Danila Tkachenko

Rusia, 1989.
Vive y trabaja en Moscú.

Danila Tkachenko

Fragments №8. Peter Paul Rubens, The Rape of the Daughters of Leucippus.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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5.00 m 3.00 m

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Danila Tkachenko

Fragments №12. Nicolas Poussin, The Companions of Rinaldo.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №5. Caravaggio, The Beheading of St John the Baptist.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №11. Leonardo da Vinci, Salvator Mundi.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №9. Johannes Vermeer, Girl with a Pearl Earring.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №2. Leonardo da Vinci, The Last Suppert.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №4. Andrea Mantegna, Lamentation of Christ.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №7. Andrei Rublev, Trinity.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №6. Leonardo da Vinci, Madonna Litta.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Fragments №3. Pierre-Auguste Renoir, Les Grandes Baigneuses.

2023

Archival Pigment Print

Ed. 4 + 1 A.P.
200 x 150 cm

Ed. 9 + 1 A.P.

120 x 90 cm

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Danila Tkachenko

Oasis: 6

Archival Pigment Print
2018

Available in 2 sizes: Ed. 4: 200 x 150 cm & Ed. 9:

130 x 100 cm

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(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.

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5.00 m 3.00 m

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Danila Tkachenko

Oasis: 5

Archival Pigment Print
2018

Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:

200 x 150 cm

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(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.

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5.00 m 3.00 m

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Danila Tkachenko

Oasis: 4

Oasis: 4

Archival Pigment Print
2018

200 x 150 cm

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The Middle East concentrates our ancient human history… Qatar was populated in the third millennium B.C. and since then, despite the desert environment, its population has farmed, harvested, fished and built. Like other areas of the world, over the past thirty years, Qatar has enjoyed some of the fastest economic development rates from the entire history. A small handful of new billionaires flourish on the sand dunes while poverty remains as a challenge in the whole world. The appearance of Middle East cities has been transformed rapidly, yet the rest is exactly the same as thousands of years ago. Infrastructure improved as education did with new modern roads and vast crystal skyscrapers with imposible architecture appearing on the horizon like a mirage. It seems that this conspicuous new capitalism heave does not imply much physical labour for the contemporary Qataris, since workers were invited from abroad. Perhaps, though Qatari people drinks from their ancient traditions to create a new identity in a post Neo liberal era yet to be described worldwide. In the seek of a new promised land, what is now the promise?

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Danila Tkachenko

Oasis: 3

Archival Pigment Print
2018

Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:

200 x 150 cm

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(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Oasis: 2

Oasis: 2

Archival Pigment Print
2018

130 x 100 cm

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(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Oasis: 1

Archival Pigment Print
2018

Available in 2 sizes: Ed. 9: 130x100cm & Ed. 4:

200 x 150 cm

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(size plus photo frame) This project was commissioned by Qatar Museums as part of Qatar-Russia 2018 year of culture photographic exchange.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 01

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

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(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

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5.00 m 3.00 m

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Danila Tkachenko

Motherland: 02. Cube

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

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(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 04

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

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(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 05

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
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(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 06

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
View in Room
inquire

(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 10

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
View in Room
inquire

(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 11

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
View in Room
inquire

(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 12

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
View in Room
inquire

(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Motherland: 13

Archival Pigment Print
2017

Available in 2 sizes: Ed. 12: 62.5x50cm & Ed. 9:

120 x 96 cm

More
View in Room
inquire

(size plus photo frame) Since 1917 Russia’s rural population has contracted by more than 80%. The collectivisation of 1928-1937 was the first stage in the destruction of Russian villages. It was implemented to eradicate the historically established social order, and also to forcibly seize property and food from the peasant class for the state. Between 7 million and 8 million people died as a result of hunger and political repression, while over 2 million peasants were sent to the Gulag. By 1979 the number of villages had contracted by 60.2% (to 177,100). As a consequence of the centralisation and resettlement of the population, the logistics of harvests were disrupted, resulting in enormous losses in the agricultural sector, followed by rapid growth in food imports and an increase in social and political tension in the USSR. In modern Russia the trend of a contraction in the number of rural villages has continued. Over the past 20 years 23,000 villages have disappeared from the map of Russia, while small farmers are unable to compete with major corporations. According to the forecasts of some demographers, 96% of rural dwellers will live in cities by 2025. In other words, the rural population will disappear almost entirely. The project was filmed in territories located far from population centres and woodland. All manner of precautions were taken to prevent the spread of fire. The debris from constructed decorations were dismantled and taken away, while the used decrepit nonfunctional and destroyed structures were doomed to complete the process of physical disappearance within several years.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Monuments 05

Archival Pigment Print
2017

Available in 2 sizes: Ed.5: 120x100cm & Ed. 7:

90 x 70 cm

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(size plus photo frame) The project Monuments (2017) researches the boundaries of historical memory, the area between fact and fiction. As in the case of political regimes in general, every single one of us is individually inclined to exploit images of the past to meet our current needs or future goals. We come up with new interpretations and build additional structures to manipulate images of past history. I erect on abandoned historical sites lightweight structures in abstract modernist shapes, transforming a historical ruin into a contemporary site and thereby imitating the position on history assumed by the powers that be. During the filming not a single site suffered. At the end of the work, all the decorations were dismantled.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Monuments 06

Archival Pigment Print
2017

Available in 2 sizes: Ed.5: 120x100cm & Ed. 7:

90 x 70 cm

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(size plus photo frame) The project Monuments (2017) researches the boundaries of historical memory, the area between fact and fiction. As in the case of political regimes in general, every single one of us is individually inclined to exploit images of the past to meet our current needs or future goals. We come up with new interpretations and build additional structures to manipulate images of past history. I erect on abandoned historical sites lightweight structures in abstract modernist shapes, transforming a historical ruin into a contemporary site and thereby imitating the position on history assumed by the powers that be. During the filming not a single site suffered. At the end of the work, all the decorations were dismantled.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Lost Horizon: Central Computing Center

Archival pigment print
2016

Ed. 7:

122 x 122 cm

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Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

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5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Danila Tkachenko

Lost Horizon: “Friendship” Pension, Crimea

Archival pigment print
2016

Ed. 7:

122 x 122 cm

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Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Archival pigment print
2016

122 x 122 cm

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Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

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Danila Tkachenko

Lost Horizon: Model of the Headquarters of the Third International

2016
Archival Pigment Print
Ed. of 7 + 2 A.P

80 x 80 cm

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Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Lost Horizon: Marx generator for high-energy physics experiments

Archival pigment print
2016

Ed. 7:

122 x 122 cm

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Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Lost Horizon: Monument to the atoms

Archival pigment print
2016

Ed. 7:

122 x 122 cm

More
View in Room
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Lost Horizon (Horizonte perdido), 2016. El mundo prometido por la Revolución de octubre tendría que haber sido no solo justo y próspero, sino que debía haber trascendido el planeta para colonizar el espacio exterior. El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fallas económicas han traído toda suerte de desilusión sobre las utopías políticas y sobre la promesa de un futuro brillante. En Lost Horizon, Tkachenko captura objetos que representan la imagen de un futuro cósmico ideal perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadrado negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Restricted Areas: Desertive Observatory

Archival pigment print

2015
Ed. 6:

120 x 96 cm

More
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Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Restricted Areas: Monument to the Conquerors of the Space

Archival pigment print

2015
Ed. 6:

120 x 96 cm

More
View in Room
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Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Restricted Areas: Desertive Observatory Kazakhstan

Archival pigment print

2015
Ed. 6:

120 x 96 cm

More
View in Room
inquire

Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

The Last Resident: 01

Archival pigment print

2014
Ed. 24:

50 x 40 cm

More
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The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

The Last Resident: 02

Archival pigment print

2014
Ed. 24:

50 x 40 cm

More
View in Room
inquire

The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

The Last Resident: 03

Archival pigment print

2014
Ed. 24:

50 x 40 cm

More
View in Room
inquire

The Last Resident (‘El último residente’) (2014) es un estudio que hace referencia a las utopías de la exploración del espacio y su entorno social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. De 1993 a 2004, en el vasto territorio ruso 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Exhibition view

Duo show with Mara Sánchez-Renero "The Big Unknown"
2017

More
inquire

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Exhibition view

Duo show with Mara Sánchez-Renero "The Big Unknown"
2017

More
inquire

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Exhibition view

Zona Maco Foto
2016

More
inquire

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Danila Tkachenko

Exhibition view

Collective show "Jupiter XL"
2016

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inquire

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

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Danila Tkachenko

Rusia, 1989.
Vive y trabaja en Moscú.

Graduado en 2014 de la Escuela Rodchenko de Fotografía y Multimedia de Moscú bajo la supervisión del reconocido académico Valeri Nistratov, Tkachenko es uno de los más premiados jóvenes artistas visuales que trabaja con la fotografía documental.

Ganador del World Press Photo y del Lens Culture Expo con su proyecto ‘Escape’ en el que trabajó durante 3 años. En marzo de 2015, concluyó el proyecto Restricted Areas (‘Zonas Restringidas’) que ha recibido numerosos premios internacionales y generosa crítica especializada alrededor del mundo, incluyendo el Premio Europeo de Editores para la fotografía, el World Press Photo Netherlands (1ro lugar en categoría Staged Portraits 9), el LensCulture Exposure (1ro lugar en categoría Series), el Voices Off Festival Arles, la Beca Burn Magazine, y se incluye en la publicación holandesa Foam Talents; lo que le ha permitido exhibir en exhibiciones especializadas de más de quince países en tan solo un año.

La serie Restricted Areas que ha atraído a la prensa de todo el mundo, ha sido reseñada en medios de más de treinta países, que incluyen BBC Cultura, El País, The Guardian, IMA Magazine, Revista GUP, British Journal of Photography entre muchos otros. En 2017, ALMANAQUE presentó un exitoso tríptico de esa serie para la exposición Ultimate Auction de  PHILLIPS en Londres.

En Septiembre 2018, ALMANAQUE fotográfica orgullosamente presentó su primera exposición individual en las Américas: Danila Tkachenko, Rusia 1989.

 

Obra disponible:

Fragmentos: Para esta serie (presentada por Almanaque en primicia para Zona Maco) Tkachenko escogió una conjunto de pinturas antiguas—en sus palabras: del período pre-digital—que describen tragedias con protagonistas femeninas que luego reprografió y recortó en fragmentos, construyendo enormes instalaciones en los salares de Uyuni, Bolivia para ser fotografiadas.

En sus escenificaciones, Tkachenko borra el contexto de las obras pintadas por maestros de los siglos XVII y XIX, para redimir a las retratadas: Florinda y sus compañeras se salvan de la conspiración, las hijas de Leucipo son rescatadas del rapto de Cástor y Pólux, mientras que Sardanápulo es sustraído del cuadro que representa su deseo tiránico de destruir su imperio al saber que moriría. Así, en las reinterpretaciones de la historia mitológica según Tkachenko, las sobrevivientes son finalmente las mujeres.

 

Monuments (2017)

En la serie fotográfica #Motherland, #Danila Tkachenko nos coloca ante la extinción de la vida humana en el campo, mediante el incendio de estructuras. "Rusia es el pais del extremo, un pais adolescente... No aprendemos de nuestros errores. Brindamos entonces por la insatisfacción! La satisfacción es la muerte!"

 

Motherland (2017) Como en la mayor parte del mundo, en Rusia desde hace un siglo la población rural ha disminuido abismalmente. Según los demógrafos, desde 2015 la mayoría de la población vive en ciudades. En concreto, Rusia se enfrenta a la posible desaparición casi total de sus pueblos.

En la serie fotográfica Motherland, Danila Tkachenko nos coloca ante la extinción de la vida humana en el campo, mediante el incendio de estructuras. El proyecto se llevó a cabo evitando esparcir el fuego, y los restos de las instalaciones fueron cuidadosamente desmantelados, mientras las ruinas de madera biodegradable fueron abandonadas, dejando a la naturaleza completar el proceso con el que volverán a la tierra. Así las imágenes y los atrezzos convive con el paisaje y su historia a largo plazo.

 

 

Lost Horizon (‘Horizonte perdido’), (2016). El mundo prometido por la Revolución de octubre tendría que haber sido no sólo justo y próspero, sino que debía haber trascendido al planeta para conquistar el espacio exterior.

El régimen socialista debía haber sido establecido no solo en el espacio, sino en el tiempo, ayudado por la tecnología que habría permitido convertir un instante en eternidad. Sin embargo, precisamente con el paso del tiempo, las fracturas económicas han traído toda suerte de desilusiones sobre las utopías políticas y sobre la promesa de un futuro brillante.

En Lost Horizon, Tkachenko captura objetos que representan la imagen de un porvenir cósmico ideal, ahora perdido. Tkachenko eligió el formato 6x6, para encapsular el estado utópico de los proyectos futuristas en la forma suprematista propuesta por su connacional Kasimir Malevich’s, fundador de las Vanguardias rusas en su célebre ‘Cuadro negro’ de 1917, que constituyendo una pieza revolucionaria del arte, refleja la época histórica en que fue concebido.

 

Restricted Areas (‘Zonas Restringidas’), (2015).  “Viajó en búsqueda de lugares que solían tener una fuerte importancia en el progreso técnico y que ahora son desiertos. Esos lugares perdieron al mismo tiempo su significado y su ideología utópica que hoy resulta obsoleta. Todo progreso llegará a su fin tarde o temprano. Puede pasar por diferentes razones: guerra nuclear, crisis económica o desastres naturales. Para mí, es interesante atestiguar lo que queda después. Ciudades secretas que no podían encontrarse en los mapas, triunfos científicos olvidados y edificios de una complejidad casi inhumana abandonados: el perfecto imaginario tecnocrático de un futuro que nunca llegó.“

Danila Tkachenko

Restricted Area es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Siempre tratando de poseer más, este deseo humano es la fuente del progreso técnico incluyendo mercancías y grandor así como las herramientas de la violencia para guardar el poder sobre el otro. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.

The Last Resident (‘El último residente’), (2014), es un estudio sobre las utopías del uso del espacio y su contexto social que narra la desaparición de las aldeas. En Rusia, como en otras partes del mundo, cada año perecen cientos, incluso miles de poblados cuyos habitantes emigran a otros lugares. Solo de 1993 a 2004, en el vasto territorio ruso, 23000 pueblos fueron oficialmente cerrados, mientras que la población de las ciudades está en constante crecimiento. La estética del proyecto se inspira en la pintura, donde se utiliza la luz para iluminar el paisaje nocturno, como lo hacía el pintor ruso de ascendencia griega, Arkhip Kuindzhi.

 

FECHA

EXHIBICIONES, PREMIOS & PUBLICACIONES

UBICACIÓN

DATE
EXHIBITIONS, AWARDS & PUBLICATIONS
LOCATION
2019
Material Art Fair
Galería Almanaque, Frontón México, Mexico City, MX.
2018
Qatar contemporary: Art & Photography-Group show
St. petersburg, Russia
2018
Artist Residency & Commission
National Museum of Qatar, Qatar
2018
‘Civilization: The Way We Live Now’, Group show
National Museum of Modern and Contemporary Art, Gwacheon, Korea
2018
QPN#22 Festival, Group show
Nantes, France
2018
"Dans les plaines d'Asie centrale"
The Center of Contemporary Photography "Le bleu du ciel", Lyon, France
2018
"Danila Tkachenko, Rusia 1989" Solo show
ALMANAQUE, Mexico City
2018
ALMANAQUE Booth - Group show
Zona Maco Foto, Mexico City
2018
Group show
Belgrade Month of Photography, Belgrade, Serbia
2018
Group show
Fotografia Europea festival, Reggio Emillia, Italy
2018
ALMANAQUE Booth - Group show
PhotoLondon, London
2018
ALMANAQUE Booth - Group show
PhotoFairs San Francisco, SFO
2018
"Lost Horizon" - Solo show
"Zamek” Culture Center, Poznan, Poland
2018
Nach der utopie
DATUM magazine,
2018
"Eerie photos show dilapidated relics of the Soviet era"
CNN Style
2018
"Restricted Areas" Portfolio
IMA "Vol. 12", Japan
2018
Upgallery2009 Booth
Art central Hong kong
2017
Winner
Kandinsky Prize
2017
Diffusion: Cardiff International Festival of Photography
Cardiff, UK
2017
FotoFestival Naarden
Naarden, Netherlands
2017
International Festival of Photography of Belo Horizonte
Belo Horizonte, Brazil
2017
Work feature - Publication
Wilderness, Germany (printed)
2017
International Young Artists Project
Daegu, South Korea
2017
XII Krasnoyarsk Bieannale: ''Mir: the village and the world''
the Krasnoyarsk Museum Centre, Krasnoyarsk
2017
"E/T, Skopia Art contemporain"
Geneve, Switzerland
2017
Bienale fotografica Bogota
Bogota, Colombia
2017
Work feature - Publication
Fotocult, Italy (printed)
2017
"Lost Horizon" & "Restricted Areas" - Solo show
UP Gallery, Hsinchu City, Taiwan
2017
"Motherland" - Solo show
Kehrer Galerie, Berlin, Germany
2017
"Lost Horizon" - Solo show
Pechersky Gallery, Moscow, Russia
2017
Ritual series - Duo show
Cembalo gallery, Arte Fiera, Bologna, Italy
2017
Photo Week, Gulf Photo Plus
Dubai, UAE
2017
"The Big Unknown" - Duo show with Mara Sánchez-Renero (MX)
ALMANAQUE, Mexico City
2017
"Restricted Areas" - Solo show
Anzenberger Gallery, Vienna
2017
Proyecta 2017
Madrid, Spain
2017
Danila Tkatschenko's photographic fire art provokes the Russians
NZZ, Zürich Switzerland
2017
"Home in flames"
Tages-Anzeiger, Zurich, Switzerland
2017
"Lost Horizon" text
The Calvert journal, London,UK
2017
Interview
Lomography, Vienna Austria, Europe
2016
"Restricted Areas" - Solo show
Fotogalerie Friedrichshain, Berlin
2016
"Restricted Areas" - Solo show
Skopia art contemporain, Geneva, Switzerland
2016
"Restricted Areas" - Solo show
Rencontres d'Arles, Fr.
2016
ALMANAQUE Booth - Group show
Zona Maco Foto, Mexico City
2016
"Jupiter XL" - Group show
ALMANAQUE, Mexico City
2016
SI FEST
Emilia-Romagna, Italy
2016
'On Behalf of Baboushka''
Russiantearoom gallery and curating agency, Paris, FR
2016
New East Photo Prize - Group show
Saint Petersburg, Russia
2016
Shortlist
New East Photo Prize
2016
"Escape" - Solo show
Blue Sky Gallery, Portland
2016
Power and Architecture
Calvert 22 Foundation, London
2016
"Restricted Areas" - Solo show
Kehrer Galerie, Berlin
2016
Riga Photography Biennial  National   
Museum of Art's Arsenāls Exhibition Hall, Riga, Letonia
2016
On Disappearing And For Vanishing  
Tartu Art Museum, Tartu, Estonia
2016
Festival of Political Photography
Finnish Museum of Photography, Helsinki, Finland
2016
Danila Tkachenko. "Restricted Areas" publication
Peliti Associati, Rome / Dewi Lewis Publishing
2016
Portfolio issue 128
LIFE magazine China
2016
"Amazing Photos Of Abandoned Soviet Infrastructure Will Show You The Meaning Of Desolate"
Esquire, Russia
2016
"Snow Ghosts"
RT online, Moscow Russia
2016
Soviet "Graveyard of Technology"
Wired magazine online, Japan
2016
"Amazing Photos of Abandoned Soviet Infrastructure Will Show You the Meaning of Desolate"
Popular Mechanics, New York, NY
2016
"Relics of the Soviet era"
BBC online, London, UK
2016
"The snowy graveyards where soviet subs and planes go to die"
Wired magazine online, San Francisco, CA.
2016
“Nature is probably best for solitude”
The Idea digital magazine, Berlin, Germany
2015
Lacritique.org Award (Winner)
Voies Off, Arles, France
2015
Emerging Photographer Fund Grant Burn Magazine
Magnum Photos. London
2015
Foam Talent Award
Foam Fotografiemuseum Amsterdam
2015
Delhi photo festival
Indira Gandhi National Centre for the Arts, New Delhi, India
2015
IX Krasnoyarsk Book Culture Fair
Krasnoyarsk, Russia
2015
European Publishers Award For Photography
Peliti Associati, Rome / Dewi Lewis Publishing
2015
CENTER Choice Awards
CENTER, Santa Fe. New Mexico. National Endowment for the Arts
2015
LensCulture Exposure Awards  (Winner 1st Place)
LensCulture, Amsterdam
2015
Lensculture Award exhibition at Photo London
Somerset House, London, UK
2015
30 Under 30 Award
Magnum Photos, London
2015
"Restricted Areas" - Solo show
Pechersky Gallery, Moscow. Russia
2015
"Storie Sovietiche" - Group show
Galleria del Cembalo, Rome
2015
Forts and fictions in the Lowlands
Fort Nieuwersluis Museum, Netherlands
2015
The Curve
Center for Contemporary Arts, Santa Fe
2015
Photoparade Uglich
Uglich, Russia
2015
The Powers That Be
Station Independent Projects, New York
2015
Athens Photo Festival
Benaki Museum, Athens, Grece
2015
"Escape" - Solo show
Gallery of Classic Photography, Moscow. Russia
2015
The Anatomy of Forgiveness
Metropolitan Building, New York
2015
Photomania-2015
Gateway Musseum, Kaliningrad, Russia
2015
I Sought Solitude
South Square Centre, Bradford, United Kingdom
2015
“Modernism in permafrost“
Kommersant newspaper, Moscow, Russia
2015
"Access Forbidden"
NZZ, Zürich Switzerland
2015
“Remnants of a Failed Utopia in the Former Soviet Union“
National Geographic, Washington, D.C
2015
"the abandoned remains of Soviet technology"
Wired magazine online, Italy
2015
"The abandoned remains of Soviet technology"
Wired magazine online, UK
2015
"See Soviet tech survivors of the cold war abandoned in the snow"
New Scientist magazine, London, UK
2015
"Övergivna monument över det hemliga Öst"
Svenska Dagbladet, Stockholm, Sweden
2015
"Restricted Areas: Eerie relics of a forgotten Russia"
BCC culture, London, UK
2015
"Wreckage in the snow: Russia’s forgotten future"
The Guardian, London, UK
2015
"#45 — Evolution"
GUP Magazine, Amsterdam The Netherlands
2015
"Featuring documentary's new ground"
IMA magazine, Japan
2015
"Center’s 1st place director’s choice award"
Lenscratch journal, U.S.
2015
“We are on the Threshold of New Exciting Experiments in Photography”
Bird In Flight online magazine,Russia
2015
"Into the woods and away from the world"
The Washington Post, Washington, D.C.,
2015
"Ones to Watch"
British journal of photography, London, UK
2014
Organ Vida
Lauba Museum, Zagreb, Croatia
2014
World Press Photo Award
World Press Photo Foundation, Amsterdam
2014
An Ocean of Possibilities
Museum TwentseWelle, Enschede, Netherlands
2014
OFF_Festival
Pisztory Palace, Bratislava, Slovakia
2014
Danila Tkachenko. Escape publication
Peperoni Books, Berlin
2014
VIII exhibition of the Kandinsky Prize Nominees
Udarnik cinema, Moscow. Russia
2014
“Solitude”
framework of 21st Noorderlicht International Photo Festival. Natuurmuseum Fryslân, Leeuwarden, Netherlands
2014
"Twelve Thinking Photographers"
parallel event of Manifesta 10. First Cadets’ Corpus, St-Petersburg, Russia
2014
"Hermits escape from society, find freedom in nature"
CNN Photo blog, U.S.
2014
"My tree is my bed"
Spiegel magazine, Hamburg, Germany
2014
"Escape"
hatjecantz fotoblog, Berlin Germany
2014
"Book review: Escape"
Lensculture magazine, Amsterdam Netherlands
2014
"Russian laureates World Press Photo 2014 about their projects"
Kommersant newspaper, Moscow, Russia
2014
"Vivir fuera del sistema"
LaMula newspaper, Peru
2014
"Danila Tkatschenko - Escape"
Oitzarisme online magazine, Bucharest, Romania
2014
"Modern society is lost in the dark forest"
Photographer . ru , Russia
2014
Escape portafolio
Phases magazine, Vichy, France
2013
"Die Brücke / Most" festival
Slubice, Poland / Frankfurt an der Oder, Germany
2013
"On the block"
New Holland cultural center, St-Petersburg, Russia
2013
"On the area: Kronstadt with the eyes of Danila Tkachenko"
The Village, Moscow, Rusia
2012
“Young Russian photography 2012 2/2. Reality/Decoration”
Center for Art and Music and Library V.V. Mayakovsky, St-Petersburg, Russia
2012
"Student Art PROM"
ARTPLAY design center, Moscow, Russia
2011
"Person on the move"
Swissotel Krasnye Holmy, Moscow, Russia
2011
"Young photographer"
Fotodepartament, Sankt-Petersburg, Russia
2010
"Steps"
Photo Center, Moscow, Russia