Overall Hand

Overall Hand, installation in Setouchi triennale, 2025. Heketa region, Kagawa. 

 

Letter from the moon

Letter from the Moon, personal exhibition in Shenzhen, China. 2025 

 

Cloud and Spindle

Cloud and spindle. 2019-2025, wool, wood. Until April 2025. "The future of memories"exposition.

Last Night on the Earth. Setouchi Triennale. 2022

 

The Way to the Moon project. "Last Night in the Earth".Third installation in 3 rooms in Shamijima. Hommage to great spaceman Charlie Duke from Apollo 16, who left family photo on the moon. Until 18 May 2022

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Star KETs. Homage to Tsyolkovsky

 Star KETs, Homage to Konstantin Tsyolkovsky. The Way to the Moon. Setouchi triennale. From 14 April 2022

Tickets to the moon

 

 

 

 

The Knitted Rocket

 

Knitted Rocket in Fligel Art Center,Vladimir, Russia. Exhibition Backstage. Textile in contemporary art. Until 15 July.

Ichihara ArtxMix 2020+ postponed to the future

 

Unfortunately, due to the epidemic, the art festival in Japan is postponed for an indefinite

time.My installations are sent to the waiting room.But the moon tickets will be valid.

Take care of them and come back!

Stairs to the Moon in Seoul

Stairs to the Moon installation in a top of the roof Savina Museum of Contemporary Art, 2018-2020

The Cloud and Spindle

The Cloud and Spindle. Облако и веретено. 2019. 

Raw sheep wool from mountain village, wood, firing, sound. 

Dedicated to Kosta Khetagurov

Cosmism of Leonid Tishkov

Cosmism of Leonid Tishkov in National Center for Contemporary Art,
Vladikavkaz. Until 20th April 2019

The Wall

The Wall, installation dedicated to deaf blind writer Olga Skorokhodova

in NCCA, Moscow until 6th May 2019

Cosmism of Leonid Tishkov

Exhibition in Belyaevo gallery, Moscow, until 11 November

Drafty House

https://vimeo.com/290110258

Drafty House. 2018.
Installation: carpets, fans, lamp, motion detector.

Carpets, apparently ordinary, were hanging in Ossetian, Ingush and Russian houses. Houses with high strong walls, on the slopes of mountains, under a high sky. It seemed that nothing was stronger than a home, in which was safe and warm. But misfortune breaks into people's lives literally "from behind the carpet", destroying the cozy space of the house. This is our common home, because you can not destroy someone else's house without destroying your own.

At the exhibition "Beslan. A Minute of Silence" in the North Caucasus Branch of the NCCA-ROSIZO, September 2018

Tyumen suffering

Leonid Tishkov UNMARKED, 2017
Installation: Tyumen carpet, found clothes, wood. 

The artist learned about the tragic fate of his grandfather, Tishkov Ivan Grigorievich, only a few years ago. He did not have a single photo of his grandfather, not a single document. There was only a little information avaliable from the Memory Book of the Tyumen region that Ivan Grigorievich was from the village of Korkino in the Sverdlovsk region, was exiled to the Yagodny village of the Kondinsky district, and then was arrested and shot in Tyumen on December 10, 1937. 80 years have passed since his grandfather’s death, but Leonid continues to look for the place of his last refuge; the artist’s soul is restless until he finds the unmarked grave. "The local carpet is black like Tyumen land itself, on which flowers unplanted by me grow; this is the image of my memory of my grandfather and that I must find his grave while I have time," says the artist.

 Leonid Tishkov The KNITLING (VYAZANIK), 2002, installation as part of the "Work never stops" exhibition. Tyumen carpet and textiles contemporary artists. Until 21 January 2018 in Tyumen Arts Center. 4th Urals Industrial Biennale of Arts

The Threadbare Flags of My Radiant Motherland

The Threadbare Flags of My Radiant Motherland

I'm interested in fabric, but not the fabric that is sold in cuts in stores. I’m not into new fabrics, in those fresh clean threads, direct from the machine and soaked in fresh paint. I'm interested in fabric that has been worn, that lived a long life together with its owner. Clothing means a lot in our frigid region, a place where the snow still covers the ground in May, and where in October it's time to put on quilted jackets. Clothes were repaired yes, and they were also inherited. When a person died, their wardrobe was distributed among relatives. And when things became too ragged to wear, they were cut into pieces, which were used to weave rugs or were taken to an old woman to weave floor runners. From this dilapidated fabric, from these worn out rags, people made round crochets that they put on the courtyard floors of their homes. Newer, brighter crochets were put inside the house, at the front door, on chairs, on the couch, at the foot of an armchair and by the bed, to tread on them with bare feet. The floors’ wooden planks, painted with the brown oil paint, were cool to the touch, and made you shiver with the cold in winter. Without these rugs, you could completely freeze your feet, that’s how cold it was in our houses.
My mother used to wake me up on cold dark mornings. I always tried to get dressed right under the blanket, and only after managing that did I get up and have a wash.  The rugs, like colorful warm islands under my feet, kept me warm. Those round rugs seemed to preserve the memory of those many people who used to wear the clothing from which they had been made, clothes that had been torn to ribbons, deemed useless, worn out, or irrelevant after the demise of their owners. Such a rug preserves the memory of the departed and exudes the light of their memory, almost as if it were a digital disc.
These memory laden carpets now lie at the entrance to rooms, greeting those who arrive. They welcome visitors like a round, bright, warm sun. The round rug recalls the main symbol of the Slavs, the solar disk, making such rugs solar symbols. The visitors enter the gornitsa, an elevated room, which was the brightest one in traditional houses, and was said to be where the sun lived, with its windows pierced by the rays of the bright noon sunshine. That is why it is called svetyolka or svetlitsa(the room of light). This room was usually located on the upper floor of the house, where young girls were spinning and knitting, embroidering and cutting clothes, painting, singing songs, and gossiping. The windows, on all four walls, have carved wooden frames; the light is the master here. We leave, but the light remains.

Flag of my Motherland. 2017

Metal, wood, old carpet from family of the artist.

XII Krasnoyarsk Biennale "Word and Village". 

Lightroom. 2017

Wood, glass, neon, LED, windows from late house. 

XII Krasnoyarsk Biennale "Word and Village". 

Photo by V. Dmitrienko