•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
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Current Exhibition

SELECTED WORKS BY Dasha Shishkin

What Does It Matter To Her Ever Creating Womb If Today Matter Is Flesh And Tomorrow Worms
Dasha Shishkin
What Does It Matter To Her Ever Creating Womb If Today Matter Is Flesh And Tomorrow Worms

2012

Mixed media on Mylar

152.4 x 213.4 cm
Driven by line, Dasha Shishkin’s colourful drawings display an inventiveness and confidence not limited to fluid draughtsmanship. Her large-scale compositions on Mylar are inhabited by a psychedelic multiplicity of scenes and characters, bordering on the comical and the grotesque – a glimpse into a strange, parallel world where pre-assumed rules don’t apply.

Crowded into vertiginously patterned interiors, her blank-faced figures of elegantly clad and high-heeled women sit cross-legged, stand behind counters, talk among themselves as in a ball or ponder alone, lingering in erotically charged poses as if morphing into each other in a dream fantasy that seems to take life’s superficiality as its subject.
Survival Takes A Good Memory
Dasha Shishkin
Survival Takes A Good Memory

2012

Acrylic and pastel on Mylar

Four parts, overall size: 152.5 x 213 cm
In interviews Shishkin has explained that she doesn’t think of her works as paintings, but strictly as drawings; she considers the colour, whether it be paint or pastels or anything else, to be a kind of filling, not defining.

But colour is a crucial element shaping the form of her pictures, laying down a neon, sugary context and constant energetic distraction from the odd nonchalance of her carnival players, as seen in the large-scale What Does It Matter To Her Ever Creating Womb If Today Matter is Flesh And Tomorrow Worms.
Not Sad, Just Sighing

Not Sad, Just Sighing

Not Sad, Just Sighing

Not Sad, Just Sighing

Dasha Shishkin
Not Sad, Just Sighing

2012

Acrylic and Crayon on Mylar

12 sheets, overall size: 243.8 x 406.4 cm
Survival Takes A Good Memory, another large-scale drawing, highlights the sinuous quality of her lines and their visceral precision truly through the bold colour blocks, like a coloured-in surrealist children’s book or Schiele on acid. Not Sad, Just Sighing depicts another oneiric performance by a familiar high society debutante cast, here even more cartoonised and claustrophobically embedded within a dizzyingly patterned gallery arcade; beyond the Dior gowns and chic pencil skirts, a desert.

Some have seen similarities between her work and the visionary, idiosyncratic action tableaux of outsider artist Henry Darger; her penchant for traditional low-brow art supplies, manneristic repetition and for phallic accessorizing (for starters, take a look at her figures’ noses and nipples) certainly reveal a similar fragility and fantastical obsessiveness.

Text by Lupe Nùñez-Fernández

Dasha Shishkin's BIOGRAPHY

Born in 1977, Moscow, Russia
Lives and works in New York, NY


SOLO EXHIBITIONS


2012
I Surrender, Dear, Contemporary Arts Center, Cincinnati, OH
S Int N Ho, Susanne Vielmetter, Los Angeles, CA
Griffelkunst, Hamburg

2011
Susanne Vielmetter Los Angeles Projects, Los Angeles, CA
Zach Feuer Gallery, New York, NY

2010
Dap, Gio Marconi, Milan, Italy

2009
Men Like That, Zach Feuer Gallery, Los Angeles, CA

2007
Love Sick, Andreas Grimm, Munich, Germany
First Sorrow, Kantor/Feuer Gallery, Los Angeles, CA

2006
W.A.M. Who Gives a Damn If You Procreate, Grimm|Rosenfeld, Munich, Germany

2004
Dasha Shishkin: Drawings and Prints, Grim|Rosenfeld, Munich, Germany

2002
On Mistrust and Suspicion of Children, in General, The New York Society of Etchers, New York, NY


GROUP EXHIBITIONS


2012
Gaiety Is The Most Outstanding Feature Of the Soviet Union, Saatchi Gallery, London
Idealizing the Imaginary: Invention and Illusion in Contemporary Painting, Oakland University Art Gallery, Rochester, MI
Dasha Shishkin, Dorota Jurczak, Paula Modersohn-Becker, ph-projects, Berlin
Who’s Been Here, Bukowskis, Stockholm
In the Pink, Joe Sheftel Gallery, New York, NY

2011
Monanism, Museum of Old and New Art, Tasmania, Australia
A Room of Her Own, Lu Magnus, New York, NY
Publisher Spotlight: LeRoy Neiman Center for Print Studies, Pace Prints, New York, NY
Taking the Space: Gender and the Figure in Contemporary Art, Schmidt Center Gallery, University Galleries, School of the Arts, Florida Atlantic University, Boca Raton, FL

2010
Living with Art: Collecting Contemporary in Metro New York, Neuberger Museum of Art, Purchase, NY
Wildly Different Things: New York and Dublin, The Observatory, Dublin, Ireland
The More I Draw, Museum für Gegenwartskunst, Siegen, Germany
Open, Zach Feuer Gallery, New York, NY

2009
Embrace, Denver Art Museum, Denver, CO
A Decade of Contemporary American Printmaking 1999-2009, Visual Centre of Academy of Art and Design, Tsinghua University, Beijing, China
1999, China Art Projects, Los Angeles, CA

2008
Once Upon a Time, ISE Cultural Foundation, New York, NY
Drawing Now- Drawing Then Young Masters- Old Masters, Arndt & Partner, Zurich, Switzerland
Nightmares & Dreamscapes, Galleria Alberto Peola Gallery, Turin, Italy

2007
The Four Horsemen, Galerie Im Regierungsviertel, Turin, Italy
World Receiver, Hamburger Kunstahalle, Hamburg, Germany
Panic Room: Works from the Dakis Joannou Collection, Athens, Greece
Dream and Trauma: Works from the Dakis Joannou Collection, Kunsthalle Wien, Vienna, Austria
Responds to My Country, Hungarian Cultural Centre, New York, NY A Muzzle of Bees, 33 Bong Gallery, New York, NY
Re: Generation- Emerging Women Artists, Smack Mellon Brooklyn, NY and the Kentler International Drawing Space, Brooklyn, NY
Summer 2007, Grimm|Rosenfeld, Munich Germany

2006
Hybrid: Anthea Hamilton, Alisa Margolis, Dasha Shishkin, Barbara Wolff, Galerie Wilma Tolksdorf, Frankfurt, Germany, Curated by Eva Karcher
HangART-7 Edition 4, New York Contemporary: Art Times Squared, Hangar-7, Salzburg, Austria
Goods to Declare, Bezalel Academy, Tel Aviv, Israel
Summer 2006, Grimm|Rosenfeld, Munich Germany
This is Not A Love Song, Susanne Vielmetter Los Angeles Projects, Culver City, CA
The Compulsive Line: Etching 1900 to Now, Museum of Modern Art, New York, NY
Re: Generation, Rutgers University, New Brunswick, NJ

2005
Founders Day, Grimm|Rosenfeld, New York, NY
Gegenwärtige Geschichtenerzähler, Hamburger Kunsthalle, Hamburg, Germany
Greater New York 2005, PS1, New York, NY
The ArtReview 25: Emerging US artists, Phillips, de Pury & Co., New York, NY
Much Madness is Divinest Sense, Cohan+Leslie, New York, NY
The Parable Show, Grimm|Rosenfeld, Munich

2004
Neiman Gallery, Columbia University, New York, NY
After Goya, curated by Thomas Daniel, OIiver Kamm/5BE Gallery, New York
The Day After.., curated by Miriam Katzeff, Black ChurchPrint Studio, Dublin
GF Gallery New School University, New York, NY

2003
Brooklyn Fire Proof Gallery, Williamsburg, New York, NY
Pearl Gallery, New York, NY
RSVP, The Society of Illustrators, New York, NY

2002
Naked Duck Gallery, Williamsburg, New York, NY
North East Prints, William Paterson University, NJ

2001
Dam, Stuhltrager Gallery, Williamsburg, NY