b. in Moscow,
Graduated in Moscow Secondary Art School #1 (1976-1981), and
Stroganov Moscow State Industrial Art University (1983-1989).
After University worked in painting and graphic arts.
At present engages in digital arts and networks, as well as curatorial activites.
Member of professional Union of Artists
Collection where works are held
"First Moscow Artistamp Exhibition", 1998
"Motherland/Fatherland Artistamp Exhibition", 2002
"Moscow Artistamp Collection"
"Sewers of the World, Unite!", started at 2000
1991 - Exhibition "Gruzinskaja-28", State Exhibition Hall "Manege", Moscow.
1992-1995 - Participation in Youth Exhibitions, "Kuznetskij Most"(State Exhibition Hall), Moscow.
1994 - "AVT-Art", TV-company "VID", State Exhibition Hall "Manege", Moscow.
1996 - "Commentaries-10". The European Cultural Club, Moscow.
1997 - 1998 "Mail-Art Event", Lausanne, Switzerland / Rangoon, Burma.
1998 - "M'ARS -10-th Anniversary", "M'Ars Gallery, Moscow.
1998 - "The Popular Art of Postal Parody", Richmond Art Gallery, Canada.
1999 - "Arte Postal Hacia el Nuevo Milenio", Museo de Filatelia de Oaxaca, Mexico
2000 - "Artistamp-2000", Elgin Community College, Chicago, USA
2000 - "Art is Stamp", The Art Institute of Boston Lesley College, Boston, USA
2000 - "Mail Art et timbres d'artistes", Dome Mediatheque Alberville, France
2001 - "Community", Art Gallery of Hamilton, Ontario, Canada
2001 - "Image of Japan", Akita University, Japan
2001 - "The Photo Will Rescue the World" - Moscow Museum of Arts and Crafts.
2002- "Les Anges Devastes", le Centre culturel "Les Chiroux", Liege, Belgium.
2002 - "Field -Study Art-2002", Geelong, Australia.
2002 - "Constitution", S'art Gallery, Moscow.
2003 - "Post Modern Post", Sonoma County Museum, San Francisco, USA.
2003 - "ART DIGITAL-2003", Contemporary Art Center "M'ars", Moscow.
2003 - "STAMP!", Museum of Contemporary Art, Chicago, USA.
2003 - International Print Triennial, Krakow, Poland
2003 - "Still Life", Moscow Fine Art Gallery
2003 - "Eurographic 2003", Lavra Gallery, Kiev, Ukraine
2003 - "Art Constitution", Moscow Museum of Modern Art
2003 - 2004 - "Eurographic", Moscow- Dresden - Krynica
2004 - "Digital exlibris" - Niklaas, Belgiun, Vels, Austria, Ankara, Turkey
2005 - "Poland - Russia: Meeting or collision", Eye for Art Gallery, Krakow, Poland
2005 - "Creative 2005", Comune di Rignana sull'Arno, Italy
2005 - "Artistamps", Art Book Press Gallery, Seattle, Wa. USA
2005 - "Correspon-Dance", Lincart, San Francisco, USA
2005 - "Axis of Evil: The Secret History of Sin", Nexus Gallery, Philadelphia, USA
2005 - "Axis of Evil: The Secret History of Sin", Glass Curtain Gallery, Chicago, USA
2005 - "What is Big?" Royal West of England Academy, Bristol, UK
2005 - "SUN of FUN - Second Universal Nexus of FUNtastic Unated Nations", Casier , Treviso, Italy
2006 - "Mostly Red", Off-Centre Gallery, Bristol, UK
2006 - "Made in USSR", T-Modul, Moscow
2006 - "10 Years of the Section Photography New Media", NCC, Krakow, Poland
2006 - "PRINT-Ex", Horward Garden Gallery, University of Wales in Cardiff, UK
2006 - International Print Triennial, Krakow, Poland
2004 - "Digital exlibris" - Niklaas (Belgiun), Vels (Austria), Ankara (Turkey) - second prize
N.Lamanova in Stroganov Moscow State Industrial Art University in front of her work on display ofbest degree works, 1990
Slide-show "Sewers of the Wordl, Unite!".
On the screen
- "Kremlin Hatch #1" by N.Lamanova.
Art Manege 2000, Moscow.
William J.Burns, USA ambassador in Moscow, at the exhibition "Politically motivated justice and political prisoners in contemporary Russia", Andrei Sakharov Museum, Moscow, 2006
Presentation of memorable sheet.
Collections where works are held:
Victoria and Albert Museum (UK),
Museo de Filatelia de Oaxaca ( Mexico),
Krakow International Graphic Triennial,
Akita University (Japan),
Moscow Contemporary Art Center "M'ars",
Contemporary Art Center (Kaliningrad),
privat collections of Russia, USA, France,
Australia, Italy, Canada, Belgium ets.
International Graphic Triennial, Krakow, 2003
"Unnofficial Moscow", Moscow, 1999
"Matador" magazine twenty-second, Moscow, July-August 1999
"Novyje Izvestija" newspaper, Moscow, July 28, 1999
"Artistamps Francobolli D'Artista", Italy, 2000
"Artchronika" magazine, Moscow, #4-5 / 2001
"Monitor" magazine, Moscow, #4/2001
"Art Digital", exhibition catalogue, Moscow, 2003
"Grafia" magazine, Krakow, 3(5)/2003
"Mail Art et Timbres D'Artistes", Le Dome Mediatheque, Alberville, France, 2000
"Vremya MN" newspaper, Moscow, March 17, #47/2001
"MK-Boulevard" newspaper, Moscow, June 4-10, 2001
"Komsomolskaya Pravda" newspaper, Moscow, #106, June 18-25, 2001
"Culture" newspaper, Moscow, June 7-13, #21/2001
"Evening Club" newspaper, Moscow, June 1-7, #21/2001
"Versija" newspaper, Moscow, June 5-11, #20/2001
"Evening Moscow" newspaper , Moscow, May 28, #97/2001
"Commersant - Weekly" newspaper, Moscow, June2, #95/2001
"Vojazh" magazine, Moscow, May, 2002
"Vremya Novostej" newspaper, 15 July, #124/2002
"Decorative Art" magazine, Moscow, 5-6/ 2003
"Axis of Evil: Perforateed Praeter Naturum" book, Qualiatica Press, Chicago, 2004
"Architecture Construction Design" magazine, Moscow, 1 (47) 2005
"Nostalgy" magazine, Moscow, #6/2005
Exhibition "Sewers of the World, Unite!",
Moscow Fine Art Gallery, 2001. Interview for 3 chanel TV
Exposition of N.Lamanova at the Moscow
Contemporary Art Centre M'ARS openning.
Exhibition "Art Digital-2003"
"Mother and Muse Russia", Harley (for book "World Artistamps"), Chicago, 2006
Though born into a family of professional scientists, Natalie Lamanova was introduced to the arts at an early age. Initially studying music and dance for four years, she decided to attend art school. She enrolled for a four –year program to study drawing, painting, design, sculpture and the history of art. Although tuition was at that period paid by the state, gaining entry to a quality art institute was a daunting task. Strict and rigorous entry exams were administered and required an academic proficiency in drawing, painting and design. Natalie Lamanova needed two years of additional study in order to meet the requirements of this program. She worked as a secretary at the art institute and attended classes in her spare time. This work was rewarded with admission to the prestigious Stroganov Industrial Art Institute. This was the same institute where Kasimir Malevich and many other leading artists had taught in the early days of the Soviet revolution.
The requirements for obtaining an art degree were strictly regimented, as all other aspects of Soviet era life, by the state. Natalie Lamanova embarked on a five-year period of study following a dictated curriculum in drawing , tempera and oil painting and art history as well as furniture and interior design. These courses were augmented by the obligatory study of Marxist philosophy. This was followed by a sixth year of study, examinations and the completion of an assigned final design project. To garner a degree in her chosen field of design, Lamanova was asked to design and produce a model for a bar in a district committee building.
In 1989 when Lamanova finished her final project and earned her degree from the institute, the government maintained conscientious control of contemporary technology. Consequently there was no public access to computer technology and Lamanova executed every aspect of her final project by hand. By the time she was granted her degree in interior design, the volatile transitional state of Russian society made here degree useless as a means to earn a livelihood . In addition she had personally lost all interest in the field.
All during her rigorous studies as a student, Lamanova had been drawn to painting as a medium. She had pursued painting in private and now made it the focus of her work. This lasted until 1997 when she made her first artistamps. Her contact with this medium was a revelation that led to a veritable cornucopia of stamp works. She created the “Reflections” series of celebratory stamp sheets. This series includes “Heart”, “Star”, Death's-Head Moth”, “Caryatids”, Triple Jumps I and II “, “Airmail” and “Happy Birthday”. These images clearly reflect the joy of discovery and recognition that Lamanova felt in discovering a medium that so perfectly suited her expressive needs as an artist. Once again denied access to a computer, Lamanova painstakingly executed all of these exuberant designs by hand. Taking photos, cutting and pasting and hand lettering were used to construct each sheet. These were then taken to a computer operator for black and white reproduction and subsequently hand colored with pencils. At a later date these original artistamps were reproduced on a color printer.
Lamanova's gradual exposure and access to computer technology led to her personal epiphany. She realized that she had found her medium. Putting her brushes and paints away, she saved her meager resources until she could acquire her own computer. Photoshop was the first program she studied and utilized in producing artistamps. In time, being able to gradually upgrade her computer allowed her to produce large prints in addition to her stamp works. She then began to explore the world of computer animation with her customary elan and innovation.
Natalie Lamanova has pursued her technological education with unrestrained enthusiasm. Her initial involvement in the “Sewers of the World Unite” and “Best Sewerage for the Best People” projects necessitated that she teach herself the intricacies of building a website. From learning Photoshop, she proceeded to master Flash, Action Script and Sound Forge. In Russia today Lamanova has no access to any formal educational program teaching computer application in the fine arts. Through books and the Internet she has taught herself through trial and error.
“ 150 Years of Russia Post”
With her ever- growing technical skills, Lamanova was able to revive a project from earlier years. This resulted in the “150 Years of Russia Post” series of images. In a dazzling satiric display, Lamanova lampoons the Soviet era cult of physique and exercise in glorification of the state. Utilizing the official motto of “ I am ready for labor and defense” to set the tone, Lamanova commemorates this historical period of marshal fervor in images that would not be out of place in a production of “Spartacus” by the Bolshoi Ballet.
“12 Moscow Samurais”
Lamanova uses photos as a point of departure in all of her animations. For the “12 Moscow Samurais” series, that is still in progress, she asked prominent Russian artists to pose for her in the nude. In contemporary Russian society this is a far more audacious request than it would be in most contemporary western cultures. That her fellow artists would pose nude for Lamanova is a reflection of the respect they have for her and her work. In “Bear and Bull” she uses images of fellow artists Ivan Kolesnikov and Sergei Denisov for her image. Ivan Kolesnikov has star turns in other animations as well.
Though avowing herself not to be an exhibitionist, Lamanova was disheartened by her experiences trying to find models for her work with the female figure. Her early childhood memories of dance inspired ideas of form and configuration that were not easily communicated to a model. Carefully choreographing and executing her ideas through still photography she has used herself as a model.
“Herman Vinogradov” Series
This series was inspired by the contemporary Moscow performance artist Herman Vinogradov. Lamanova reflects on his month's long performance piece in which he walked the streets of Moscow with a fake beard and a rubber crocodile glued to his head. The satire of both performance and the subsequent artistamp animations is both sweet and sharp. The subtitle of this piece “ Herman on 5th All-Union Rally of Pioneers in Artek” memorializes the generations of Soviet pre-schoolers who were herded into state “pioneer” camps for Leninist indoctrination. Donald Duck was replaced with the pioneer tie (red), a badge ( a red star with Lenin's portrait), the “ever ready” motto badge with fire and fascia and the ultimate “starlet” badge featuring a child preparing for “pioneerhood”.
March 27, 2006
"What is Big?", Bristol, UK, 2005