Tania Antoshina

Tatyana Antoshina (Russian: Таня Антошина, Татьяна Константиновна Антошина; also transliterated as Tania Antoshina, Tatiana Antoshina, Tanya Antoshina, Tatjana Antoschina, Tatyana Antoschina. From 1977 to 1997 she bore the surname Машукова (Tatyana Mashukova)) (b. 1 May 1956, Krasnoyarsk Siberia, Russia), is a French-Russian ultra contemporary artist, curator, PhD in art history, one of the first participants of the gender movement in Moscow art.^[2] In 1991 she completed postgraduate studies and received a PhD in Fine Arts Stroganov Moscow State University of Arts and Industry.

Her work explores the role of women artists in society and in art history and was exhibited in the ‘After the Wall’ exhibition at the Moderna Museet, Stockholm and Hamburger Bahnhof, Berlin; ‘Gender Check’, MUMOK, Vienna; and the 56th Venice Biennale.^[3] Her works are in the collections of MUMOK, Vienna; National Museum of Women in the Arts, Washington; Neues Museum Weserburg Bremen; State Russian Museum, St Petersburg; and The Tretyakov Gallery, Moscow.

Antoshina lives and works in Paris.^[4]

MUMOK, Vienna, Austria;
New Museum Weserburg Bremen, Bremen, Germany;
National Museum of Women in the Arts [1], Washington DC, US;
Corcoran Art Museum, Washington DC, US;
American University Museum, Washington DC, US;
Omi International Arts Center collection, New York, US;
Mint Museum, Charlotte, North Carolina, US;
Casoria Contemporary Art Museum, Naples, Italy;
Olympic Fine Arts Museum, Beijing, China;
Penang State Art Museum, Penang, Malaysia;
Russian Museum, Saint Petersburg, Russia;
Tretyakov Gallery, Moscow, Russia;
National Centre for Contemporary Arts, Moscow, Russia;
Museum of Decorative-Applied and Folk Arts, Moscow, Russia;
Perm Museum of Contemporary Art, Perm, Russia;
Krasnoyarsk Cultural Historical Museum complex, Krasnoyarsk, Russia;
Asia-Pacific Institute of Art & Research, Jeollabuk-do, South Korea;
The Francis J. Greenburger collection, New York;
Kolodzei Art Foundation, New York;
Tony Podesta collection, Washington;
Sir Elton John Collection, London.

• TANIA ANTOSHINA : L'ARCHE DE L'ESPACE / TANIA ANTOSHINA : SPACE ARK, Galerie Vallois Modern and Contemporary Art, Paris, 2023
• Cold Land. Northern Tales, ZARYA Center for Contemporary Art, Vladivostok, 2017-2018
• Reggae Feminism or 88 March, Dukley Art Center, Kotor, Montenegro, 2017
• Museum of a Woman, Podgorica Museums & Galleries, Gallery Art, Podgorica, Montenegro, 2015
• Cold Land, Krasnoyarsk Museum Center, Krasnoyarsk, Russia, 2014
• My Favorite Artists, Galerie Vallois, Paris, France, 2010
• Alice and Gagarin, VP Studio, Moscow, Russia, 2010
• My Favorite Artists, Mario Mauroner Gallery, Vienna, Austria, 2008
• Space Travelers, Guelman Gallery, Moscow, Russia, 2006
• Museum of a Woman, White Space Gallery, London, UK, 2004^[5]
• The Voyeurism of Alice Guy, Guelman Gallery, Moscow, Russia, 2002
• Museum of a Woman, Florence Lynch Gallery, NY, US, 2001^[1]
• April in Moscow, Guelman Gallery, Moscow, Russia, 1999
• Museum of a Woman, Guelman Gallery, Moscow, Russia, 1997^[6]
• Women of Russia, Guelman Gallery, Moscow, Russia
• To Moor, Expo 88, Moscow, Russia, 1996
• The Hound of Baskervilles, Regina Gallery, Moscow, Russia, 1992

Olympic Art Gold Medal, Olympic Fine Arts, London, United Kingdom, 2012;
Alternative Prize “Russian Activist Art” Archived 2017-10-20 at the Wayback Machine, Moscow, Russia, 2012;
Olympic Art Gold Medal, Olympic Fine Arts, Beijing, China, 2008;
Five Rings Prize, Olympic Landscape Sculpture Design Contest, Beijing, China, 2008;
Laureate of the Magmart video festival, Naples, Italy, 2005;
Winner of the "Silver Camera", Multimedia Art Museum, Moscow, 2005;
Winner of the "Silver Camera", Multimedia Art Museum, Moscow, 2002;
Winner of the contest "Modern Russia", Photo Center on Gogol Boulevard, Moscow, Russia, 2001;
Silver Medal of VDNH for Teaching Work, Moscow, Russia, 1985;
Best Teacher of the Krasnoyarsk Art Academy, Krasnoyarsk, Russia, 1984.

The Quest of Power, special project of 6 Moscow Biennale 2015;
Terra Incognita, expedition to South Siberia for collection of ethnic and cultural material, 2014;
V-5, Space as a Presence, in partnership with A.Galenz and G.Kuznetsov, InteriorDAsein, Berlin, 2012;
Sons of the Big Dipper, together with G.Kuznetsov, PROEKT FABRIKA, Moscow, 2011;
Two Museums, in partnership with G.Vysheslavsky, Champino, Velletri, Italy, 1992.

• "TANIA ANTOSHINA: L'ARCHE DE L'ESPACE", 2023-04-06, Galerie Robert Vallois, Paris, France;
• "ART JUDGMENTS: Art on Trial in Russia after Perestroyka" by Sandra Frimmel (University of Zurich), ISBN 978-1-62273-277-7, Vernon Press, March 2022;
• Gillian Hannum, Kyunghee Pyun (5 November 2022). "Expanding the Parameters of Feminist Artivism". In Natalia Kolodzei (ed.). From Non-conformism to Feminisms: Russian Women Artists from the 1970s to Today. Cham: Palgrave Macmillan. p. 96.;
• Lena Jonson, Andrei Erofeev (2017). Russia - Art Resistance and the Conservative-Authoritarian Turn. Routledge. pp. 156–157.;
• Thomas Deecke, Markus Bulling (2001). "8. Triennale Kleinplastik Fellbach Vor-Sicht, Rück-Sicht". Germany, Stadt Fellbach Auflage;
• Alexander Borovsky "Once Upon a Time, Zeuxis and Parrhasius… Contemporary Art: Practical Observations", Litres, 2017, ISBN 978-5-227-07198-9;
• Jonson Lena (2015). "Art and Protest in Putin's Russia", Taylor and Francis, pp. XII, 207, 227, 240, 261, ISBN 9781317542995;
• Viola Hildebrand-Schat (2014). "Appropriation oder Simulacrum?", p. 229-233, Guido Isekenmeier (2014). Interpiktorialität: Theorie und Geschichte der Bild-Bild-Bezüge. De Gruyter. p. 230., transcript Verlag, ISBN 978-3-8376-2189-1;
• "Working with Feminism: Curating and Exhibitions in Eastern Europe, Acta Universitatis Tallinnensis: Artes", Angela Dimitrakaki, Katrin Kivimaa, Katja Kobolt, Izabela Kowalczyk, Pawel Leszkowicz, Suzana Milevska, Bojana Pejic, Rebeka Põldsam, Mara Traumane, Airi Triisberg, Hedvig Turai, p. 85. Estonia: Tallinn University Press / Tallinna Ülikooli Kirjastus. ISBN 978-9985587539, 2012;
• Klaus Krüger / Leena Crasemann / Matthias Weiß: (Hgg.) (2011). "Re-Inszenierte Fotografie", Munich, Germany: Wilhelm Fink Verlag.(2011) ISBN 978-3-7705-5133-0;
• Thomas Deecke (2010). "Leben mit der Kunst". Germany: Nicolaische Verlagsbuchhandlung. ISBN 978-3-89479-599-3;
• Alain Monvoisin (2008). Dictionnaire International de la Sculpture Moderne et Contemporaine., p. 26-27. Paris, France, Regard. ISBN 978-2-84105-211-0;
• Julia Tulovsky (2008). "The Claude and Nina Gruen Collection of Contemporary Russian Art", pp. 24, 79. Jane Voorhees Zimmerli Art Museum, ISBN 9780976903079;
• Matthias Winzen; Nicole Fritz (2007). "Bodycheck: Catalog of the 10th Fellbach Triennial of Contemporary Sculpture". Germany: Snoek Verlagsgesellschaft. ISBN 978-3936859645, p. 292;
• Tatiana Smorodinskaya (Russian, Middlebury Coll.), Karen Evans-Romaine (Russian, Ohio Univ.), and Helena Goscilo (Slavic languages, Univ. of Pittsburgh) (ed.) (2007, 2013) Encyclopedia of Contemporary Russian Culture., pp. 19, 42-43. Abingdon, UK and New York, USA: Routledge, ISBN 0415758629;
• I.S. Kon (2003). The Male Body in the History of Culture. Moscow: Slavo. pp. 378–382. ISBN 978-5-85050-704-6;
• "ART-Constitution" (illustrated ART – Constitution of the Russian Federation, in the creation of which the most relevant artists of the early 21st century participated). pp. 110, 111, 131, 132, 272, 273. Texts: Zurab Tsereteli, Ekaterina Degot, Natalia Kolodzey. Moscow: Museum of Modern Art, 2003, ISBN 978-5-91611-007-4;
• "DICTIONARY OF GENDER TERMS", ed. A. A. Denisova, Regional Public Organization "East-West: Women’s Innovative Projects", Moscow: Information XXI Century, p. 256, 2002;
• Renee Baigell, Matthew Baigell (July 1, 2001), Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia.. The Dodge Soviet Nonconformist Art publication series, pp. 51, 55. New Brunswick, NJ, USA: Jane Voorhees Zimmerli Art Museum: Rutgers. ISBN 0-8135-2946-8;
• Kruming L.S. (2001). Woman and Society: Myths and Realities. Moscow: Informations XXI siècle. pp. 1, 4. ISBN 5-86391-043-7.;
• "Woman and Visual Signs", collection / Open Society Institute, pp. 232–234, Idea-Press, 2000, ISBN 5-7333-0043-4.

"Collection of PERMM Museum Becomes Unavailable for Online Viewing" (in Russian). Kommersant. 30 March 2025.

Elisabeth Vedrenne (21 October 2024). "Koons, Weiwei, Petrovitch, Barceló: Artists Arrive in Force in the World of Ceramics" (in French). Connaissance des Arts.

Elisabeth Vedrenne (1 October 2024). "Is Ceramics on a New Wave?" (PDF) (in French). Connaissance des Arts.

Pavel Gerasimenko (23 August 2024). "The Feminine Face of Russian Contemporary Art". Art Focus Now.

Bérénice Geoffroy-Schneiter, Elisabeth Vedrenne, Guillaume Morel, Guy Boyer, Hortense Albisson, Myriam Boutoulle, Valère-Marie Marchand, Valérie Bougault, Véronique Bouruet-Aubertot, Virginie Huet, Sylvain Deleu (22 July 2024). "20 Exhibitions to Marvel at Artisan Creations This Summer" (in French). Connaissance des Arts.{{cite web}}: CS1 maint: multiple names: authors list (link)

Alexey Tarkhanov (13 April 2023). "Antoshina and Raiders of the Lost Ark". Art Focus Now.

Alexander Burenkov (2 August 2023). "Russian Art in Exile in Paris". Art Focus Now.

Elena Zaitseva (22 September 2022). "An ambassador for Russian art in London: Anna Stonelake has died". Art Focus Now.

Ekaterina Wagner (15 July 2022). "Art Judgements: Art on Trial in Russia after Perestroyka, Sandra Frimmel, Vernon Press". Art Focus Now.

"DIALOGUES". Ca' Foscari University, CSAR. 2022.

Maria Nagovitsyna (8 March 2021). "Key Projects of the Art-Fem Movement in Russia" (in Russian). Artandyou.ru.

Katy Deepwell (2019). "Feminist Interpretations of Witches and the Witch Craze in Contemporary Art by Women". Pomegranate: The International Journal of Pagan Studies. 21 (2): 146–171.

Anna Tolstova (27 February 2015). "Effectiveness of Presence" (in Russian). Kommersant Weekend.

"Feminine as Avant-Garde" (in Russian). Ogoniok. 4 March 2013.

"The Front Page Shows" (PDF). IWMPost (110): 1–2. May–August 2012.

James Brooke (16 January 2012). "Behind Russia's Protests: Artistic Ferment". Voice of America.

Valérie de Maulmin (25 May 2010). "Art Saint-Germain-des-Prés, an Epicurean Stroll" (in French). Connaissance des Arts.

Anna Alchuk (July 2008). "The Gender Aspect in the Work of Moscow Women Artists in the 1980s and 1990s". N.paradoxa. 22: 29–35.

Brian Dillon (Summer 2004). "Tatiana Antoshina". Modern Painters: 120–121.

Hans-Dieter Fronz (July–August 2004). "Na Kurort! Russische Kunst heute". Kunstforum. 171: 370–371.

WAM, N8/9, 2004, pp. 62–63.

Irina Kulik (20 January 2003). "Pious Pogrom" (in Russian). Kommersant.

ArtConstitution: Illustrated Constitution of the Russian Federation. 2003. pp. 110–111, 131–132, 272–273.

Artkhronika, N5, 2003, p. 71.

Max Erge (July 2003). "Table of Properties of the Middle Class". Expert (in Russian).

Capital Perspectiv, Moscow, 2002, p. 5-6.

Ludmila Lunina (10 March 2002). "The Artist and Her Muse" (in Russian). Ogoniok.

"Silver Cameras" (in Russian). Gazeta Kommersant. 25 January 2002.

Igor Grebelnikov (18 January 2002). "Women's Hands Know No Boredom: Exhibition "Art of the Feminine Gender" at the Tretyakov Gallery" (in Russian). Kommersant Weekend.

Elena Trofimova (2002). "Gender Language of Tatiana Antoshina's Installations" (in Russian). Feminine Discourse in the Russian Literary Process of the Late 20th Century.

Irina Rylnikova (2002). "Spring Interview with Tatiana Antoshina" (in Russian). Journal "Woman Plus...".

Igor Grebelnikov (25 September 2001). "Art Interfered with Photography" (in Russian). Kommersant Weekend.

"Best "Art-Photographers"" (in Russian). Kommersant. 25 September 2001.

Mila Bredikhina (July 2001). "Representational Practices of Women Artists in Moscow in the 1990s". N.paradoxa. 8: 25–36.

Francesca Piovano (2001). "Art-Forum". CVA (33).

Elfi Kreis (May 2001). "Absurdistan". Kunstzeitung (57).

"Letzte Tage IsKusstwo2000". Oberbauer, Volksblah (24/25). February 2001.

Christopf Wiedemann (17 January 2001). "Freie Radikale auf ihrem Weg in den Westen". Süddeutsche Zeitung (13): 18.

Michael Dultz (15 January 2001). "Klassische Frauenszenen mit Männern nachgestellt". Die Welt Bayern.

Brita Sachs (February 2001). "Sei frech und zeige deine Katastrophen". Frankfurter Allgemeine Zeitung.

Rod Mengham (2000). "The refugee aesthetic?". TATE (20).

Katy Deepwell (January 2000). "After After the Wall: an interview with Bojana Pejic". N.paradoxa. 5: 49–57.

"Tatiana Antoshina - Victim or Fighter for Peace?". Vechernaya Moskva (in Russian). 1999.

Dmitri Nartov (25 March 1999). "Spring of a Feminist in Love". Nedelya (in Russian).

Mikhail Sidline (29 January 1998). "The Boy-Thumbelina and the Fountain with a Fish". Nezavisimaya Gazeta (in Russian).

Transfiguration, N6, Moscow, 1998.

Milena Orlova (20 January 1998). "Contemporary Art Moved to Wallpaper". Kommersant-Daily (in Russian) (6).

Evguenia Gershkovich (February 1998). "Your Turn, Men". ELLE (in Russian).

Milena Orlova (27 April 1998). "The Second Point". Itogi (in Russian).

Alexei Perekachkine (1998). "The Source and Its Foreskin". Moskovski Komsomolets (in Russian).

Milena Orlova (April 1998). "Wallpaper is the Best Picture". OM (in Russian).

Klara Golitsyna (1998). "Theme with Variations". Khudojestvennaya Gazeta (in Russian).

Fiodor Romer (1997). "The Difficult Fate of Feminist Ideas in Russia". Itogi (in Russian) (46).

Marina Gertsovskaya (1997). "Women-Airplanes; Tatiana Antoshina: Museum of Woman". Matador (in Russian) (1).

Jeanne Vassilieva (12 March 1997). "From the Footboard of a Departing Train". Literatournaya Gazeta (in Russian).

Alexandra Chatskikh (4 March 1997). "Women of Russia in Marat Guelman's Gallery". Itogi (in Russian).

Irina Chitova (January 1997). "Group Exhibition "Women of Russia"". Rossiïskaïa Gazeta (in Russian).

Alexei Filippov (1997). "Exhibitions". Profil (in Russian) (3).

Anna Novoseltseva (1 December 1997). "Exhibitions are Filled with Naked Bodies". Komsomolskaïa Pravda (in Russian).

Grigori Litichevski (15 November 1997). "Girls - to the Left, Boys... Also to the Left". Russki Télégraph (in Russian).

Albana Lir (21 November 1997). "The Young Man on the Ball and the Eye-Carrier". Nezavisimaya Gazeta (in Russian).

Milena Orlova (15 November 1997). "Men are Shown in the "Museum of Woman"" (in Russian). Kommersant.

Fiodor Romer (23 November 1997). "Tanya Antoshina "Museum of Woman", Guelman Gallery". Itogi (in Russian).

Maria Katkova (1997). "Tatiana Antoshina, Tanya Liberman, Alena Martynova "Women of Russia"". Khudojestvenny Journal (in Russian) (16).

Karina Kabetskaïa (7 December 1997). "Look for a Man". Obtchaïa Gazeta (in Russian).

I.L. (November 1997). "Aren't You Cold, Dear?". Kouranty (in Russian).

Milena Orlova (May 1997). "The Suprematist Dollar". OM (in Russian).

• Tatyana Antoshina's site
• Tatyana Antoshina on ARTFACT
• Tatyana Antoshina on ARTNET
• Tania Antoshina Sotheby's