banknotes float as grotesquely enlarged portraits of famous people on a water surface. This work refers to a dimension of national representation lost with the introduction of the Euro. This token of power has no fixed place and reflects the mode the underground operates in. The Cherkashins have strictly followed up the subject of topographies of representation in countless other actions and installations in the past years until today. With their extensive present project running under the title Global Underground, Valera and Natasha Cherkashin have focussed on a comprehensive overview, with the purpose to provide a panorama of the global interweaving of urbane centers and their respective specific forms of representation.
In the centre of the five year project begun in 2005, once more the metro gridlocks are defined as nervous system of global city scenery, with its respective staging in monumental surroundings and their decisive influence on the mentality of the 21st century. At the centre of the project come the large-size photographs of famous metro stations of New York, Moscow, Paris and other cities which undertake the attempt of an immediate visualization of their ornamental quality as veritable pieces of art. The photographs primarily show groups of waiting people, whose silhouettes are thrown back in echo-like form by the halls and corridors surrounding them. At the same time their figures are eclipsed by the architecture – it is not clear whether the person is reflected in the buildings or the buildings in the person. Thereby rhythmical structures are produced by the apparent repetition of the figure elements which differ at a closer look by miniscule deviations; alleged symmetries emerge as broken reflections and resist the order attempted by the eye. Generally the width of the shots exceeds every natural perspective though the putatively panoramic overview comes fragmented in single visual intakes. An additional dynamic effect is achieved by the movement taken with long exposure time, the arriving and leaving trains, whose distorted patterns cross the pictures horizontally as streaks of light. The colour excites itself with the possibilities of the artificial light, whose varying luminosity determines the hue of the brightly clad people and of the architecture according to its material texture. Not only through the forms, but also through the specific colour composition the authentic characters of the national topographies manifest themselves, and the whole show turns into a comprehensive insight into the mechanism of the global underground.
Select solo exhibitions
Gallery "Barbarian Art", Zürich, Switzerland
"Transfer. Moscow-Bilbao", Winzavod, Moscow Contemporary Art Center, Russia
2008 Metro in Art & Art in Metro, Project Global Underground, Moscow Museum of Modern Art (Zurab Gallery).
2006 Glaz Gallery, Moscow House of Photography, The Night with a Pioneer Leader, Moscow
2005 XV International Festival "Month of Photography in Bratislava," Slovakia
Great Neck Arts Center, Futurism & Nostalgia, New York, USA; Gallery of Martha Schneider, Chicago, IL, USA
Union of Photo Artists, Real and Unreal New York, Moscow
2004 Municipal Art Center, Sport in Arts. Aphrodites of Russia, Athens, Greece (Stella Art Gallery).
2003 Indian Cultural Center, Fountain of Friendship, Moscow
2002 Moscow, Putin's Era. Columbia University, New York, USA
Favorite Portraits of People in the World. Fleet Bank, Empire State Building. New York. USA
From USSR to Russia. Dickinson College, PA, USA
Supremacist Meditation. Intersection, Kara Kurum, Mongolia
Mirages of Empires. State Russian Museum. St. Petersburg (catalog)
2001 Empires. Details. Municipal Art Gallery Phoenix, Moscow
Mirages of Empires. Russian American Cultural Center, New York
2000 From USSR to Russia. International Center of Photography, Shadai Gallery, Tokyo, Japan.
"Empires": Russia Past and Present. Together with Bill Wright and Steve Yates. Irving Arts Center, Dallas, TX, USA
Mirages of Empires. PhotoEspana 2000, Caja Madrid, Madrid, Spain. (catalog)
1999 Goodbye Favorite European Portraits: Hello Euro. World Bank Headquarters Atrium Pool, Washington, DC
Presentation. International House of Japan, Tokyo, Japan.
1998 Goodbye Favorite Portraits of European People. Municipal Art Gallery Phoenix, Moscow
The End of the Epoch. Installation. The World Bank, Washington DC
Russia/America: Mirages of Empires. Chevy Chase Art Center, Washington DC
Favorite Portraits of People in the World. Citibank, Washington DC
Mirages of Empires. Dickinson College, PA
1997 USSR Atlantis. Swimming pool. University of Maryland.
The End of the Epoch. Kunstverein Rosenheim. Germany. (catalog)
Moscow Washington. Carnegie Moscow Center. Moscow
The Mystery Play of Berlin. The Goethe Institute. Moscow
1996 Moscow, the End of the Epoch. The Ford Foundation. Moscow
Press and Art. The German Embassy in Moscow
Mirages of Empire. The Russian House Berlin
Memorial to Memorial. Russian Cultural Center, Budapest
German Atlantis. Underwater exhibition. Olympia Stadium. Berlin
Russians and Americans Brothers Forever. Together with Steve Yates. Municipal A 3 Gallery. Moscow (catalog)
1995 Travel as Art. Under and Above. Municipal Art Center 'Rama Art". Moscow
1994 Moscow's Red Square in Santa Fe. Museum of Fine Arts, Santa Fe, NM (catalog)
The Silver Century. Central House of Writers. Moscow
1993 Under Cover. IBM Office, Moscow
The Cherkashin Metropolitan Museum and Collection of Sotsrealism. Kremlin, Palace of Congresses.
1992 Presentation of The Cherkashin Metropolitan Museum. A-3 Gallery, Moscow (catalog)
Excavations and Reconstruction of the Ancient World, Middle of the Twentieth Century. Museum of Paleontology. Moscow
1991 The End of the Epoch, the 90s, Library of Foreign Literature. Moscow
Funeral of the Epoch, On the grounds of the Tretyakov Gallery, Moscow
1986 Branch of the Academy of Science in Noginsk. Chernogolovka.
1985 The Maltese Embassy. Moscow
1984 The Museum of Architecture. Moscow
1983 "Pravda" Publishing House. Moscow
1982 Lithographic Studio of the Moscow Union of Artists. Moscow
1978 Students' Club of KAI. Together with Boris Mikhailov and Vladimir Klim, Kharkov, Ukraine
Select group exhibitions:
2008 Bridge Art Fair, Miami, USA, presented by Barbarian Art Gallery, Zurich
2006 From Analog to digital Photography. 7 years of Photographer.ru. Yakut Gallery, Moscow
Art Moscow 2006. Partner Gallery.
ARCO Madrid. Stella Art Gallery
Vienna's Fair. Austria, Vienna. Stella Art Gallery.
Photo Biennale 2006, Central House of Artists, Moscow
Alternative Art of 60-90's. Central House of Artists, Moscow
2003 IDEA Photographic: After Modernism. Museum of New Mexico, Museum of Fine Arts, Santa Fe, NM
2002 Moscow Yesterday, Today & Tomorrow. Museum of Russian Art. Ramad-gan, Israel (catalog)
2001 Red Square in Photographs. State Historical Museum, Moscow
Photography Saves the World. Museum of Decorative Art, Moscow
2000 Moscow in the period 1920-2000. Moscow's Museum of Contemporary arts. (catalog).
1999 Soviet & Post Soviet Sots Art & American Pop Art. Weisman Art Museum, Minneapolis MN (catalog)
The XX Century reflected in Covers. Pushkin State Museum of Fine Arts, Moscow
1998 Russian Constructivist Roots: Present Concerns. University of Maryland, University of New Hampshire; Dickinson College, The World Bank Headquarters, Washington DC (catalog)
1997 From Rodchenko to our days. Museum of Photographic Collections, Moscow
1996 New Russian Art, Works on Paper from Kolodzei collection. Georgetown University, Washington DC
Die Grosse Zurcher Ausstellung. Kunsthaus Oerlikon, Zurich
Contemporary Russian Art. Collection of Lis Junstrup and Jens Gregersen. State Tretyakov Gallery, Moscow
1995 New Acquisitions. Museum of Fine Arts, Santa Fe, NM
Collection of Olga Hirshhorn. Corcoran Gallery, Washington DC
1994 New Photoart from Russia. Karlsruhe, Frankfurt, Hanover, Dusseldorf, Herten. Germany
4+4 Late Modern. Museum of Fine Arts, Santa Fe, NM
1993 Art of Contemporary Photography. Central House of Artists, Moscow
Underground Paradise, World Financial Center. New York
1992 Europe-America 500. Kolodzei Art Foundation, Seattle
Malevich Center. Museum of Paleontology, Moscow
To Malevich, Karenina Gallery. Vienna (catalog)
Gala-Portrait, Municipal A-3 Gallery. Moscow
1991 Modern Russian Art. London.
Artists developing the style of Malevich, Tretyakov Gallery. Moscow
1990 Moscow in Cambridge. Cambridge, Great Britain.
Traditions of Russian Paintings. Museum of Reconstruction, Moscow
Exhibition of Soviet Erotic Art. Kashirka Exhibition Hall. Moscow
1989 Photo '89. 150 Years of Photography. Manezh. Moscow
One Hundred Artists from the Collection of T. and N. Kolodzei, Central Museum. Tashkent.
First All Union Photo Festival. Manezh. Moscow
1988 The House of Cinematography. Moscow
Exhibition of Paintings "Spring-87", Soiuzvneshtrans, Moscow
1986 Stankovaya Graphica on Malaya Gruzinskaya. Moscow
1984 Photo Objective and Life. Manezh. Moscow
1983 Third All-Russian exhibition. Manezh. St. Petersburg
1982 Exhibition of Moscow Art. The Central House of Artists. Moscow
1981 Sterligov's Group. Sterligov's Studio. St. Petersburg
Select Museum and Corporate Collections
The Art Institute of Chicago; (1994, 1998), USA.
The Museum of Fine Art Santa Fe, New Mexico, USA.
The Los Angeles County Museum of Art, USA.
Boston Museum of Fine Arts (2003, 2005), USA.
Philadelphia Museum of Art, USA.
Houston Museum of Fine Arts (1998, 2005), USA.
San Francisco Museum of Modern Art, USA.
The Zimmerly Art Museum, Rutgers University, New Jersey, USA.
Russian State Museum, St.Petersburg
Rostov on Don Museum of Modern Arts, Russia.
Newseum, Washington, DC, USA.
Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis, USA.
Museum am Checkpoint Charlie, Berlin, Germany.
The Harry Ransom Humanities Research Center, University of Texas, Austin, USA.
The US Library of Congress, USA.
The New York Public Library, USA.
The World Bank Headquarters, Washington DC, USA.
International Center of Photography, Tokyo, Japan.
Kolodzei Art Foundation, USA.
The Cultural Art Foundation of Russia;
The Ford Foundation, Moscow, Russia.
Motorola Company, Moscow, Russia
Select Private collections:
Olga Hirshhorn,Washington DC, USA
Harriet Fulbright,Washington DC
Joshua Smith, Washington DC
Nina and Claude Gruen, San Francisco,CA
Claire Shipman, Washington DC
Dale Hokin Coudert, NYC
Beth Rudin de Woody, NYC
Charles Benenson, NYC
Henry Buhl, NYC
Jacqueline and Bob Shapiro, NYC
Donald Oresman, NYC
Patricia Cloherty, NYC
David Bakalar, Boston, MA
Graham Allison, Boston, MA
Langdon Weeller, Boston, MA
Lewis and Lynn Pollack, Santa Fe, NM
Studs Terkel, Chicago, IL
2003 - Were given an award as from Creative Magazine and The Union of Journalists.
2002 - Grant from the Soros Foundation for the participation in "Intersection", Mongolia.
1999 - A four-month grant from Japan Foundation to live and work in Japan.
1993 - Awarded grant from the Foundation of Social Innovations, USA, “New Leaders of Russia”.
- Barbarian Art Gallery Catalogue "Valera & Natasha Cherkashin" for their solo exhibition at Barbarian Art Gallery, Zürich, Switzerland
1. CatalogBridge Art Fair, Miami08, USA (1 Ill) 2. BrochureBarbarianArtGallery. Zurich, 2008 (2 Ill) 3. "Global Underground" V&N Cherkashin. FotoTravel magazine, November 2008, Moscow (13 Ill) 4. Digital Camera N68, November 2008. 5. Catalog "New York. Premonition". Moscow 2008. 6. Catalog "Behind the Walls. Eastern Europe before and beyond 1989". Noorderlicht 2008 (5 Ill) 7. "Global Underground", Evgenia Dobrova. FotoMasterskaia magazine N (,2008 (Cover and 16 Ill) 8. Catalog "Dots". Rostov on Don Museum of Modern Arts. 2008 (1 Ill) 9. "Metro in Art & Art in Metro" Alexander Yakimovich, DI magazine N 3, 2008 (6 Ill) 10. "Antrophology of Megapolis", M. Sidlin. Art Best-seller magazine N 1, 2008, Moscow (8 Ill) 11. "Attention, doors opening", J. Vasilieva. "Itogi" magazine? March 4, Moscow 2008. 12. "Vehicle foradvanced creativity", Vash Dosug magazine N8 and 9, Moscow 2008 (1 Ill) 13. "The UndergroundKingdom", Gallery of Fine Arts N3, 2008 Moscow (1 Ill) 14. "Metro Art", The Moscow News N08/ February 29 - March 6, 2008 Moscow (1 Ill) 15. Catalog "Metro in Art and Art in Metro". 2008 Moscow 16. "Art projects of the Cherkashins" Ekaterina Willis. Art Manager magazine N17, 2008 Moscow (8 Ill) 17. Svetlana Pozharskaya, "School of Photographer" 2008 Moscow (Cover and 4 Ill) 18. "Metro in Art and Art in Metro".DI magazine, N1, 2008. Moscow (1 Ill) 19. Catolog of the project "Dots". Rostov on Don, 2008 (1 ill). 20. "Actionism", Andrey Kovalev. WAM, 2008. Moscow (16 Ill) 21. "Global Underground by Valera & Natasha Cherkashin". News from the Harriman institute, November 2007. (1 Illustration) 22. Project Global Underground. Moscow. Russian Zoom Magazine N 9-10, Moscow, 2007 (1 Illustration) 23. "Inspiration", Digital Camera Magazine, October 2007 (57). (9 Ill) 24. "New Angelarium". Catalog. Moscow 2007 (1 Illustration) 25. "Exhibition by V&N Cherkashin", The World of Museum magazine N9, 2007. (2 Ill) 26. "N+V=Cherkashin Metropolitan", Angelica Avizhas. Aeroflot-Don Magazine N8, 2007, (10 Illustrations) 27. Project Global Underground. New York. Russian Zoom Magazine N 7-8, Moscow, 2007 (1 Illustration) 28. "Medved" magazine N 7, 2007, (1 Ill) 29. "Valera & Natasha Cherkashin: The End of the Epoch". Russian Zoom Magazine N 5-6, Moscow, 2007 (2 Ill) 30. Catalog "A Night with a Pioneer Leader", for the exhibition in the MoMAoD. Moscow 2007 31. Catalog "The End of the Epoch", for the exhibition in SakharovMuseum. Moscow 2007 32. "Playing with Icons", A. Malpas. The Moscow Times, May18, 2007.(1 Ill) 33. "The Lucies Awards", Natasha Cherkashin, Russian Zoom Magazine N 1-2, 2007 (2 Ill) 34. "Two in the Wilderness of Imperial Arts" Irina Tchmyreva, Decorative Art Magazine N 4, 2006, Moscow. (12 Ill) 35. Catalog "Art Moscow" 2006 (1 Ill.) 36. "Mirages of Empires" Fototravel Magazine, N7-8, 2006, Moscow. (8 Ill) 37. "Reflections: Mirages of Empires", Decorative Art mag. N5, 2006 (3 Ill) 38. "The family - two pianos for one voice", Olga Davydova, Art Council Magazine N 4, 2006 Moscow (5 Ill) 39. "Valera & Natasha Cherkashin". Andrei Kharitonov. Russian ZOOM Magazine, N 5, 2006. 40. The Tretyakov Gallery Magazine N4 (09) 2006. Cover 3. 41. "A Night with a Pioneer Leader", Igor Shevelev, Russian newspaper, 01.02.06. Moscow. (7 Ill) 42. "Moscow - Athens. Montages by N&V Cherkashin", Alexander Yakimovitch, "Sobranie" Magazine N4, December 2005, Moscow. (7 Ill) 43. "Two in the Desert of Art of Great Powers", Irina Tchmyreva, Catalog Month of Photography November 2005, Slovakia. (3 Ill) 44. "Russian Photographers Now Exhibiting at ArtsCenter", Mark Katz, Great Neck Record, October 13, 2005. New York. (4 Ill) 45. Art + Auction Magazine, New York, October 2005 (1 Ill) 46. Art Forum International Magazine, New York, September 2005 (1 Ill) 47. Catalog "Futurism & Nostalgia", exhibition in Great Neck Arts Center, NY 48. "Creative in Russian Way", Galina Ergaeva, Journalistica magazine, N 7-8, 2005, Moscow, (7 Ill). 49. "20 years of Perestroika", "City Zebra" magazine N1, 2005 (12 Ill) 50. "New York", "City Zeebra" Magazine, Moscow, 2004 (9 Ill) 51. "German Atlantis",E. Konkova. "German Magazine", Moscow,2004 (7 Ill) 52. "My Kabakov", catalog, StellaArtGallery, Moscow 2004 (2 Ill) 53. "Photomagazine" N5, Moscow 2004 (9 Ill) 54. "Not obligatory Time", Irina Tchmyreva, "Foto &video" Magazine N9, 2004, Moscow (16 Ill) 55. "Project 13+1".Creative Magazine N13, Moscow 2003 (1 Ill) 56. "Nastolyaschee", Natalia Ivanova. Cover of the book. Moscow 2003.(2 ill) 57. "Children. Overcoming". Catalog, Government of Moscow, 2003 (4 Ill) 58. "How to meet the New Year creatively", J. Vasilieva. Creative Magazine N12, Moscow 2003 (4 Ill) 59. "Mirages of Empires", brochure, Moscow 2003. 60. Muscovites must mind morality and kissing gap, Clem Cecil, The Times, London. November 15, 2003 (1 Ill) 61. Budetliane - Natasha & Valera Cherkashin, J. Vasilieva. Creative Magazine. N11, Moscow, 2003 (5 Ill) 62. The StateRussianMuseum. Annual report. St. Petersburg, 2002. (2 Ill) 63. Idea Photographic: After Modernism. CatalogMuseum of Fine Arts, Museum of New Mexico 2002 (1 Ill) 64. Elle Magazine. 2002 Moscow ( 1 Ill) 65. "Between Reality and Symbol", Elena Konkova. "Art&Times" magazine,English version, May-June, St. Petersburg, 2002.(6 Ill) 66. Vogue Magazine N5, 2002. Moscow. ( 1 Ill) 67. "Artchronika" magazine N3, 2002. Moscow. (Ill) 68. "Interview", E. Emets, Portfolio magazine N2(6) 2002. Moscow. (20 Ill) 69. The Empire of Mirages. Lev Beriozkin. Izvestiya, St. Petersburg, May 24, 70. Mirages of Empires. Evgenia Gershkovich. Mezonin magazin N43, 2002. Moscow. 71. Artchronika magazine N7, 2002. Moscow. (1 Ill) 72. Foto&Video N5, 2002. Moscow. ( 6 Ill) 73. Foto&Video N4, 2002. Moscow. ( 1 Ill) 74. Artchronika magazine N6, 2001. Moscow. (Ill) 75. One step beyond: Valera and Natasha Cherkashin and their Unique Take on Moscow and the World. Guy Archer, Capital Perspective Magazine, November-December 2001. 76. Bulletin, British chamber of commerce, May 2001, Moscow. (2 Illustrations) 77. French Chronic of Euro. Evropa magazine, N 7(14), July 2001, Moscow. (Illustration) 78. Art is not lost in Water, Nail Zabarov, Supermen magazine, August 2001, Moscow. (Illustration) 79. Loss of the Face, Yuri Sokolov. Newspaper Zavtra, N 25 (394), 2001, Moscow. (Illustration) 80. Who will excite the bronze worker? Daria Molostnova, Megapolis -Express, poslednie novosti, N25, June 28, 2001, Moscow. (Illustration) 81. Foto magazine, N 377, 2001. France. (Illustration) 82. Big Laundry, Igor Shevelev, Moskovskie Novosti, February N 7, 2001.Moscow.( illustration) 83. Soya Shimbun, 28.11. 2000. Japan. (Illustration) 84. Invitation for the exhibition in Shadai Gallery From USSR to Russia. December 2000. Tokyo, (2 illustrations) 85. Japan Times, December, Japan, 2000. Japan. (Illustration) 86. Sankei Shimbun, December, Japan, 2000. Japan. (Illustration) 87. MainuchiShimbun News, Japan, 21,12. Japan. (Illustration),2000. 88. Asahi Shimbun, Japan, 09.12.2000. Japan. (Illustration) 89. Asahi Shimbun, Japan, 08.12.2000. Japan. (Illustration) 90. HokkaidoShimbun, Japan, 08, 12, 2000. Japan. (Illustration) 91. Komersant newspaper, Luzkov joyns the Art, Milena Orlova, september 2, 2000. (illustration). 92. Moscow with out time, Maia Odina. Segodnia newspaper, September 2, 2000. (Illustration) 93. PhotoPeriodico N9, June 2000. Spain. 94. Foto magazine, June-July, Belgium, 2000. 95. Profifoto magazine, June-July, Germany,2000. (Illustration) 96. Photographie.com magazine, June-July, France,2000. 97. Photo Nouvelles magazine, June-August, France,2000. (Illustration) 98. Paisajes magazine, July, Spain, 2000. 99. Photo magazine, May, Italy, 2000. 100. Futuro magazine, June, Spain, 2000. (Illustration) 101. Clara magazine, July, Spain, 2000. (Illustration) 102. El Semanal magazine, June 11, Spain, 2000. (Illustration) 103. El Cutural de El Mundo magazine, June 9, Spain, 2000. (Illustration) 104. El Puntode las Artes magazine, June 9, Spain, 2000. (Illustration) 105. ABC Cultural magazine, June 10, Spain, 2000. 106. El Correo Espanol newspaper, June 15, Spain, 2000. 107. Expansion newspaper, June 17, Spain, 2000. (Illustration) 108. La Vanguardia newspaper, June 15, Spain, 2000. 109. ABC newspaper, June 15, Spain, 2000. 110. Huelva Informacion newspaper, June 15, Spain, 2000. 111. El Pais newspaper, June 15, Spain, 2000. 112. La Razon newspaper, June 9, Spain, 2000. (Illustration) 113. Espejismos de los Imperios. Catalog. PhotoEspana 2000, Madrid, Spain, 2000. 114. Catalog PhotoEspana2000, Festival Internacional de Fotografia. Madrid, Spain. 115. Foto&Video Magazine N 5 and 6, 2000, Moscow (2 illustrations) 116. Professiya Zhurnalist Magazine N 5, 2000, Moscow, (8 illustrations) 117. The Wilson Quarterly", WashingtonDC, USA, vol. XXIV No 2,spring
2000.(Illustration). 118. Germany Faces Up to Reality of Weak Euro, Herald Tribune, December 4-5, 1999. (Illustration). 119. Catalog Goodbye Favorite European Portraits: hello Euro, The World Bank Headquarters, Washington,DC,1999. 120. Show Us The Money, The Washington Post ,Weekend, December 17, USA,1999. (Illutration) 121. Their Green Period, WashingtonCity Paper, December 17, USA, 1999. (Illustration) 122. Farewell, Dear Portraits, Irina Smirnova, Dipolmat magazine N10, 99 123. Evreka Magazine, Masami Suzuki. N 12 , Tokyo 1999. (2 ill) 124. Mirage as Fact, Pavel Antonov, Photo &Video Magazine, Moscow, Nov. 1999. (7 illustrations). 125. Catalog Soviet and Post Soviet Sots Art & American Pop Art, Frederick R. Weisman Art Museum, University of Minnesota, USA, 1999. (illustration) 126. Yomiuri Shimbun, newspaper ,October 22, Tokyo,1999. (Illustration) 127. Ideological Deconstruction/ Cultural Reconstruction: the Anti Modern Photographic Installations of Valery and Natasha Cherkashin, Steve Yates, Imago Magazine, Summer 1999, N 8. Bratislava.(13 illustrations) 128. From Russia with rocks, Asahi Evening News, October 14, Tokyo, 1999. (3 illustrations) 129. Sankei Shimbun, newspaper,October 17, Tokyo, 1999. (Illustration) 130. Engaged by Metro, Anna Pyasetskaia, Echo of the Planet magazine, N51-52, Moscow 1998, (5 ill.) 131. Otkrytaia Politika Magazine, 3-4, 1999. (14 illustrations) 132. CCA gets into Russian art. Abilene Reporter - News, December 1998. (Illustration) 133. Catalog, Russian Constractivist Rots: Present Concerns,USA, 1998. 134. In the World of Beauty, interwiev, Greater Washington Magazine, N 4, 1998. (illustration) 135. Catalog Kunstverein Rosenheim Jahresausstellung, 1998, Germany. (27 Illustration) 136. Putting Culture into Perspective,The Washington Post, May 14, 1998.(Illustration) 137. Liskovni Svet/ World of the Atr,Magazine, Slovenia, 1997. (illustration) 138. Goethe- Institute Moskau, Guide, January- February 1997. 139. Russia, Magazine, N1, Moscow 1997. (illustration) 140. Modus Newspaper, N16 , 1997. (2 illustrations) 141. Catalog, Cherkashins.The End of the Epoch, Kunstverein Rosenheim, Germany, 1997, 142. Cherkashins.Rosenheimer Magazine, August/September, Germany, 1997 (3 illustrations) 143. Catalog Mirages of Empires, The Mystery Play of Berlin, TheGoethe Institute, Moscow, 1997. 144. Catalog, The Collection of Lis Janstrup. State Tretiakov Gallery, Moscow, 1996. 145. Valery and Natasha Cherkashin: The Family in Artistic Space, E.Yudina. The Russian Magazine. LA, USA, 1996. 146. The Art of Holiday, Yury Nechiporenko. Moscow Magazine, N 12, Moscow 1996. 147. Critics. Theory, V. Klimov. Contemporary Drama Magazine, N 34, Moscow 1995 148. Love, Elena Romanova. Gentleman Magazine, N 5, Moscow 1996. 149. The Planet of Valery and Natalia, Irina Borisova, Photography Magazine, N 4, Moscow 1996. 150. Moscow Gallery Guide, N 29, 31. Moscow, 1995. 151. RazguliayGuide, May 1995, Moscow. (illustration) 152. Catalog Russians and Americans, Brothers Forever, Steve Yates & Cherkashins, Moscow, 1995. 153. Nexus Press, brochure, Atlanta, USA, 1995-1996. 154. Sotsium magazine N 1, Moscow, 1995. (illustration) 155. Deconstruction of Steve Yates, V. Stigneev, Phopographya Magazine, N6, Moscow , 1995. 156. Connections Magazine, volume 2, N 6, Public information and media outreach, Embassy of the United States of America, Moscow, 1995. (English and Russian version). 157. RA, The Royal Academy Magazine, N 48, London, autumn 1995. 158. Valery and Natasha Cherkashin: Visiting London, Nicola Kearton. Art and Design Magazine, vol.10, N 3-4 London, 1995 (8 illustrations) 159. Deconstruction of Ideology and Reconstruction of Culture, Steve Yates. Tvorchestvo Magazine, N 1-2. Moscow, 1995 (4 illustrations) 160. Contemporary Drama Magazine, Vladimir Klimov. N 34, 1995 161. Between Nostalgia and Avant-Guard, Sergey Kuskov. Photographya Magazine, N 2. Moscow, 1995 162. Krestianka Magazine,N3. Moscow; 1995 ( illustration) 163. Krestianka Magazine,N4. Moscow; 1995 ( illustration) 164. Krestianka Magazine,N5. Moscow; 1995 ( illustration) 165. Moscow Revue, N 12, N 14, 1995 166. Catalog Travel as Art, Moscow, 1995. 167. AlbumPost-Soviet Art and Architecture, Academy Edition. London, 1994, (2 illustrations) 168. Catalog. Municipal A-3 Gallery. (illustration) 169. Works on Paper. Selection from The Kolodzei Collection of Contemporary Russian Art. City Arts Center, Oklahoma City, OklahomaUSA. April-May 1994. 170. Catalog, Moscow's Red Square in Santa Fe, the Museum of Fine Arts, Santa Fe, NM. Moscow,1994 171. Print Collecor's News Letter, New York, 1994. 172. Art Pres Magazine",N194. France, 1994 (illustration) 173. 4+4 Late Modern: Photography Between the Mediums, Diane Armitage.Magazine THE.USA, 1994 (1 ill.) 175. Red Square meets Santa Fe, Lis Bensley. Pasatiempo Magazine, May1994. USA (illustration) 176. The Bride groom was Neither Alive nor Dead. Elite magazine. Moscow, 1993. (4 illustrations) 177. Gallery Guide. N 2, 4, 5. Moscow, 1993. 178. The Time Stopped. Sergey Nikolaevich. Ogoniok Magazine N 38. Moscow, 1993(4 illustrations) 179. The end of the Epoch.Awedding in the Metro, E. Romanova. Moscow Magazine.Moscow, N 26, 1993-1994 (8 illustrations and cover). (English and Russian version). 180. Album. Cherkashin's Museum Metropolitan. Moscow, 1993 181. Moscow-Red Avant-Guard, K.Gloger. VSD Magazine N 33. France, 1993 (illustration) 182. Erotic Art of Russia, Booklet, Moscow , 1993. (illustration) 183. Stern, Magazine, N 28. Germany. 1993. (1 illustration). 184. Russkaya Visa, Magazine, N 3. Moscow. 1993. (6 illustrations). 185. Voum Magazine, N 1-2. Moscow. 1993. (8 illustrations). 186. Makhaon Magazine, N l. Moscow. 1993. (9 illustrations including cover). 187. Ogonyok Magazine, N 12 ,N 27,N 44-46. Moscow. 1993. (3 cover ill). 188. Catalog, Exhibition of Erotic Art. Moscow. 1993. (I illustration). 189. The Important Things is to Turn Yourself Of, A. Tkachenko and V. Cherkashin. Novaya Yunost Magazine, N l. Moscow. 1993. (8 ill). 190. We Are All Exhibits of the Museum, L. Salnikova. TV Review Magazine, N 1. Moscow, 1993 (1 illustrations). 191. Art Panorama Magazine, N 1. Moscow. 1993. (2 illustrations). 192. Moscow Guardian Magazine, N 45. Moscow. 1993. (1 illustration). 193. Moscow Gallery Guide, N 5, 9, 10. 1992. 194. Holiday for Everyone, A. Vartanov, Photographya Magazine N 7-8, 195. In Richtung zu Malewitsch.Catalog, Vienna. 1992. (2 illustrations). 196. Ogonyok Magazine, N 49. Moscow. 1991. (cover illustration). 197. Eva, Magazine, N 7. Lithuania. 1992. (1 illustration) 198. Dar, Magazine, N 1. Moscow. 1992. (5 illustrations). 199. Ogonyok Magazine, N 49. Moscow. 1991. (cover illustration). 200. The End of the Epoch, L.Bredikhina and V.Cherkashin. Decorative Art Magazine, N9.Moscow. 1991. (2 ill.) 201. Modem Artists to Malevich. Booklet for the exhibition in Tretyakow Gallery, Moscow. 1991. 202. Action, A. Sokolyanskiy. Moscovsky Nablyudatel' Newspaper. N 2. Moscow. 1991. (1 illustration). 203. Free Painting-A New Picture of Russia, P. Hunt. Cambridge Evening NewsNewspaper, Great Britain. November 15, 1990. (1 illustration). 204. Untitled. A. Sokolyanskiy. Teatralnaya Zhizn' Magazine, 10-12. Moscow. 1990. (2 illustrations). 205. Not Only About Myself, V. Cherkashin. Almanac, Photo-89. Moscow. 1989. (9 illustrations). 206. The Magic Theater of Photography, A. Vartanov. Bulgarian Photo Magazine, N 11.Bulgaria.1989 (ill.) 207. At the Cross, A. Vartanov. Sovetskoe Photo Magazine, N 4. Moscow. 1989. (3 illustrations). 208. From Tradition to Avant-Guarde. N. Kondakova. Druzba Magazine, N 5. Bulgaria. 1988.(4 ill.) 209. The Magic Theater of Photography, A. Vartanov. Theater Magazine, N 3. Moscow. 1988. (3 ill.) 210. A Flower Plus a Straight line, N. Kondakova. Druzba Magazine, N l. Moscow, 1988 211. Smena Magazine, N 11. Moscow. 1987. (1 illustration). 212. Rodzina i Szkola Magazine, N 4. Poland. 1986. (5 illustrations including cover). 213. Decorative Art Magazine. N 7. Moscow. 1985. (I illustration). 214. Smena Magazine, N 16. Moscow. 1983. (illustration). 215. Catalog, Drawings and Watercolours. Leningrad. 1983. (The 3rd All Russian Exhibition), 216. Uncertain Figurative Conditions, V. Mayland. NewspaperMoscow Artist, N33. Moscow. 1982