SIMONA SHARAFUDINOV
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Palingenesis
Installation of Paintings, Drawings, Video works
Dimensions variable
2019
(Works list available upon request)


A room filled with desire, longing, pain, pleasure and grief, a circle of the inner world.

Have you ever mistook desire for love? Pain for pleasure? Sex for intimacy? Hope for a promise? Symbolic for the real? Tapping into the sensitivity and vibration of the moment to let go and fall into an active volcano, enduring a simultaneous death and birth.

The wounded shapes leaning against walls are part of a new body of work where I continue my devotion to exploring the sentience of being through image-making. For me the new body, made of drawings, paintings and moving images, is a silent disclosure and an emptying of impressions and failures in desire, intimacy and love. To mark raw hurt is to give thanks to intense joy.

In error begins truth.






The Separation
Video 
2019


Rememberance - home, the silent underwater place.

The scream - memory, birth is a lonely and painful process. 

Transition - desire, alive and swimming in the unsteady tides of love.
 
Rage - feeling, peeling off the silencing layers of fear and shame.



Symbiosis (Anger Understanding Itself)
Video 
2019


Creation. 
Infinite Loops.
Evolving Conciousness.
All lines lead back to a circle.

Soundtrack (Gnossiennes: No.3 - Lent by Erik Satie, Reinbert de Leeuw)




Lovers (11:11)
Video 
2019


Placing ritual at the centre of the drawing practice to manifest cyclical forms and patterns tracing a doorway to the simulataneous world of birth and death -- moving from the edge into the centre and returning to the source to re-member oneself into wholeness.

Soundtrack (First We Take Manhattan by Tyskarna Fran Lund)





The Perfect Circle π (22/7)
Video 
2019


The beginning and end are One
Chaos breaking the Vitruvian circle
Life = Art
Infinity

Soundtrack (from Horizon by Aldous Harding)




Video by Andrew Stys
_Denial_ 2018 
Performance & Installation
Sound: Julia Wolf
Actor: Jessie Hands

Performance, sound, video
Dimensions variable
2018


Inspired by gendered power dynamics and various forms of oppression, the work fused sound, dance and video work to create a place in time, where memory is revisted, and where resistance, fear and defiance is challenged and denied at the same time through unnerving and unrealiable narrative. 

The work was created for the Whitechapel Gallery Presents series and presented at the Whitechapel Gallery on the 18th October 2018.
Photography © Henri Kisielewski




Photography © Andrew Stys




Prodigal Son
Photography
2018



Putting the fascination of the body moving in space, drawing from Francis Bacon’s symmetrical lines and using photographic eye to contain and capture the passing of being, energy and time though a golden ghostly echo of existence.






Disappointment, 2018  
Performance (3 hours) & Installation
(with Aaliyah, Giovanni Vetere, Klara Schumann, Lucrezia de Fazio, Claire Pearce)
Mixed media
Dimensions variable
2018


A site-specific installation and performance at Exposed Arts Projects, in a disused Jaguar showroom and garage in Kensington curated by Sasha Burkhanova-Khabadze.

The work centred around an image, be it found, made, edited and explored the work of photography as a focal tool in the process of confrontation between past, present, future and between idenity, heritage and exile.

Introduction by Sasha Burkhanova-Khabadze (Click here to read)

Photography © Henri Kisielewski



Photography © Andrew Stys




Portrait of a Hermit, 2018 
Sculpture/site specific installation
Ancient rocks, tree, goldleaf, charcoal
Dimensions variable  
2018



Conceived during a stay at the ASTRA residency in an ancient hermitage on a sacred mountain in Spoleto, Italy. The portrait was inspired by ways of those that were there before us and that which will remain after we are gone. Using materials derived from nature to isolate and frame elements one within the other to bring focus on states of exile and connectivity. Nature is a work of art and a network of technology, to observe it is to learn how to coexist in a complex network of systems.





Photo © Anni Katrin Elmer
Father
Sculpture & durational performance (30 hours)
Burnt wood, steel, gold leaf, tribal mask, costume
270 x 198 x 84 cm
2017


Existing in an age of technocapitalism, which renders a body into a mechanical and scientific property and objectification, the artist returns to a recurring theme of exile and dwelling.

The work sculpturally adapts a power symbol of the gold tower. Using the ancient Japanese method Shou Sugi Ban of wood burning to transgressively create its fall, leaving the charred monolith as a monument of our time.

In the frame of black box, the body is installed as a medium for photography, to move away from ubiquity of representation and flat imagery into a process of performativity, where the body becomes a surveillance machine. Clad in a Janus tribal helmet mask, military fighter overalls atop second skin morphsuit covering every inch of human skin, this epicene performer shifts from humanoid gestures, to personifications of VR and CCTV systems, the golden gazing ball in its hands follows, mesmerises and absorbs the image of every spectator.




Photography © Ben Lansky


Tension
Sculpture
Burnt wood, shellac, stainless steel
60 x 25 x 25 cm
2017 


Created for and exhibited at the group exhibition at Galeria de Arte Mexico (GAM) in Mexico City the work is a response to the theme of ‘being at two places at the same time’. Exhibited at the same time as The Father, 2017 in London, the work is a sculpture which comes alive with the encounter of exhibition visitors reflections co-existing between two cities. Combining materials from nature and industry to create an artefact of technology which holds and suggests both tension and tranquility.







Video by JJ Lincoln, Julia Wolf, Carolina Escobar, Anni Katrin Elmer
Spleen, 2017
Performance (3 hours) & Installation
(with Aaliyah, Carolina Escobar, Nevena White, Emily Poynton)
Mixed media
Dimensions variable
2017 



Inspired by Baudilaire’s Spleen and taking photography as a point of departure where the proces supersedes content, The work attempts to look at a technological process within human relations. Faced with a technological structure which both underlines and diminishes a structure of a social circle, repetition, isolation of language and binary symbolism is used through durational performance to zoom in on daily gestures and codes of technology that make up the cycle. 

Gestures and echoes of: “like” “block” “delete” “follow” from performers are like those of the Greek chorus commenting on the collective consciousness of our time. Matching historically valued and invested materials, forms and motifs with contemporary matter, from gold and Oedipus feet to where thumbs, hands and heads dominate the body...Here, body and language are tools as much as inconveniences, sacrificed for an image. The desire to possess and leave a mark is as much desired as never acquired.

The exhibition was hosted by Lincoln Projects.

Photography © Henri Kisielewski



Photography © Carolina Escobar




Photography © Andrew Stys


Photo © Ben Lansky
Burial of the Dead
Sculpture & 4 hours performance
Soil, charcoal, gold leaf, goatskin, rope, lard, shoes
200 x 160 cm
2017



Created during a period of grief, the work is an elegy to the artist's late friend Alice de Barrau. Installed ceiling to floor and realised as a 4-hours enduring performance. It sculpts the space using geometrical shapes and decaying materials to allude to mortality and transience of life. Its shifting perspective, impolite occupation of space and fierce bodily tension presented in performance interrupts and obstructs the flow of reason.

Its title is a reference to T.S. Eliot poem The Wasteland.




Photography © Ben Lansky & Anni Katrin Elmer



Infinity Room, 2017 
Installation
Paint, flexible mirror, paper, rope, war rescue stretchers, oil paint
Dimensions variable  
2017 


A room. Binary code. Repetition of sequence 0 and 1; + and -. Same message. The message is never revealed, only the process where the viewer is turned into the negative in the infinity and repetition of image. The feeling is the only image that matters. The room, the sequence and the viewer change with the natural light from dawn to dusk.









Photo © Ben Lansky
Haus of Perestroika
Sculpture & durational performance (30 hours)
Wood, wool, wallpaper, acrylic, LED lights, latex
70 x 200 x 70 cm
2016 


In conceiving the work the artist reimagines the city and habitation of tomorrow by physicalising the fear of homelessness. Using sensual materials, disproportion and bodily rhythm to edge between play and danger, the viewers are invited to consider an outmoded human body within technological systems. This work was performed in 2016 by the artist for 30 hours over a period of 5 days at an exhibition in Hackney, London.




Photography © Ben Lansky


Photo © Anni Katrin Elmer
Lot #83
Performance (with Julia Wolf)
Tights, synthetic wig, hollow fibre, sound
Dimensions variable
2016 


The costume and performance was a response to the sound piece created by artist Julia Wolf and the 10th Annual Central Saint Martins Art Auction at the Lethaby Gallery. The auction presented 82 lots of wall-based artworks. Combining sound and performance - art forms that spill out of the frame and transgress the limits of the image and wall space. Matching impalpable with corporeal, humorous with terrifying, to bring about questions and invite viewers to consider the value of artists and limitations of a marketable art.




Photography © Anni Katrin Elmer

Video © R.S 


“The eye was first taken on entering the gallery by light reflections and distortions of mirror. It was playful and beautiful but hinted at subterranean disquiet. As you moved closer, curious to look through the peepholes you saw what was contained inside the reflected cube. Simona - her body transformed into a distorted fungal growth, eyes alive with the memory of terror, strung on a wire, electric and banal in a room of wool, felt and rotting ham hanging from butcher’s hooks. It was a work that fully understood how to lead the eye to the central horror of existence whilst children played on the outside hilariously contemplating themselves in the distorted mirrors that made up the cube.” credit: Paul Rhys


Envoi
Sculpture & durational performance (30 hours)
Wood, flexible mirror, door viewers, projector, light bulb, wool, soil, meat, clay, metal, charcoal, canvas,
240 x 240 x 240 cm
2016 


Conceived for and during a month-long L’Agence en Residence residency and exhibited in a solo exhibition in Bordeaux, France. The work was made to exist within a triad of architectural, technological and bodily elements and explore the interaction between the elements and their co-existence in space. The tension that ensued was held by repetitive action, sound and durational performance performed for 30 hours over 5 days.

Named after a poem by Ocavio Paz, the work is a reaction against idealism and a response to the horror of existence, lives lost and shell-shocked into statue-like states by means of technology. Bringing into play a 160 degrees spherical view of a peephole, aesthetically clean, little glass eye, commonly used to protect, screen, as a border between private/public, inside/outside, surveillance/entrapment. The mirrored cube, a phantasm of the ubiquitous square frame where self-reflection takes place, shifting between a funhouse and a peepshow. The audience and its privilege floats upon the reflective surface of a mirror skin. It is this very surface that makes the "exhibition" disappear questioning the space as a protective enclave and the [il]legality of visibility. The choice when to turn away is the privilege.



Photography © R.S 



After Brexit
Audio response
2016 


Created as part of multi-layered performance piece in response to the every-day nationalist hatred, violence and terror. The audio element applies Anne Sexton’s ‘After Auschwitz’ poem to express rage at and revolt against complicity.



A.P.parent Snapshot, 2016
(The Children Act 1989)

Installation
Children’s inflatable toy house, blackboard paint, uv paint, acrylic piggybank, fabric, PVA, rescue blankets, uv lights, air pump
223 x 213 x 198cm
2016 


Hornsey Town Hall, site-specifc work conceived to confront neglect and idealised systems of value through assemblage of children's toys.
An inflatable Victorian children’s playhouse covered in blackboard paint stands in obstruction to visitors way. A continuous airflow makes the house breathe. Inside the house UV lights reveal a forensic trace, marks of something gone horribly wrong, a small acrylic house (a piggybank) stands amongst the carnage.





Photography © Ben Lansky


Photo © Ben Lansky
Chora
Performance
Latex
Dimensions variable
2015


According to Julia Kristeva, Chora is a stage in the human psychosexual development where one is closest to the pure materiality of their existence. The work re-imagines Chora as a technological rather than a biological organism, where both organisms live inside each other. Uniting human and artificial materials in the form of flesh, the artist’s body and skin-like material latex, it attempts to bridge boundaries between human and technology matter. In its process the work reveals limitations of pure materiality and enduring needs of both organisms, their dependence on connection and clean air.




Photography © Ben Lansky


Photo © Anni Katrin Elmer
Roadkill
Sculpture
Wood, Polyurethane foam, oil paint, glass bottle, milk, latex, pigment, antique frame, plaster, metal chain, mirror, angling hooks and wire
Dimensions variable
2015


Using a single personal photograph as a document to memory and inspiration, three-dimensional form is given to feelings of desire and loss.




Photography © Anni Katrin Elmer



Self-portraits
Photography
2014 - 2021


A series of self-portraits in the imagined afterlife where the self is sacrificed to becoming an image. Referring to the underworld, the place of the dead in the Greek mythology, the portraits are personifications of isolated and ghostly shadows floating in the void of an image.







Prodigal Son
Photography
2018



Putting the fascination of the body moving in space, drawing from Francis Bacon’s symmetrical lines and using photographic eye to contain and capture the passing of being, energy and time though a golden ghostly echo of existence.






Video by Andrew Stys
_Denial_ 2018 
Performance & Installation
Sound: Julia Wolf
Actor: Jessie Hands

Performance, sound, video
Dimensions variable
2018


Inspired by gendered power dynamics and various forms of oppression, the work fused sound, dance and video work to create a place in time, where memory is revisted, and where resistance, fear and defiance is challenged and denied at the same time through unnerving and unrealiable narrative. 

The work was created for the Whitechapel Gallery Presents series and presented at the Whitechapel Gallery on the 18th October 2018.
Photography © Henri Kisielewski




Photography © Andrew Stys




Disappointment, 2018  
Performance (3 hours) & Installation
(with Aaliyah, Giovanni Vetere, Klara Schumann, Lucrezia de Fazio, Claire Pearce)
Mixed media
Dimensions variable
2018


A site-specific installation and performance at Exposed Arts Projects, in a disused Jaguar showroom and garage in Kensington curated by Sasha Burkhanova-Khabadze.

The work centred around an image, be it found, made, edited and explored the work of photography as a focal tool in the process of confrontation between past, present, future and between idenity, heritage and exile.

Introduction by Sasha Burkhanova-Khabadze (Click here to read)

Photography © Henri Kisielewski



Photography © Andrew Stys




Photo © Anni Katrin Elmer
Father
Sculpture & durational performance (30 hours)
Burnt wood, steel, gold leaf, tribal mask, costume
270 x 198 x 84 cm
2017


Existing in an age of technocapitalism, which renders a body into a mechanical and scientific property and objectification, the artist returns to a recurring theme of exile and dwelling.

The work sculpturally adapts a power symbol of the gold tower. Using the ancient Japanese method Shou Sugi Ban of wood burning to transgressively create its fall, leaving the charred monolith as a monument of our time.

In the frame of black box, the body is installed as a medium for photography, to move away from ubiquity of representation and flat imagery into a process of performativity, where the body becomes a surveillance machine. Clad in a Janus tribal helmet mask, military fighter overalls atop second skin morphsuit covering every inch of human skin, this epicene performer shifts from humanoid gestures, to personifications of VR and CCTV systems, the golden gazing ball in its hands follows, mesmerises and absorbs the image of every spectator.




Photography © Ben Lansky

Photo © Ben Lansky
Burial of the Dead
Sculpture & 4 hours performance
Soil, charcoal, gold leaf, goatskin, rope, lard, shoes
200 x 160 cm
2017



Created during a period of grief, the work is an elegy to the artist's late friend Alice de Barrau. Installed ceiling to floor and realised as a 4-hours enduring performance. It sculpts the space using geometrical shapes and decaying materials to allude to mortality and transience of life. Its shifting perspective, impolite occupation of space and fierce bodily tension presented in performance interrupts and obstructs the flow of reason.

Its title is a reference to T.S. Eliot poem The Wasteland.




Photography © Ben Lansky & Anni Katrin Elmer


Video by JJ Lincoln, Julia Wolf, Carolina Escobar, Anni Katrin Elmer
Spleen, 2017
Performance (3 hours) & Installation
(with Aaliyah, Carolina Escobar, Nevena White, Emily Poynton)
Mixed media
Dimensions variable
2017 



Inspired by Baudilaire’s Spleen and taking photography as a point of departure where the proces supersedes content, The work attempts to look at a technological process within human relations. Faced with a technological structure which both underlines and diminishes a structure of a social circle, repetition, isolation of language and binary symbolism is used through durational performance to zoom in on daily gestures and codes of technology that make up the cycle. 

Gestures and echoes of: “like” “block” “delete” “follow” from performers are like those of the Greek chorus commenting on the collective consciousness of our time. Matching historically valued and invested materials, forms and motifs with contemporary matter, from gold and Oedipus feet to where thumbs, hands and heads dominate the body...Here, body and language are tools as much as inconveniences, sacrificed for an image. The desire to possess and leave a mark is as much desired as never acquired.

The exhibition was hosted by Lincoln Projects.

Photography © Henri Kisielewski



Photography © Carolina Escobar




Photography © Andrew Stys




The Separation
Video 
2019


Rememberance - home, the silent underwater place.

The scream - memory, birth is a lonely and painful process. 

Transition - desire, alive and swimming in the unsteady tides of love.
 
Rage - feeling, peeling off the silencing layers of fear and shame.



Symbiosis (Anger Understanding Itself)
Video 
2019


Creation. 
Infinite Loops.
Evolving Conciousness.
All lines lead back to a circle.

Soundtrack (Gnossiennes: No.3 - Lent by Erik Satie, Reinbert de Leeuw)




Lovers (11:11)
Video 
2019


Placing ritual at the centre of the drawing practice to manifest cyclical forms and patterns tracing a doorway to the simulataneous world of birth and death -- moving from the edge into the centre and returning to the source to re-member oneself into wholeness.

Soundtrack (First We Take Manhattan by Tyskarna Fran Lund)





The Perfect Circle π (22/7)
Video 
2019


The beginning and end are One
Chaos breaking the Vitruvian circle
Life = Art
Infinity

Soundtrack (from Horizon by Aldous Harding)





Palingenesis
Installation of Paintings, Drawings, Video works
Dimensions variable
2019
(Works list available upon request)


A room filled with desire, longing, pain, pleasure and grief, a circle of the inner world.

Have you ever mistook desire for love? Pain for pleasure? Sex for intimacy? Hope for a promise? Symbolic for the real? Tapping into the sensitivity and vibration of the moment to let go and fall into an active volcano, enduring a simultaneous death and birth.

The wounded shapes leaning against walls are part of a new body of work where I continue my devotion to exploring the sentience of being through image-making. For me the new body, made of drawings, paintings and moving images, is a silent disclosure and an emptying of impressions and failures in desire, intimacy and love. To mark raw hurt is to give thanks to intense joy.

In error begins truth.





Portrait of a Hermit, 2018 
Sculpture/site specific installation
Ancient rocks, tree, goldleaf, charcoal
Dimensions variable  
2018



Conceived during a stay at the ASTRA residency in an ancient hermitage on a sacred mountain in Spoleto, Italy. The portrait was inspired by ways of those that were there before us and that which will remain after we are gone. Using materials derived from nature to isolate and frame elements one within the other to bring focus on states of exile and connectivity. Nature is a work of art and a network of technology, to observe it is to learn how to coexist in a complex network of systems.





Tension
Sculpture
Burnt wood, shellac, stainless steel
60 x 25 x 25 cm
2017 


Created for and exhibited at the group exhibition at Galeria de Arte Mexico (GAM) in Mexico City the work is a response to the theme of ‘being at two places at the same time’. Exhibited at the same time as The Father, 2017 in London, the work is a sculpture which comes alive with the encounter of exhibition visitors reflections co-existing between two cities. Combining materials from nature and industry to create an artefact of technology which holds and suggests both tension and tranquility.








Infinity Room, 2017 
Installation
Paint, flexible mirror, paper, rope, war rescue stretchers, oil paint
Dimensions variable  
2017 


A room. Binary code. Repetition of sequence 0 and 1; + and -. Same message. The message is never revealed, only the process where the viewer is turned into the negative in the infinity and repetition of image. The feeling is the only image that matters. The room, the sequence and the viewer change with the natural light from dawn to dusk.










A.P.parent Snapshot, 2016
(The Children Act 1989)

Installation
Children’s inflatable toy house, blackboard paint, uv paint, acrylic piggybank, fabric, PVA, rescue blankets, uv lights, air pump
223 x 213 x 198cm
2016 


Hornsey Town Hall, site-specifc work conceived to confront neglect and idealised systems of value through assemblage of children's toys.
An inflatable Victorian children’s playhouse covered in blackboard paint stands in obstruction to visitors way. A continuous airflow makes the house breathe. Inside the house UV lights reveal a forensic trace, marks of something gone horribly wrong, a small acrylic house (a piggybank) stands amongst the carnage.





Photography © Ben Lansky


Photo © Anni Katrin Elmer
Roadkill
Sculpture
Wood, Polyurethane foam, oil paint, glass bottle, milk, latex, pigment, antique frame, plaster, metal chain, mirror, angling hooks and wire
Dimensions variable
2015


Using a single personal photograph as a document to memory and inspiration, three-dimensional form is given to feelings of desire and loss.




Photography © Anni Katrin Elmer

24/09/2020
Group Exhibition
KINESIS
24th-30th September
Sunday 12-5pm; Mon-Wed 11-7pm
NEON GALLERY @ The Koppel Project Central
49 Poland Street, London, W1F 7ND
Openning night: 24th September 2020, 6-9pm




23/10/2019
Exhibition
Palingenesis
SET SPACE (Lewisham)
London, SE13 7RZ
23rd October 2019, 5-9pm




18/10/2018
Performance
Whitechapel Gallery Presents 02
18th October, 2018





27/06/2018
 Exhibition in Italy
ASTRA Volume I: Spoleto residency
30th June & 7th July, 2018



27/05/2018
Residency in Italy
ASTRA Volume I: Spoleto
14th-19th June, 2018




26/03/2018
Exhibition
SPACE-HONEY at Safehouse 1 28th-31st March 2018. Private view on 28th March 6-9pm.
Safehouse 1, 139 Copeland Rd, London SE15 3SN
http://somethingcurated.com/2018/03/22/space-honey-takes-over-peckhams-safehouse-1/



5/01/2018
Exhibition
ONE NOT BE A CHAMBER// EXPOSED ARTS PROJECTS
6 Drayson Mews
London, W8 4LY
Opening Night Performance 25th January 18:00-21:00
Exhibition runs until 10th March, 2018 



7/12/2017
Performance
SPLEEN// Burlington Camden
90-94 Baynes Street
London, NW1 0TZ
7th December 18:00-21:00




07/10/2017
Delighted to have been featured in the November issue of Harper’s Bazaar Women in Arts feature with fellow Studiomakers contemporaries Fani Parali, Jade Blackstock, Natalie Kynigopoulou and Jiaqing Mo



06/09/2017
Feeling incredibly lucky to have been selected as the 2017 Central Saint Martins recipient of Tiffany x Outset Studiomakers Prize





10/06/2017
Exhibition in France
S U R V I V E ! // 5 rue de Guienne, BORDEAUX
16-25th June 15:00-20:00





26/05/2017
Take Five: Simona Sharafudinov // CENTRAL SAINT MARTINS NEWS

A feature from Central Saint Martins about Father, 2017 work and the inspirations behind the work.
http://blogs.arts.ac.uk/csm/2017/05/26/take-five-simona-sharafudinov




23/04/2017
' CENTRAL SAINT MARTINS SHOW ONE ' // SIMONA SHARAFUDINOV (Final Degree Show)
Details:
Times: 24-28 May, Weds to Fri: 12 - 8pm, Sat to Sun: 12 - 5pm. Last entry: 30 mins before closing.
D SPACE: Through the college gates, first right
Location: 1 Granary Square, King’s Cross, N1C 4AA not the Granary Square, N1 in Islington.
Transport + map: Find us
The show is free and open to the public, no need to book.




23/04/2017
Exhibition in Mexico





01/12/2016
Exhibition in France
' T H E R E A R E N O B O R D E R S I N D R E A M S ' // S I M O N A S H A R A F U D I N O V (solo show)


PERFORMANCE & Openning of the exhibition

On Friday, December 9th, 2016 from 7pm
Laboratoire BX, 4-bis rue Buhan,BORDEAUX, FRANCE



L’ A G E N C E E N R É S I D E N C E ( B O R D E A U X , FRANCE ) :
For the 2016-2017 season, the l’Agence en Résidence, has implanted itself in the center of the capital of Gironde, Bordeaux, in order to provide a window to new contemporary art practices. Focusing on new media, new forms and new audiences, the ambition of the l’Agence en Résidence is to provide quality cultural content through curious and accessible cultural programming. In the heart of Bordeaux, L’ Agence en Résidence, invites you every month to discover a guest country through original works by an invited international artist-in-residence. Guest Country: U-K !


S I M O N A S H A R A F U D I N O V ( L ON D O N ) :
'The strange and the familiar, the self and the other, the real and the imaginary, the immigrant and the citizen...’

Simona Sharafudinov (Master Degree / Central Saint Martins College of Art & Design UAL) practice explores areas of conflicts and paths where societal norms are confronted. Resistances, obsessions and prejudices that arise from these oppositions nourish her performance, film, installation and photographic works. The result is an artistic proposition, where through the finesse of staging, the space in time tests boundaries of our subjectivity and highlights hidden ideas and repressed thoughts...)
There are no borders in dreams, Performance & Installation from 09/12/2016 to 23/1


Venue / Laboratoire BX, 4-bis rue Buhan,BORDEAUX, FRANCE
Opening Hours / WEDNESDAY SATURDAY, 11am-7pm -SUNDAY 4pm-7pm / Free admission
Tram / Ste Catherine
Site / agencenresidence.com
Contact / L’Agence en Résidence / agenceenresidence@gmail.com


L’AGENCE EN RESIDENCE / THERE ARE NO BORDERS IN DREAMS . DEC 2016/ partners:





15/11/2016
Exhibition
CSM ART AUCTION 2016 // Lethaby Gallery, Central Saint Martins, Granary Building, 1 Granary Square, London N1C 4AA
17th November 17:30-21:00




10/03/2016
Exhibition
thisisanartshow.jpg // HTH Arts Centre, The Broadway, London N8 9JJ
16-22nd June 10:00-17:00





10/03/2016
Exhibition
MA INTERIM SHOW: Our Laughter Will Drown Your Sorrows // The Laundry, 2-18 Warburton Road, London E8 3FN
18-20th March 11:00-17:00
    ︎ For all enquiries please email studio@sharafudinov.com


Photo © Ben Lansky
Simona Sharafudinov was born in Lithuania, adopted by the UK at an early age she takes photography and personal experience as points of departure to trace displaced identity and the sentience of being through performance and image-making. She lives and works in London.

She received her MA in Contemporary Photography from Central Saint Martins in 2017 and was the recipient of the 2017 Tiffany & Co. x Outset Studiomakers Award.


SOLO EXHIBITIONS

2019 October, Palingenesis, SET Lewisham, London
2017 December, SPLEEN, Burlington Camden, London
2016 December, There are no borders in dreams, Laboratoire BX, Bordeaux


SELECTED GROUP EXHIBITIONS

2020
KINESIS, NEON Gallery, London [performance]

2018
Whitechapel Gallery Presents 02, Whitechapel Gallery, London _Denial_[performance] 
AROUND/HERE, ASTRA Spoleto, Italy
Space-Honey, Safehouse 1, London
One Not Be A Chamber, EXPOSED ARTS PROJECTS, London

2017
Studiomakers, The Vinyl Factory, London
SURVIVE!, L’agence en Residence, Bordeaux
COME: Show One, Central Saint Martins, London
Being in two places at the same time, GAM - Galeria de Arte Mexico, Mexico City
#flowspiral, The Saturday Museum, London
CSM Art Auction, The Lethaby Gallery, London 
thisisanartshow.jpg, HTH Art Centre, London

2016
Our Laughter Will Drown Your Sorrows, The Laundry, London

2015
New Genes: Dark Matter, Studio 74, London
Art Gemini Prize 2015, The Menier Gallery, London


RESIDENCIES
2018 ASTRA, Spoleto, Italy
2016 L’Agence en Residence, Bordeaux, France

PRESS
Harpers Bazaar, November 2017, Women In Arts: “Lease of Life”
Another Magazine, September 2017, “Introducing the Most Exciting Emerging Artists in London Nowlink
The Telegraph, September 2017, “Tiffany & Co announces winners of the Studiomakers Prizelink
Hey woman!, September 2017, “Tiffany & Co. x Outset Studiomakers Prize 2017link
WWD, September 2017, “Tiffany Aims to Help Young Artists with London Studio Spacelink
Artsthread, May 2017, “CSM17 Degree Show Onelink
Central Saint Martins, May 2017 “Take Five: Simona Sharafudinov” link



All rights reserved © 2021 Simona Sharafudinov  ︎