Boris Turetsky


At the new Moscow art space, a large selection of drawings by Boris Turetsky resembles a display in a library archive: Hundreds of drawings of exactly the same sketchbook size fill the walls and hang in makeshift Plexiglas cases in one large room. The earliest works displayed are from the early 1950s—cheerful, colored-pencil sketches of the artist’s room in a communal apartment, as well as abstract pieces. These betray his academic training and his enthusiasm for the domestic—tender depictions of table lamps and crumpled linen, foldout beds and pickling jars—through an almost pathological cataloguing and recataloguing of personal property. All are rendered in a psychedelic palette, lines defined and redefined until the objects almost quake under the burden of the artist’s attention.

Ink studies of the same objects gradually tend toward abstraction—toilet seats drift up into floating

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