Artem Mirolevich: Dreams of a Post-Apocalyptic Romanticist

Artem Mirolevich, Ship City, 2010, etching on zinc plate, 16” x 20”. All images are courtesy of the artist and Kavachnina Contemporary. © artemart.com

By Katya Valevich

Artem Mirolevich (1976-) is a School of Visual Arts alum who dreams of an alternate universe. His multimedia work gives him the voice: an urban mix of Surrealism, Impressionism and Japanese printmaking.

In 2000, Mirolevich debuted his New York show at Neva Gallery in Greenwich Village, where he humorously proclaimed his relationship with the world as “post-apocalyptic Romanticism.” “America made me the artist that I am,” admits Mirolevich, who was born in what is now Belarus. “You can think of the earth as a boat or a vessel for mankind through the macro-universe.” The scale of his work ranges from small-scale objects to large oil canvases and installations. A Chelsea Art Museum group show in 2012 featured Babylon Tower, his seashell-shaped, multimedia project of galvanized wire.

Artem Mirolevich, Mothership, 2006, oil on canvas, 56” x 80”

Themes are infused with subcultural currents ranging from Steampunk and Futurism to Flemish Old Masters, all of which he absorbed while in Amsterdam studying at the Gerrit Rietveld Academie. Mirolevich later collaborated on badass illustration work with the Wu-Tang Clan, Groove Corps and Empire Records.

His work paints the meticulous deconstruction of the physical earth into its figurative elements, turning to such media as oil, gouache, wire and ink. In the U.S., he has a rare gig as an engraver-like Dürer or Piranesi-a craft that the world has no immediate need for anymore, yet it’s peacefully nostalgic and produces works that are ravishing to look at.

Through Barbarian Art Gallery in Zurich, a private collector obtained a series of Mirolevich’s etchings in 2010, among them Sunken City and Tree of Life. These thematic editions will surface again in “UNSINKABLE,” a solo debut by the artist at Kavachnina Contemporary running from January 31 through March 2013 at Gala Kavachnina’s lofty Wynwood art space in Miami.

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Three emerging art fairs helped promote the artist’s work in 2012-Scope, Fountain and Pool. Nonetheless, his work with Ancient Aliens and Noah’s Ark, as well as his Avatar-like sequences, is not for everyone. Babel, Open Sky and other Xanax-provoking scenarios traverse space, time and metaphysical boundaries.

Artem Mirolevich, The Third Temple, 2012, oil on canvas, 56” x 80”

In an important show on view from January 26 through June 9, 2013, hosted by The Museum of Russian Art (TMORA) in Minneapolis, his work is side by side with art of tradition, individualism and non-conformity in a retrospective titled “Concerning the Spiritual in Russian Art, 1965-2011,” a timeless selection from the Kolodzei Art Foundation. The next big thing for Mirolevich is the 2013 Russian Art Pavilion, which is affiliated with The Armory Show (March 7-10, 2013) in New York City. During Armory Arts Week, the cultural space between the Hudson River and FDR Drive metastasizes into an art-market machine.

When his digital graffiti was projected over New York City in collaboration with Jacob Abramson at the New Museum, “We painted the city, literally,” Mirolevich says. He also recalls all of the good times on the Bowery and expects to continue conflating his style with newer techniques. As an evolving artist and his own agent, he is very active outside Greater New York, including throughout the U.S., in Europe and on the Internet.

Kavachnina Contemporary is located at 46 NW 36th Street. Wynwood Art District. Miami, 33127. Phone: 305 448 2060 / www.kavachnina.com / gala@kavachnina.com. For more information about Artem Mirolevich, visit artemart.com.

Katya Valevich is a New-York based independent writer, art enthusiast and photographer.