Bio:
Roman Tverdokhlebov (b. 1987) is an interdisciplinary artist working with ceramics, sculpture, mosaic, and installation. His practice explores themes of digital memory, post-industrial heritage, archaeology, and memetics.
In 2022, he presented his first solo exhibition, Museum of Post-Apocalyptic Archeology, at Cube Moscow. He participated in the 2nd Chuvash Biennale of Contemporary Art, as well as in group exhibitions such as Come Back Home at the Institute of Russian Realist Art and Fixing the Meaning at the Gorky Park Museum in collaboration with Cube Moscow.
He has contributed to large-scale monumental projects as part of creative teams, including the ceiling painting at the Lefortovo metro station and the restoration of bas-reliefs at the Povolzhye pavilion at VDNH.
His works are held in private collections and in the collection of the Andrey Voznesensky Center and Museum.
Education:
2006-2012 Graduated from Moscow State Academic Art Institute named by VI. Surikov, Master's degree in Sculpture by professor Pereyaslavets M.V. / Moscow, Russia
2001-2005 Graduated from Moscow Academic Art Lyceum by the Russian Academy of Arts with specialisation in sculpture / Moscow, Russia
Roman Tverdokhlebov (b. 1987) is an interdisciplinary artist working with ceramics, sculpture, mosaic, and installation. His practice explores themes of digital memory, post-industrial heritage, archaeology, and memetics.
In 2022, he presented his first solo exhibition, Museum of Post-Apocalyptic Archeology, at Cube Moscow. He participated in the 2nd Chuvash Biennale of Contemporary Art, as well as in group exhibitions such as Come Back Home at the Institute of Russian Realist Art and Fixing the Meaning at the Gorky Park Museum in collaboration with Cube Moscow.
He has contributed to large-scale monumental projects as part of creative teams, including the ceiling painting at the Lefortovo metro station and the restoration of bas-reliefs at the Povolzhye pavilion at VDNH.
His works are held in private collections and in the collection of the Andrey Voznesensky Center and Museum.
Education:
2006-2012 Graduated from Moscow State Academic Art Institute named by VI. Surikov, Master's degree in Sculpture by professor Pereyaslavets M.V. / Moscow, Russia
2001-2005 Graduated from Moscow Academic Art Lyceum by the Russian Academy of Arts with specialisation in sculpture / Moscow, Russia
CV
Selected exhibitions:
Solo show:
2022 «Museum of Post-Apocalyptic Archeology» Cube Moscow / Moscow, Russia
Group show:
2022 M.A.R.S.H. gallery group exhibition Cube Moscow / Moscow, Russia
2022 «Consolidation of Meaning» Gorky Park Museum + Cube Moscow / Moscow, Russia
2019 «Selection Art Show» Touchon&Co Gallery / Los-Angeles, US
2017 «Come Back Home» Institute of Russian Realistic Art / Moscow, Russia
Biennales:
2025 – 2nd Chuvash Biennale of Contemporary Art / K. Ivanov Drama Theater / Cheboksary, Russia
Art-fairs:
2023 Art Moscow Art Fair, Plato Art Advisory stand ( Prague, Czech Republic ) / Gostiny Dvor / Moscow, Russia
Collections:
Museum and Cultural Center of Andrei Voznesenskiy / Moscow, Russia
Private collections
Selected exhibitions:
Solo show:
2022 «Museum of Post-Apocalyptic Archeology» Cube Moscow / Moscow, Russia
Group show:
2022 M.A.R.S.H. gallery group exhibition Cube Moscow / Moscow, Russia
2022 «Consolidation of Meaning» Gorky Park Museum + Cube Moscow / Moscow, Russia
2019 «Selection Art Show» Touchon&Co Gallery / Los-Angeles, US
2017 «Come Back Home» Institute of Russian Realistic Art / Moscow, Russia
Biennales:
2025 – 2nd Chuvash Biennale of Contemporary Art / K. Ivanov Drama Theater / Cheboksary, Russia
Art-fairs:
2023 Art Moscow Art Fair, Plato Art Advisory stand ( Prague, Czech Republic ) / Gostiny Dvor / Moscow, Russia
Collections:
Museum and Cultural Center of Andrei Voznesenskiy / Moscow, Russia
Private collections
Artist Statement
In my works, I explore the evidence of our era—a way to glimpse the future through the fractures of our present. Archaic forms break down into fragments, like corrupted files, leaving behind not only traces of loss but also the seeds of new meanings. My practice embraces media such as ceramics, sculpture, mosaic, and installation, transforming them into objects that belong simultaneously to the now and to a hypothetical future, engaging with the aesthetics of video games and memes.
The irony in my research is built on paradoxes and the collision of familiar pop-culture imagery with the real consequences of human activity, deconstructing symbols of power that succumb to decay and reform. They become a mythological chronicle of our hopes, fears, and mistakes. These works function as an archive left after the dismantling of established historical structures—visual shards that future generations will decipher as they attempt to reconstruct our cultural code.
In my works, I explore the evidence of our era—a way to glimpse the future through the fractures of our present. Archaic forms break down into fragments, like corrupted files, leaving behind not only traces of loss but also the seeds of new meanings. My practice embraces media such as ceramics, sculpture, mosaic, and installation, transforming them into objects that belong simultaneously to the now and to a hypothetical future, engaging with the aesthetics of video games and memes.
The irony in my research is built on paradoxes and the collision of familiar pop-culture imagery with the real consequences of human activity, deconstructing symbols of power that succumb to decay and reform. They become a mythological chronicle of our hopes, fears, and mistakes. These works function as an archive left after the dismantling of established historical structures—visual shards that future generations will decipher as they attempt to reconstruct our cultural code.
