Slavs and Tatars
Founded in 2006, Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective’s work spans several media, disciplines, and a broad spectrum of cultural registers (high and low) focusing on an oft-forgotten sphere of influence between Slavs, Caucasians and Central Asians.
Slavs and Tatars has had solo exhibitions at major institutions including Institute of Modern Art, Brisbane, Australia (2015); Collective Gallery, Edinburgh, UK (2015); Long Legged Linguistics, Kunstmuseum, Trondehim, Norway (2015); Mirrors for Princes NYU, Abu Dhabi, UAE (2015); Lektor, GfZK, Leipzig, Germany (2014); Concentrations: 57 Slavs and Tatars, Dallas Museum of Art, Dallas, USA (2014); Language Arts, The Third Line, Dubai, UAE (2014); Naughty Nasals, Arsenal Gallery, Bialystok, Poland (2014); Long Legged Linguistics, Art Space Pyhtogorian, Samos, Greece (2013); Friendship of Nations: Polish Shi'ite Showbiz, REDCAT, Los Angeles, USA (2013); Beyonsense, 'Projects 98', Museum of Modern Art, New York, USA (2012). Group exhibitions include Nationalgalerie Preis, Hambuger Bahnhof, Berlin, Germany (2015); Balagan!!! Stiftung Brandenburger Tor, Belgium (2015); Kunstraum, London, UK (2015); Into the Country; Salt Ulus, Ankara, Turkey (2014); The Tranny Tease, Manifesta X, St. Petersburg, Russia (2014); Polish Art Now, Museum of Modern Art, Warsaw, Poland (2013); Love Me, Love Me Not: Contemporary Art from Azerbaijan and its Neighbours, 55th Venice Biennale, Venice, Italy (2013) and many more.
In November 2016, a survey marking their ten-year practice opened at CCA Ujazdowski, Warsaw and will travel to four other venues through 2018: Pejman Foundation, Tehran; CAC Vilnius; the Museum of Contemporary Art, Belgrade; and Salt Galata, Istanbul.
Slavs and Tatars has published Kidnapping Mountains (Book Works, 2009), Love Me, Love Me Not: Changed Names (onestar press, 2010), Not Moscow Not Mecca (Revolver/Secession, 2012), Khhhhhhh (Mousse/Moravia Gallery, 2012) as well as their translation of the legendary Azeri satire Molla Nasreddin: the magazine that would've, could've, should've (JRP-Ringier, 2011); and most recently Friendship of Nations: Polish Shi’ite Showbiz (Bookworks/Sharjah Art Foundation, 2013).
Their works are in collections including The Museum of Modern Art, New York; The Museum of Modern Art, Warsaw; Re Rebaudengo Foundation, Turin and The Sharjah Art Foundation, UAE, among others.