Catinca Tabacaru NYC/Harare Collective

Rachel Monosov

Rachel Monosov, Olympia, 2018, stills from performance at ACUD Gallerie, Berlin

Rachel Monosov, Olympia, 2018, stills from performance at ACUD Gallerie, Berlin

Rachel Monosov and Admire Kamudzengerere, Before the Ceremony, Aug. 20, 1972, 2017, archival print, text card, 8 × 12 in

Rachel Monosov and Admire Kamudzengerere, Before long travel, August 23, 1972, 2017, archival print, text card, 12 × 18 in

Rachel Monosov
MELODICA, 2017, 2k, 27:29 min, installation at
Museum Dhondt Dhaenens, Belgium

Rachel Monosov
Space intended for rest and pleasure, 2017
Performance at Museum Dhondt Dhaenens, Belgium

Rachel Monosov
Impossible Meeting Point, 2016
archival pigment print (framed)
12 × 12 in

Rachel Monosov
HDV, 10:19min

Rachel Monosov
HDV, 10:19min

Rachel Monosov
Untitled (Installation View), 2015
69 × 102 cm (flag only)

Rachel Monosov
No presence is hidden and no god is waiting except the place itself, the chosen land within 4 borders, 2014
inkjet print and frame
125 × 13 inches (317.5 × 30.5 cm)

Rachel Monosov
Exciting discovery in Biblical archaeology found in Judean Desert: Artifact 3, 2016 Bronze
9 × 7 × 1.5 in

Rachel Monosov
HDV. 15:00 min.

Rachel Monosov
Installation View of La vie mode d’emploi, 2014
Zwarte Zaal Gallery

Rachel Monosov
Installation View of La vie mode d’emploi, 2014
Zwarte Zaal Gallery

Olympia by Rachel Monosov (2018) from Rachel Monosov on Vimeo.

Olympia, Performance, Duration: 50 minutes, 2018

In Olympia Monosov takes Leni Riefenstahl’s film Olympia (1936) as a point of departure and investigates the bodily moments before the action and after the seconds between motionlessness and getting into shape. The artist scrapes out this sculptural moment of transition and works with the image of perfect bodies, standing united on the starting blocks and finishing line.

We know what took place outside the walls of the stadium in 1936, but do we know or care what is taking nowadays place outside the walls of this room? Through the re-enactment and reproduction of the body movements and film aesthetics of Olympia in slow motion, the artist glares painstakingly at the human traces and moments of doubt in this nationalistic historical insignia, a questioning of the celebration of Olympic perfection.

Performers: Victor Dumont, Susie Yugier, Rachell Bo Clark, Stephanie Amurao, Katrina Bastian, Kinga Jaczewska Music: INRA (Philipp Rhensius & Adam Ben-Nun) Live Visuals: Lisa Lapierre

MELODICA Teaser (2017) from Rachel on Vimeo.

MELODICA,2017 (teaser)

MELODICA, 2017. 2K, 27:29
In Melodica, we perceive a closed world where beauty, architecture and geometry are given equal status to murder, love and philosophical thought. Like the concepts of Oscar Wilde’s portrait story of Dorian Gray, where beauty and sensual fulfilment are the only worthy pursuits of the protagonist, the film’s aesthetics are composed and imbued by painting. The references and events of Melodica are sourced from the painting The Golden Age by Lucas Cranach the Elder.

Monosov leads us into ambiguous and absurd situations, in which we learn to accept and live in this constructed world. The images are beautiful and surreal, forcing the viewer to trust them and allow events to unfold; we gradually accept the strange things that are happening. While the work exposes earthly desires, it simultaneously offers a place where reality cannot enter so feelings of emptiness and melancholy rise slowly to the surface.

Where the action is frozen and the meaning ambiguous, Monosov raises existential questions within a rich setting of colours with characters under complete control of the artist. She opens a place for the self to feel, rather than be afraid of, beauty. Precisely because of the contemporary chaos we live in, the artist creates a beautifully detached world through aesthetics, which contains all the pain and anxiety surrounding us.

FREEDOM IN THE CLOUDS TRAILER from Rachel Monosov on Vimeo.

FREEDOM IN THE CLOUDS, 2015, HDV, 10:19min
We live in a time and place where even microscopic examination will not reveal the difference between a real seed and its imitation. The video work is shot in the vacation resort Tropical Islands, which closely imitates a natural Thai island and confines it underneath the giant dome of the former Brand-Briesen Airfield in Krausnick, Germany. A second filming location is an anonymous botanical garden in Jerusalem, Israel.

Through imagining procedures in the daily routines of a cleaning lady and a botanist, Monosov theatrically depicts their environment and their acts, both of which alter between the real and the surreal. This constructed universe characterizes the powerlessness of a nature controlled and used by humans. In the abstract sense of some pastoral place, the two women are following a mechanism whose rules aren’t clear.

In a white void, on a cloud away from any social structure, we hear Pastoral, Beethoven’s 6th Symphony. Is it within the sleep, or perhaps the death of the character and the artist that this idealism might serve as a perfect getaway?

While nature may seem to exist in its own right, unquestionable and omnipresent, the planting of a tree can come from political interest; a calculated action by men with an agenda. We live in a world where we cultivate the most useful plants while turning entire rainforests into lumber; in a place where forests are planted to possess land. There is an urgent need to examine the seed, the core, the soil we walk on, and the water we drink.

RACHEL MONOSOV (b. 1987, Russia)

Rachel Monosov works in photography, video, performance and sculpture. By delving into cultural notions of alienation, territorial belonging, and identity, she reflects a rootless present rife with broader social implications. She constructs entire worlds around her subjects, which function pursuant to their own set of laws. Her personal biography is weaved throughout the work and loaded with social and political concepts echoing actual historical events.

Monosov holds two MFAs in Filmmaking and Fine Art from The Royal Academy of Fine Arts (KASK) in Ghent, Belgium, and her BA from Bezalel Academy in Jerusalem, Israel. In the past two years, she has exhibited at the Zimbabwe Pavilion of the 57th Venice Biennale in collaboration with artist Admire Kamudzengerere, at the 11th Bamako Biennial, and at the Dakar Biennial; and in museum exhibitions at the BOZAR and Museum Dhondt-Dhaenens in Belgium, and the National Gallery of Zimbabwe in Harare. Her work has been acquired into the permanent collections of the Block Museum at Northwestern University and The Art Institute of Chicago, among other international public and private collections. Monosov has exhibited in galleries, foundations and film festivals globally, and has been the subject of much critical acclaim. She is a co-founder of the CTG Collective, and currently lives and works in Berlin.

Artist Website




MA in Film, The Royal Academy of Fine Arts, Ghent (KASK), Belgium


MFA The Royal Academy of Fine Arts, Ghent (KASK), Belgium


BFA Photography, Bezalel Academy in Jerusalem, Israel


The School of Visual Arts, New York, USA



[Solo Title TBD], Tarble Arts Center, Eastern Illinois University, USA (upcoming)


Unknowing Knowns Knowing Unknowns: (UNFINISHED), National Museum of Art, Bucharest, Romania
Meeting of the Minds, The National Gallery of Zimbabwe, Harare
The Rebel, Biennial of Dakar, 13th Biennial of Contemporary African Art; Curator: Simon Njami
NEW FEELINGS: Transformative Play and Discourse on Photography from a Diasporic Perspective, Center for Contemporary Art & Culture, Portland, USA; Curator: Modou Dieng


Europalia, Bozar, Brussels, Belgium; Curators: Laura Herman and Charlotte Dumoncel d’Argence
Afrotopia, Bamako Encounters 11th Edition, Biennale of African Photography; Curator: Marie-Ann Yamsi
Transcultural Protocol, performance in collaboration with Admire Kamudzengerere, Zimbabwe Pavilion, 57th Venice Biennale; Curator: Raphael Chikukwa
Melodica, Museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium


Zig Zag Zig, The National Gallery of Zimbabwe, Harare, Zimbabwe; Curator: Catinca Tabacaru



The Blind Leader, Catinca Tabacaru, New York
Transcultural Transcience (with Isaac Chong Wai), ACUD Galerie, Berlin; curators: Karma Ltd. Extended
1972 (with Admire Kamudzengerere), Catinca Tabacaru, New York


Pastoral, AC Repair Co., Toronto, Canada


Effects of Displacement, Catinca Tabacaru Gallery, New York
Pastoral, Barbé Gallery, Ghent, Belgium


The Premier of the Audition Acts as Symbol, REH-TRANSFORMER, Berlin, Germany; Curator: Marcus Kettel



CTG-R: ZIMBABWE 2018, CTG Harare, Zimbabwe
Fear of Change: true scenes and flat screenes, Site131, Dallas, USA


Transcultural Protocol, ThalieLab Art Foundation, Brussels, Belgium
An Orbit, The Drake, Toronto, Canada
TERRA NOVA, Catinca Tabacaru, New York
LEŽERNA RAZMJENA BEZ PANIKE, Charlama Contemporary Art Gallery, Sarajevo


Fragmented Time, Catinca Tabacaru, New York; Curator: Rachel Monosov
Zig Zag Zim, Catinca Tabacaru, New York
A perfect storm for business, The Governor’s Mansion, Ghent, Belgium; Curators: Liene Aerts, Wim Lambrecht and Wim Waelput


Devotion, Catinca Tabacaru Gallery, New York; Curators: William Corwin and Catinca Tabacaru
Art Prize CBM (Premio “Carlo “Bonatto” Minella), Turin, Italy
La Vie mode d’emploi, Zwarte Zaal, Ghent, Belgium
“Worlds of Nature”, Ramfoundation, Rotterdam, The Netherlands


The Last Brucennial, New York; presented by Vito Schnabel and The Bruce High Quality Foundation
Kiss, Zona 30, Lima, Peru; Curator: Katie Peyton


Ever Ours, Beethoven Festival: LOVE, Merit School of Music, Chicago; Curator: Catinca Tabacaru
Special Project, Bit Map, Ghent, Belgium
100 Years in the Underground, Steichen to Sherman, Peanut Underground Art Projects, New York
Conventional Codes Of, Lambert Fine Arts, New York; Curator: Catinca Tabacaru
We Man, Bijloke, Ghent, Belgium


Hard Pop, ST-ART, Tel Aviv, Israel; Curators: Liora Belford and Serge Tiroche
Shepard Fairey and Co, Bradford Stewart Studios, Los Angeles, USA; Curator: Catinca Tabacaru


Third Eye/I, White Box, New York; Curators: Raul Zamudio and Catinca Tabacaru
Women on Women, Zik Gallery, Jerusalem, Israel



CTG Harare, Harare, Zimbabwe


Impossible Meeting Point, Pool’s Island, Canada


Pink Village, Harare, Zimbabwe



Melodica, CIMMfest No.9, Chicago, USA
Pink Village, dokumentArt, Neubrandenburg, Germany
Melodica, Bideodromo Festival, Bilbao, Spain (Second Prize for Experimental Film)


Pink Village, Joyce Yahouda Gallery, Montréal, Canada; Curator: Nicolas Mavrikakis
Freedom in the clouds, cimmfest, Chicago, USA


The Visitor, 44th Edition of International Film Festival Rotterdam_, The Netherlands
The Visitor, Het Grote Ongeduld Xtra!, Cinemathek, Brussels, Belgium



Serlachius Museum, Finland (upcoming)


Jalovik Art Colony, Serbia
CRIPTA747, Torino, Italy


CTG-R: Zimbabwe, CTG Collective in collaboration with Dzimbanhete Arts Interactions, Harare, Zimbabwe
Triangle Arts Association, Brooklyn, USA


Thalie Art Foundation, Human Uplift Trust, India
Villa Lena Foundation, Tuscany, Italy
CTG-R: Newfoundland, CTG Collective in collaboration with Matthew Evans, Pool’s Island, Canada
Dusangneuf Osangsett, Brussels, Belgium
Museum Dhondat-Dhaenens, House Van Wassenhove


CTG-R: Zimbabwe, CTG Collective in collaboration with Dzimbanhete Arts Interactions, Harare, Zimbabwe



Northern Trust Purchase Prize, EXPO Chicago 2017
Europalia Curator’s Award, Belgium (Selected Artist); Curators: Laura Herman and Charlotte Dumoncel d’Argence


The Art Institute of Chicago
Block Museum of Art, Northwestern University
National Gallery of Zimbabwe
Foundation Blachère
Collection Praz-Delavallade
ST-ART by Serge Tiroche



The Political in the Poetical, Bideodromo Festival, Bilbao, Spain (3-day workshop)


Filmmakers Panel, dokumentArt, Neubrandenburg, Germany
Photography & Film (with Lisa Lapierre), Trichirapalli, India; organized by Thalie Art Foundation (3-week workshop)


Rodney, Seph, The Stories of African Contemporary Art Are Everywhere at the 1-54 Art Fair, HYPERALLERGIC, May 5, 2018

Knoblauch, Loring, Rachel Monosov/Admire Kamudzengerere, 1972 @ Catinca Tabacaru, Collector Daily, April 4, 2018

Cowie, Alix-Rose, Rachel Monosov and Admire Kamudzengerere You can’t believe everything you see, WEPRESENT-WETRANSFER, March 18, 2018

Twersky, Carolyn, Two Artists Rewriting the History of Interracial Marriage in Africa, New York Magazine, March 26, 2018


Joyce, Beatrix, Exhibition // Karma Ltd. Extended’s ‘Transcultural Transience’ at ACUD Galerie, BERLINARTLINK, March 31, 2018

Furtado, Will, Where Drawing and Performance Meet, Contemporary&, December 8, 2017

Dafoe, Taylor, The Best Booths of Expo Chicago 2017, OBSERVER, September 14, 2017

Hawbaker, KT, 10 must-see galleries at Expo Chicago, Chicago Tribune, September 13, 2017

Cohen, Alina, Amplifications of Memory, The Nation, May 26, 2017

Land for Sale by Admire Kamudzengerere & Rachel Monosov – Ten Days In Paris, October 11, 2016

Le Zimbabwé Voit La Vie En Rose, MIXTE Paris, November 8, 2018

Rachel Monosov “Pastoral” at AC Repair Co., Toronto, Mousse Magazine, August 8, 2016

Seven Belgian-based artists to keep on your radar (Part 3), The Word, April 13, 2016

Schultz, Charles M., Devotion, BLOUINARTINFO, March 2016