PRE-ORDER
The Axis Edition No. 1 is on sale from September 12, 2025
— I'm more of a businessman than an antiquarian or curator. Before "Knizhnaya Polka," I worked as the development director of a restoration workshop and then took charge of a new auction house project, which within three years became one of Moscow’s top 5 auction houses. The main beneficiary of the business was Andrey Severilov—he was the one who suggested I venture into a contemporary art gallery. The space was already there; all that remained was to fill it with meaning. That’s how, together with Andrey Severilov and Marianna Petrenko, we founded Elohovskiy Gallery.
— Of course, not everything. But we have plans, and they are ambitious. The main thing is that we remain true to our principle: integrating museum art and contemporary art, using each to popularize the other. As early as September, we are participating in the Cosmoscow fair and exploring collaborations with parks.
Elohovsky Art: From Gallery to Digital Ecosystem
Elohovskiy Gallery, which opened in October 2022 on Elokhovskiy Proyezd, managed in just three years to establish itself as a platform where the language of Russian contemporary art is born and developed. The curators integrated artists' statements into the gallery’s historical space, created intercultural dialogue, and juxtaposed museum exhibits with new artistic practices. In June 2025, the team announced the project’s transformation and transition to online—under the brand Elohovskiy Art. We discussed with Andrey Yakovlev, the director and co-founder of the gallery, how exactly the format will change and what prospects are opening up for the Russian art market in the digital era.
— Yes, and this is largely thanks to our partners: Bauman Garden, the Moscow Department of Cultural Heritage, the Center for Creative Industries "Fabrika," the GES-2 House of Culture, and the Shchusev Museum of Architecture Archive helped organize programs for the artists. Lecturers—Dmitry Frantsuzov, Alexandra Persheeva, Roman Shalganov, Daria Pyrkina, Natalia Smolyanskaya—gave lectures and conducted walks free of charge, fully immersing the artists in the Basmanny district. There is even a preliminary agreement to hold an exhibition at Bauman Garden in 2026.
— Absolutely. But the direction is changing: Elohovskiy is becoming an ecosystem. We don’t intend to compete with other online projects. We have a broad pool of artists, which we are expanding, and there will be an online magazine about artists and programs, a modernized auction platform, collaborations, and pop-up projects. This isn’t just an "online gallery"—it's an infrastructure where contemporary art can develop comprehensively.
— Andrey, you have worked in the antique market for over six years and headed the auction house "Knizhnaya Polka." How did your shift toward contemporary art happen, and when did this decision become final?
— Since 2022, the gallery has hosted numerous exhibition projects. But this summer, the team announced a transition to online and the creation of the Elohovskiy Art platform. Were you able to realize everything you envisioned in the physical space?
— Right now, you’re running the site-specific program "Direct Contact" in the Basmanny district. Does this mean collaboration with the city and parks has already begun?
— Despite the closure of the offline space, will physical exhibitions still continue?
— The archive of the platform will feature Alexander Petrelli’s "Palto" (Coat) gallery. How was the selection process conducted?
— Your platform actively works with young artists. How is the pool of authors formed?
— How should collectors approach this? How to choose "the right" young artist and avoid mistakes?
Review: Vera Kantor
— The selection is still ongoing. Petrelli has an extensive collection, and the process takes time. We were fortunate: working with him was straightforward, as his exhibition "Balagan Palto" was held at Elohovskiy. By September, we will feature key pieces from his collection on the website.
— Artists submit applications, and we observe them at exhibitions. We are open to dialogue. I have one taste, my colleagues have another, and it is in this diversity that choices emerge. There is no rigid concept: the main thing is living art. Works will not remain on the platform for years; we plan updates every three to four months. This motivates artists to create new work.
— The issue with many artists is the lack of a distinct style. But we notice those who are already on the path: their studios breathe with the joy of the creative process. We always advise collectors: if a work evokes a sense of beauty and the artist has not yet reached their peak, it’s worth investing. After a few exhibitions, the value of the works will multiply.
— And yet, what is your perspective on the future of the Russian art market? Will online platforms help or harm it?
— Online will help. Today, a gallery is perceived more as a showcase than a place to make purchases. Walking in and buying something immediately is rare. There’s also too much decorative art created to meet interior design demands. Online platforms can structure the market and refocus attention on ideas and concepts.
Elohovskiy Art is not an abandonment of physical space, but an expansion of horizons. The gallery’s story continues, but now its language is digital. And it seems that precisely in this silence of servers and screens, a new force is emerging—quiet, yet defining.
