How it works: meet the Cosmoscow team

Margarita Pushkina

Head and founder of the Cosmoscow Contemporary Art Market

WHAT IS COSMOSCOW FOR YOU EXACTLY, AND HOW DID YOU FEEL ABOUT ORGANIZING THE MARKET DURING THIS SEASON?

For me, Cosmoscow is a defining project that reflects my personal growth. It's my favorite job, and in some sense, my child because I have invested a lot of my own resources, including emotional and mental energy, into it. It's also become an integral part of my life. The people who join the Cosmoscow team become important figures in my life, shaping my personal journey.

Hosting the market this season was emotionally challenging. We carefully considered how we could continue our work amidst the disruptions affecting each and every one of us. Despite these challenges, we are pleased to have collectively decided to host the 10th edition of the market. We arrived at this decision based on the input and opinions of our friends and partners, including art professionals and gallerists.

This year, we are determined to make the market even more special and successful than ever before by putting in all of our efforts. In the current circumstances, we believe that the market is more important than ever. It provides an opportunity to stay connected with our friends, allies, and everyone involved in cultural processes, including those who work on art and art market-related projects. The communication, synergy, contacts, and connections with people who share our values are crucial today.

DO YOU LIKE THE WAY YOUR TEAM WORKS NOW?

We have come a long way since the beginning of our market, both technologically and professionally. When we started the project, I had to delve into a variety of questions, including technical ones, discuss the concept of our market with colleagues, and build every process from the ground up. Our project has evolved a lot in the past ten years, and I am pleased that many things are now automated and don't require my direct involvement. This allows me to focus on more strategic aspects of my work and spend more time thinking about the evolution of Cosmoscow.

My colleagues, allies, and staff spend a lot of time together, not only in the office but also outside of it. I'm very grateful to our director, Kolya, for creating such a welcoming atmosphere within our team. I believe that every member of our team enjoys the work they do, which is one of the most important things for any individual: to be able to utilize their skills and contribute to a common goal. I observe many of our colleagues becoming more experienced, mature, and confident. It brings me great joy and pleasure to witness the growth and professional development of both our team and the project.

WHAT’S THE COOLEST PART OF YOUR JOB?

Working on an important and large-scale project like ours can be challenging, but it's also rewarding. It has been a catalyst for personal and professional growth. Over the years, the project has evolved into a thriving ecosystem of diverse side projects, such as the Contemporary Art Support Fund, charity auction, Collectors Club, TEO Art Marketplace, and the Blazar market of young art, each requiring unique and creative approaches. Our job provides the opportunity to interact with exceptional people, including artists and curators, and contribute to the development of the art scene locally and globally. It's fulfilling to witness new artists and galleries emerging as a result of our work, and we are proud to be a part of that process.

Nikolay Korkov

CEO

HOW DID YOU JOIN THE COSMOSCOW TEAM?

I was always interested in the projects related to art and culture, and fascinated by the people who work in that sphere, but I never seemed to find a place for myself. There was a time when I worked on a project related to theater, but it ceased to exist after the pandemic, so me and my friend opened a little gallery. That was my first step towards working in the contemporary art sphere. One of those days I had a call from Margarita Pushkina, who invited me to join the team. Of course, I was aware of the Cosmoscow before that. But still, having attended the market every year in September and always been amazed by the event and the team behind it, I never thought I would have the opportunity to work on such a cool project.

CAN YOU DESCRIBE YOUR USUAL WORKING DAY?

My day starts early, and I've learned that when I arrive at the office, I can't predict when I'll be able to leave. I prefer to stay up late and use my mornings for personal activities. My mornings are busy with walking my dog, exercising, and having breakfast with friends, colleagues, and partners who are unavailable in the evenings. After that, I head to the office, where I'm met with a never-ending stream of engaging meetings and discussions. I used to spend most of my time writing emails, but now I focus more on collaborating with my colleagues, brainstorming, and stress-testing our ideas. Although lunch and dinner are scheduled, they typically happen at my desk. In the evenings, I walk my dog again and spend time with my family.

WHAT’S THE COOLEST PART OF YOUR JOB? AND WHAT QUALITIES MATTER THE MOST FOR IT?

I believe that love is essential in any type of work. When you approach your tasks with genuine passion and dedication, you can accomplish great things. This includes a love for the people around you and the daily tasks you perform. When you have this love, it inspires a sincere desire to improve and assist those around you, ultimately leading to achieving great results. But the coolest part is seeing the joy and satisfaction in the eyes of those who participate in the market and visit Cosmoscow.

Anastasia Ivanova

Executive Director

APART FROM MARKET, YOU ALSO WORK AT THE COSMOSCOW FUND, WHICH TURNS 5 THIS YEAR. WHAT PURPOSE DOES THIS FUND HAVE INSIDE THE MARKET, AND ARE THERE ANY RESULTS OF ITS WORK FROM THIS PERIOD OF TIME?

The fund is a natural extension of our market. As an institution operating in the contemporary art sphere, we recognize the importance of supporting artists, a mission that Cosmoscow has been committed to since its inception. The fund has allowed us to formalize and streamline our efforts, making them more targeted and effective. We continue to adapt and respond to the evolving demands of the art world, identifying new areas that require our attention. Over the past five years, we have provided support to numerous artists and institutions, and we have no plans of slowing down. Although we had initially intended to expand our international connections, our current focus is on supporting Russian artists, facilitating their growth and development in the field.

WHO IS YOUR ARTIST OF THE YEAR?

All artists who have been rewarded with a title of the artist of the year are incredible and very diverse, which makes it difficult to pick somebody in particular. The most fascinating projects for me are “Creme Brulee” by Ivan Gorshkov (2017), “Circular” by Taus Makhacheva, and MishMash’s “microspective” of the group (2019).

CAN YOU DESCRIBE YOUR USUAL WORKING DAY?

My usual working day consists of letters, meetings, and communication with colleagues from different institutions, as well as artists and curators. We often run conferences, work on resolving problems that require the involvement of different parts of our team. This is both administrative and creative work. Everyday you get to learn something new, it’s an infinite educational process, actually. We also spend the evenings with our team by visiting the opening events of new exhibitions at galleries and museums. Unfortunately, I don’t get to do that as often as I would want to, since I have to stay up late in the office getting things done, but then I visit new exhibitions during the weekends.

WHAT’S THE MOST JOYFUL THING IN YOUR WORK?

We have a wonderful team, very talented and involved. It’s a great joy to work with thinkmates. I get inspired by the work that’s filled with purpose, being a part of something big and important.

Sasha Goncharova

Head of the Partnership Department

WHAT IS YOUR DEPARTMENT RESPONSIBLE FOR?

Our department is responsible for bringing in partners and working with them. Despite our market existing for 10 years already, drawing partners in is not an easy task, because the contemporary art is still Terra Incognita for many people out there. They feel like it’s easier to become a 20th partner of a famous museum, than support a contemporary art market. Nevertheless, we often find like-minded people in major companies, and it’s very important. In various years, the Cosmoscow partners included Qatar Airlines, Credit Suisse bank, Audi, Ruinart, Visa, Samsung and many more. The partners of this year are Tinkoff Private, Hutton, Bork, Beluga, Zenit, and St. Regis Moscow Nikolskaya Hotel. We are very grateful to all these companies for supporting us during these hard times. Without them, the market wouldn’t happen this year.

WHAT TRAITS DOES YOUR JOB REQUIRE?

I would put flexibility, patience and communicative skills first. It goes without saying that you also need to have sales skills and creativity, because you always have to come up with new ideas, creating a collaboration with an artist that has never happened before. Partners come to us to get interesting ideas which can shed a light on their brand from a new perspective, it’s important for them to attract the attention of a modern, progressive and solvent audience. It’s quite difficult to create an exciting collaboration all by yourself, that’s why we also work with curators and other members of the Cosmoscow team.

CAN YOU DESCRIBE YOUR USUAL WORKING DAY?

The wonder of working at Cosmoscow is that you can start your day at 9, as well as at 12 o’clock. Of course, shortly before the market we work almost 24/7, but when it’s over, there is an option to work by a flexible schedule or remotely. The contemporary art market opens great opportunities to communicate with all kinds of creative workers, including curators, artists, musicians, literature researchers, brand ambassadors, and my day is usually mostly spent by contacting them. The art sphere work is very emotionally tense sometimes, we work in a creative environment, and it often exists on a high emotional level. That’s why it’s important to have yourself grounded and remind yourself of some simple joy from time to time. You have to not take things too close to your heart and, simply put, maintain self control. But I can definitely say that it’s the most interesting working sphere, and it can be compared to working in a movie industry, it’s just we’re not as visible.

Natalia Tsareva

Head of Galleries Collaboration Department

HOW TO EXPLAIN A PERSON WHO DOESN’T KNOW ANYTHING ABOUT ART SPHERE, WHAT A GALLERY DEPARTMENT MANAGER DOES?

I’m a client manager, and my clients are owners of businesses, just like any other owners, but they work with artists. Our department knows most of the gallery workers very well, and we try to prevent many questions and problems from happening, making sure we stand on the gallery workers side, sometimes even a bit furiously.

HOW DID YOU JOIN THE COSMOSCOW TEAM?

It happened in June-July of 2017. A year before I had graduated from the culturology program of the HSE university, and was somehow involved in the art world already: I had made acquaintance with many artists and gallerists.

My friend, the artist Rostan Tavasiyev, sent me a link to the Cosmoscow announcement of a search for a gallery manager. I had some doubts at first, but Rostan convinced me to send the CV.

Back then I wasn’t an active visitor of art markets, but by coincidence and, thanks to cheap tickets to Zurich, I decided to go visit Art Basel. Just a couple of days before the departure I had received an invitation to the job interview from Cosmoscow CEO. I feel like this coincidence has played its role and I successfully got a job at the gallery department of the market.

The first year was very difficult, I suppose just like at any other job, especially for a hyper responsible person like me. Of course, years go by and you get used to everything, but you never stop worrying.

CAN YOU DESCRIBE YOUR USUAL WORKING DAY?

My work often reminds me of the early days of the pandemic in 2020, when I spent long hours sitting behind a laptop. These days, my husband and I have divided our apartment so that we can both work from home. I usually start my workday at 10 o’clock in Berlin or 11 o’clock in Moscow. This is when I typically receive a flood of emails, messages, and tasks that need to be addressed. I always have a plan for the day based on deadlines and workflow priorities, as well as tasks that need to be distributed among the team. From there, I spend a lot of time checking, reminding, replying to emails, making calls, and sending messages.

In the end it’s like when I blink, it’s 6 o’clock in the evening already. Despite us organizing the market in the shortest time period possible, we seem to complete everything just in time. But I always get the feeling that we’re on fire, I must be the most nervous person in our department. Artur calms me down from time to time.

WHAT’S THE MOST RESPONSIBLE MOMENT OF YOUR WORK?

The building stage. It’s when you know you’re not able to change anything anymore, it’s a point of no-return, and that’s why we have to make sure all of our plans are okay before that.

WHAT QUALITIES SHOULD GALLERY MANAGER HAVE IN YOUR OPINION?

I’ll count the ability to cope with stress and the sense of tact by default. You should have some kind of patience, because this work is about interacting with people. I am an introvert by nature, and I still get surprised by my work being pretty extraverted. You should never give yourself to panic and be afraid. When I recall myself from 5-6 years ago, I can definitely say that I was a total opposite to the words I’m saying right now. But it all comes with the experience. After all, you end up having an incredible drive, because you see great results of the work that you have done in the last year, the thing you have been working on with your colleagues, your thinkmates. And, additionally, you get a sense of extreme satisfaction and pride for all the difficulties you have successfully dealt with.

Natalia Zaychenko

Architect

CAN YOU SHARE SOME DETAILS ABOUT THIS YEAR’S MARKET VISUAL CONCEPTION?

This year, we are trying to change the perception of the whole Gostiny Dvor scale and panorama, using all of its space up till the ceiling. We have engineered the hangers, and we are working with big and small bubble material, which is quite symbolic for today, when our life has become more dynamic, and people use this material more often. Plus, it can be used after the market is closed, in order to pack up and move the art and furniture from Gostiny Dvor.

WHAT GAVE A START TO YOUR DISCOVERY OF THE MARKET?

Ten years ago I met Margarita Pushkina at the Venice Biennale, and was astonished by the trip in general, as well as the art and atmosphere. By that time I had graduated from Moscow Institute of Architecture and “Strelka” institute of media, design and architecture. I had participated in the planning of the final exhibition at “Strelka” and realized that I’d like to create expositions in the future too, working in an interdisciplinary team. This desire has found its outcome in designing the Cosmoscow contemporary art market, which I have been working on for the last nine years.

HOW THE ARCHITECTURE OF THE MARKET HAS BEEN CHANGING THROUGHOUT THE YEARS?

The number of galleries has grown more and more over the years. It’s funny to look at the early plans now, since they were much more simple. We have been looking into behavioral architecture, crowd streams, scenography, experimenting with different placements of the galleries. The main challenge has always been and still is choosing the right materials for designing the public areas of the market. It has to be impressive, fashionable, ecologic and different every year. We have used folding cabinets, cardboards, polycarbonate, corrugated board, scaffolds…

It’s also important to note, that for the first time over the years, we have been able to design a system of on-wall modules, a system of light hangers and a baseboard for electrics. As years went by, our walls have become the main material of Gostiny Dvor, and now all of our events are happening with the usage of our modules, which says a lot about our quality of work.

Kristina Vronskaya

Head of PR

HOW DID YOU JOIN THE COSMOSCOW TEAM? WHAT QUALITIES SHOULD HEAD OF COSMOSCOW PR HAVE IN YOUR OPINION?

I was introduced to the market by Sasha Burenkov, who was a curator of the Cosmoscow fund back then. It was the beginning of 2020, and the team was looking for a new PR specialist. Sasha recommended me, and I am very grateful for that. That’s how I made my way to a wonderful team of young and ambitious professionals under the guidance of inspiring Margarita Pushkina.

There were a lot of challenges at the start: several people left and I had to form a new PR department on my own, while rapidly diving into the contemporary art market specifics, because before that I had been working more with non-commercial projects, including exhibitions, biennales and festivals. I think being able to plan, and my time management skills helped me at the beginning. We all know that 2020 was the first year of the pandemic. But Cosmoscow didn’t slow down and followed the trend of digitalising: we had to support the artists, who lost their projects.

Before the market in September, we managed to launch lots of great projects, including an open call for artists, who experimented with educational formats, and based on that, we were able to create a platform called “Closer”. We also invited young authors to create graphic novels for Instagram, run an online conference ahead of a charity auction on behalf of the fund, and have the artists and curators from Germany, Austria and New Zealand connected. Our “Artist of the year” Pasha Otdelnov hosted an original artist-talk: it was a beautiful online trip across Google Maps, accompanied by the stories about the desert landscapes’ aesthetics. Moreover, at the start of the summer we had announced an online platform TEO, dedicated to art sales, while at the same time opening a satellite market “blazar”, which specializes in young art.

CAN YOU DESCRIBE YOUR USUAL WORKING DAY?

Speaking of the busiest time just before the market, I usually start my day early and try to complete all my tasks, while the environment around me is still calm, so that I could be ready for incoming requests. It’s not a secret that preparations for such a huge event are very stressful. This year, sports helped me a lot to cope with that, as well as the ability to switch off and return to harmony with my body. While planning the Olympic triathlon track run for October, I have a lot of workouts throughout the week, so there’s always time to listen to myself.

DO YOU HAVE SOME KIND OF STORY RELATED TO THE MARKET, WHICH IS CLOSE TO YOUR HEART?

I like it very much when us and our media partners come up with some extraordinary special projects. One of the most remarkable cases is our open studios, created with the help of “Kultura” radio; the OKKO ship, floating along the Moscow river and uniting the Cosmoscow and “blazar” platforms; merch with a plan of Gostiny Dvor printed on it, which comes alive thanks to the AR-effect of VK Clips online video hosting, and turns into the “Manege” (we had an unplanned relocation to another platform a year before, and our colleagues helped as to actualize the merch that was ready for release).

WHAT’S THE MOST JOYFUL THING IN YOUR WORK?

It’s an ability to evolve and grow above yourself, make new goals and achieve them. When you spend some time communicating with Margarita Pushkina, you start to believe that there’s nothing impossible! The result of our work, the Cosmoscow market, is being seen by everybody, but the preparation process is the most important part for me. And this is the path that we walk together with our colleagues. We master the things that we do every year, so that they become automatic, and when we face some non trivial tasks, we seek the optimal solution for each of them.

When I joined the Cosmoscow team, I discovered how open a working atmosphere can be in a collective: we have a very high motivation, and everyone is so into the things they do, we don’t even need a strict intervention from our supervisors, all we need is some kind of a general direction given and our actions synchronized. And I love our PR department! Every member of our team is a true star. I’m extremely proud of working with such determined and diverse people.

Sonya Andrews

Social Media Manager

HOW DID YOU JOIN THE COSMOSCOW TEAM, AND WHAT WAS YOUR FIRST IMPRESSION OF IT?

In 2020, I had the opportunity to join the Cosmoscow team as a volunteer in the PR department. From the very first day, I was impressed by the professionalism and enthusiasm of the team. My friend Egor Markelov, who had worked in SMM and PR for Cosmoscow for many years, also played a big role in encouraging me. I felt like a new chapter in my life had begun and I was carried away by the energy of the team. Two years later, I'm still thrilled to be part of the team, but now I also have a deeper understanding of the process and gained valuable experience. I cherish the memories of our regular breaks for "fresh press", bike rides, and the strong friendships that have formed within the PR department.

DOES IT HELP IN YOUR JOB THAT YOU ARE AN ARTIST YOURSELF?

I have always considered my position in the Russian art scene to be somewhat unique, as there are not many people in a similar role. While this comes with its advantages, it also poses some thought-provoking challenges. It is not uncommon for artists, particularly young ones, and art industry professionals to be divided into two separate camps, living in different worlds, leading to a shallow and symbolic understanding of intersecting processes. Fortunately, I have been lucky enough to experience both sides of the coin and gain valuable insights from each.

I graduated with a Bachelor's degree in Contemporary Arts from the British High School of Design in the summer of 2020. In the autumn, I joined Cosmoscow and made a decision to continue my fine arts practice by studying at Joseph Backstein’s Contemporary Art Institute. This has been a valuable bridge between my work and studies. As an artist, I have a deep understanding of the creative process, and as a cultural worker, I have knowledge of theory and the industry. This unique combination allows me to write about art with a comprehensive perspective. I feel fortunate to not only observe art, but also create it.

WHAT DO YOU TELL YOUR FRIENDS ABOUT YOUR JOB? WHAT IS THE COOLEST THING ABOUT IT?

First, being able to socialize and create something in the sphere you really love, is a daily gift to yourself. Outside of their job, not everyone is ready to discuss the technical details of the content creation process, while having a fire in their eyes, or why an artist did this, a gallery did that, a collector made people say wow, and so on. And they have full rights for that. I call my friends to fresh exhibitions, share the highlights and dive them into that as much as they want. And I’m always happy when I’m able to spark their interest, or open something new for them. Nevertheless, many of my close friends and relatives are artists themself, and it’s quite easy to find our meeting points.

DO YOU HAVE SOME INTERESTING OR WORTH REMEMBERING CASES IN YOUR WORK?

The most interesting thing is to find new working formats, approaches and interaction channels. All of that provides the ability to make contemporary art more available for others, it inspires our actions. I have a lot of cases worth remembering. For instance, the time when we went to Misha Buryi, we were wandering around “Electrozavod”, looking for good shots and hiding in the places we weren’t supposed to be. Also, a colossal art challenge in TikTok, which helped previously not known young artists to start selling their pieces on the TEO platform. Recently we found a fake poster that one of the speakers at the upcoming market would be Serkan Bolat (Turkish actor Kerem Bursin). In general, for funny comments and a sea of irony, we usually go to specialized telegram channels, it can be a lot of fun there.