Costa Gorelov

Costa Gorelov was born in Moscow in 1993 and continues to live and work in Moscow. He studied at the Moscow Institute of Television and Radio Broadcasting, graduating in Film Directing (Cinema). In his work Costa explores people’s emotional and psychological states, often depicting them through the interactions of a figure with different spaces, objects and fashion items. Fashion, in particular, is paramount to his self-expression. It is also a symbol linking epochs, times, and traditions.

Gorelov grew up in the tradition of the North German Renaissance. German music, literature, painting, culture, and language have greatly influenced him, and played a key role in the formation of his style. The basic principles he uses when creating his paintings are those of the Baroque, the Renaissance, and interior design. Architecture plays a primary role in his art, in particular its basis upon stone and the golden ratio. Gorelov strives to incorporate elements of Gothic and Baroque architecture into the everyday life of his characters through handbags and accessories that carry the DNA of this architectural heritage. He wants to show that despite changes in trends and different eras, the fundamental things are unshakable and unchanging.

Costa Gorel

Black Friday, 2021

Óleo sobre lienzo (díptico)

240 x 260cm

Interview

What inspires you when creating? I’m always inspired by something new. I can be inspired by something that I might not have been paying attention to yesterday and it's always unpredictable for me. Constant inspiration is always architecture, music, literature, art, humor, interior design, fashion, and of course, my everyday bible is Virginia Wolf.

What are you working on recently? Now I’m working on the project for Dr. Robot Gallery, on a series of big format paintings. One of them is 3 x 4 meters high and is dedicated to Moscow’s subway. I’m going to create here a special tension between characters and space.

Tell us about your creative process. I can plan painting for a long time and I can make a lot of sketches but end up with something completely different on the painting. I always try to create my own, world my own stories using videos or something else, but painting is the only point where I feel I belong and it’s the main foundation of my life. I’m very happy and beyond joy when I’m painting.

Costa Gorel

Danube, 2020

Oleo sobre lienzo (díptico)

100 x 82cm

Are you participating for the first time in the fair? What do you expect from Art Madrid? I expect to enjoy the fair, to get to know new names new works and my work to become more recognizable. And of course, you always expect sunshine and warmth from Madrid.

You grew up surrounded by the tradition of North German renaissance culture. How can we see this influence in your work? This influence can be traced back to the fact that I always use graphics in my paintings and that I have always been inspired by Albrecht Dürer, Lucas Cranach, Gustav Klimt, and so many others. I always tried to convey an extremely personal sense of understanding of the world with its duality, changeability and complexity. It’s very typical and important to me to connect the fashion and interior items with the characters and compositions. Yes, my characters are romantic

Fashion and nudity are two elements very present in your work, are both the mirror to explore people's feelings and expression in your process? I use nudity as a symbol, as a device to show the vulnerability and certain fabulousness and at the same time the strangeness of characters. Fashion is the constant concrete of history like stone with which modernity is linked to primitive times. My characters are hiding behind fashion and architecture because they want to protect themselves. In this way, I’m trying to express human feelings like insecurity, melancholy, and joy.

Costa Gorel

Personal Icon, 2021

Oil on canvas

40 x 50cm

Costa Gorelov participates in Art Madrid with Dr. Robot Gallery, along together with Katya Sheglova y Vova Perkin.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: TRAYECTORIA. BY AMANDA GATTI

March 6 | 7:00 PM. Galería de Cristal of the Palacio de Cibeles.

Amanda Gatti. Escaparate. 2023. DT-Espacio. Photograph by Pedro Mendes.

The proposal expands Amanda Gatti’s research initiated in La Plasti Ciudad del Cuerpo — an ongoing series of performance and installation presented since 2023 in spaces such as Fundación Antonio Pérez, Galería Nueva, CRUCE, and the Acción Spring(t)/UCM Congress — where she explores the relationship between her body and objects found in urban space. There, body and materials are articulated through a constant negotiation between functionality, weight, and support, generating temporary architectural compositions.

In Trayectoria, this research shifts toward the act of dragging: a gesture that makes visible the friction between body, objects, and space. The corridor ceases to be a neutrality to be crossed and becomes an operative intermediate zone, where form and content — veil and what is veiled, as Walter Benjamin points out — become confused. The space, saturated with objects turned into a mobile chain, clears and remakes itself with each step. Clearing, for Benjamin, is already an experience of space: each advance sustains this unfinished separation, always oriented toward a destination that may never be reached.

La Plasti Ciudad del Cuerpo #3. Amanda Gatti. Performance documentation. CRUCE 2054 exhibition, Galería CRUCE. Photograph by Pedro Mendes.

Displacement is not limited to material friction: it also becomes a symbolic inscription of that which every life trajectory drags along. The objects — remnants of past uses — function as metaphors for what remains attached to the body even when it no longer serves any function. The performance makes visible the condition of moving forward while carrying heterogeneous weights: material, affective, social. Thus, the gesture of walking linked to these objects turns the route into a writing in motion, where each step simultaneously activates a physical transit and a vital transit. Trayectoria proposes that every life is also a dragging: a continuous recomposing from what we insist on carrying with us.

The action operates objects as verbs: to push, to tense, to trip, to pull. From it emerges an operativity that involves the entire body and exceeds the visual. The image ceases to be representation and becomes gesture: a gesture that founds new spatial forms, that overflows, that produces an ephemeral mode of reappropriation of the corridor.

The trajectory thus becomes an affective map inscribed in the body, a way of merging with the environment by putting past and future, durability and wear, utility and obsolescence into friction. The action returns to public space what was taken from it, but now stripped of function: freed from meaning, freed from commodification, freed to be imagined otherwise.

ABOUT AMANDA GATTI

Amanda Gatti (1996, Porto Alegre, Brazil) is an artist and researcher whose practice unfolds across performance, video, photography, and installation. She explores the intersections of body, object, and space, investigating how we occupy — and are occupied by — the spaces around us. Drawing from experiences of displacement and the observation of domestic and urban environments, her work conceives the body as mediator and archive, transforming found objects, spatial arrangements, and everyday gestures into ephemeral architectures and relational situations.

She studied the Master’s in Scenic Practice and Visual Culture at Museo Reina Sofía/UCLM (Spain, 2023) and the Bachelor’s degree in Audiovisual Production at PUCRS (Brazil, 2018), where she received scholarships such as the Santander Universities grant. In Spain, her work has been presented in institutions and contexts such as Museo Reina Sofía, Fundación Antonio Pérez, Galería Nueva, CRUCE, and Teatro Pradillo, as well as in exhibitions and festivals in Brazil, Germany, Ireland, the United Kingdom, and the United States. She currently resides in Madrid, with secondary bases in Brazil and the United Kingdom.