Everyone knows that Garry Kimovich Kasparov(52) always appreciated the fair sex. His love affairs were legendary. Now the brilliant chess player has settled down, bought an apartment in Manhattan, where he lives with his young wife Daria Tarasova, 9 year old daughter by Aida and a very young son Nicholas who was born on July 6 this year.


The champion has always known a lot about female beauty. Rumor has it that he could not resist Daria, who is 20 years younger than him, while still legally married to Julia Vovk(37) who bore him a son Vadim (19).


The most scandalous can be considered the novel of Garry Kimovich with an actress Marina Neelova(68). When they met, the artist was 37, and the grandmaster was 21. The difference of 16 years did not embarrass the couple. But they were separated Clara Shagenovna, Kasparov's mother, believing that Garry Kimovich needed to focus on chess, and not on a woman. When Neelova became pregnant, Clara inspired her son that bastard negatively affect his career and said in the press: "This is not our child." Marina Neelova did not get involved in these scandals in the media and did not comment on anything. However, the daughter Nika, which she gave birth to, was very similar to Kasparov. Nick is now 28 years old. Her father was replaced by Neelova's husband, a Russian diplomat Kirill Gevorgyan. They prefer not to talk about the chess player.

Info Selected exhibitionsWorks in the gallery Events Video CV

The works of Nika Neelova explore a hypothetical post-humanist landscape, developing the ideas of geophilosophy and non-linear history, aiming to represent objects that are involved in processes beyond human understanding. Inspired by disaster scenarios and the possibility of the end of the world, Neelova's sculptures often take the form of wreckage or non-functioning replicas of everyday objects. They make visible those processes by which habitual things are reborn in other incarnations, those processes that decipher and recode things to exist in a new form, restarting the course of their original formation, modifying internal structure every thing, destroying their purpose.

By freeing objects from their functions, Neelova's work offers her own "sculptural" strategies that represent the same objects in a new way: as fossils and techno-artifacts of a human-dominated environment. Stepping on the soil of a hypothetical post-humanistic existence, these deconstructed forms form a dilapidated landscape. Here, the architectural remains of an environment that was once under occupation merges with nature, and the border between them is gradually fading away.

Inspired by questions about the nature of ecological and urban development, as well as the consequences of human activity as a separate geopolitical force, Neelova's works are located in a fictitious zone where things exist according to other laws that we do not understand, and the grounds for our confidence in the so-called reality are being questioned.
Nika Neelova was born in Moscow in 1987. Now he lives and works in London. Her work is in the collections of DRAF David Roberts Art Collection Foundation (London), Saatchi Gallery, PERMM Museum of Contemporary Art, Biedermann Museum, Santorini Museum of Contemporary Art, Modern Forms, Beth de Woody, Jason Martin, Levett, Land Securities, Windsor & Newton, as well as in private collections in the UK, the Netherlands, France, USA, Russia, Portugal, Italy, Germany.

Untitled (folded studio), 2016 perimeter of the artist studio traced in steel mounted on hinges, flexible configuration

The Entire Earth Behind, 2012 The Future Can Wait. Parquet floor from demolished house cast in concrete 400cm (L) x 300cm (W) x 180cm (H)

Scaffold Today. Monument Tomorrow, 2012 Saatchi Gallery, London. Rope cast in paper and ink, burnt timber 400cm (L) x 150cm (W) x 220cm (H)

rhizome17, 2017 Installation view Blue. Seventeen at Osnova Gallery Moscow; polished aluminium, acrylic rods

Principles Of Surrender, 2012 Saatchi Gallery, London. Bell clappers cast in wax and ashes, burnt timber, rope. 300cm(L) x 150cm(W) ​​x 220cm(H).

Partings, 2012 Somerset House & Christie's, London. Somerset house door cast in hollow concrete, burnt timber, rope 400cm x 300cm x 200cm

lemniscates, 2017 Installation view Independent Brussels

Northern Taurids. Following the meteor shower, 2013 Folded table tops, cast wax, cast concrete 420cm (L) x 150cm (W) x 80cm (H)

lithic, 2017 cast foam and jesmonite, aluminum armature. Installation view ‘Seventeen’ at Centrala Birmingham

Installation view Blue. Seventeen at Osnova Gallery Moscow; cast jesmonite, aluminum frames

I lean to you numb as a fossil. Tell me I'm here Installation view Ron Mandos Gallery, Amsterdam. Fragment of a stud wall cast in concrete over a steel armature 600cm (L) x 150cm (W) x 250cm (H)

Fragments Shored Against the Ruins, Vigo Gallery. Replica of gallery parquet floor cast in concrete and marble dust 360cm (H) x 250cm (W) x 100cm (D)

Fragments shored against the ruins, installation view Ron Mandos Gallery

Commemorate SW19, 2012 & Commemorate SE1, 2013 Vigo gallery, London. Coal hole covers cast in compressed charcoal dust, 34cm (d) each

Burning Meteors Leave no Dust, 2013 Vigo Gallery, London. Modified aircraft propeller cast in concrete, aircraft cable 210cm (H) each

After you left they took it apart Installation view Ron Mandos Gallery, Amsterdam. Reconstructed door mold cast in polyurethane rubber, cast concrete 400cm x 350cm; dimensions variable with installation

Nika Neelova Untitled (ikea stools) 2016 Cast plaster 130 x 77 x 5 cm

"Untitled (ikea stools)" is a plaster relief cast from a mold taken from an IKEA stool leg. With the change of material, it loses its original function, and can no longer withstand human weight, but still looks like a support, resembling a fragile bone. The relief also continues Nika Neelova's attempt to transfer familiar objects to the natural landscape and geological formations. It is painted with chalk and metallic powders, giving different shades depending on the metal: pinkish - copper, greenish - brass. But the main motive of the work is the denial and rejection of human everyday life. Nika Neelova finds an abstract form for a recognizable object, casts each leg by hand, denying technological progress and returning to manual work.

Nika Neelova Blue 17 (1,2,3) 2017 Cast jesmonite 39 x 29 x 5 cm (15.21 x 11.31 x 1.95 in) NINE-001

Blue 17" is part of the geological series of works by Nika Neelova. They are made of jesmonite - synthetic gypsum. From it the artist creates artificial stones and he merges them together, combining them like a collage. Stones and any other geological formations are always something three-dimensional, but here they seem flat, so they are made in the cut. The feeling of their two-dimensionality is illusory, because only one of their surfaces is flat, the others are hidden. "Blue 17" is an attempt to do something between two-dimensional and three-dimensional, to create something that belongs to an indefinite space and time. Fragments of blue color complement the collage of stone-like structures and resemble streams of water, bringing the idea of ​​the flow of time and history into the artist's work. This futuristic and at the same time archaeological landscape suggests looking at the world as a "temporary solidification in an ongoing flow."

The installation "Rhizome 17" is a reference to the idea of ​​the rhizome proposed by the French philosophers Gilles Deleuze and Felix Guattari. The artist understands the rhizome as an image of thought and its non-linearity, existence in parallel. The installation is a futuristic landscape in which recognizable objects acquire new interpretations. At first glance, the sculpture consists of interconnected mirrors, but if you look closer, they turn out to be dysfunctional to varying degrees. They are made of aluminum; in the work of Nika Neelova, it goes from almost unpolished to a mirror-like degree of polishing. Thus, of the many mirrors, only a few actually turn out to be mirrors. Copying each other, they do not repeat completely. The ideas fixed in rhizomes become flat, like the surface of the mirror itself, and their shape refers to the idea of ​​a circle, movement along it and endless repetition.

The presented sculpture is an attempt to introduce the space of the artist's studio into the exhibition space, thereby "opening" it to the public. Untitled (folded studio) – outlines of the artist's studio perimeter, repeated in steel. The structure is hinged, flexible on each side and can take on different shapes depending on the space around it. Fully deployed, the structure can take on the shape of a room, while fully folded, it can be tightly packed and stowed away.

The public is free to walk around the resulting ‘space’ or change its position and shape, so during the exhibition it can take on different forms, its functions gradually change and adapt to the flow of people passing through the space. By copying only the contours of space and therefore reflecting the boundaries that separate it from the rest of the world, the studio becomes an object that tends to disappear among other objects. He cannot contain space in himself and thus protests against his own original purpose, denies himself, fails to live up to expectations and refuses to exist.

The invitation to enter the space of the artist and the open display of the studio in which the work itself was produced intentionally reverse its purpose and raise the question of the relationship between the artist and the public.

Nika Nee lova Lithic 2017 Recycled upholstery foam, jesmonite, marble dust 300 x 360 cm (117.0 x 140.4 in) NINE-004

The sculpture is made of foam made from recycled furniture impregnated with jesmonite and marble dust, representing the transition of a thing originally created in proportion to a person into an abstract geological formation. Its intentionally pale, faded colors and textures are reminiscent of a weathered, ruined structure. By fixing the creases created by the weight of the human body in a static position, ‘Lithic’ is an attempt to create artificial rocks from the debris of our habitat and raises the question of the inseparable connection of the human body, furniture, architectural structures and the earth's surface.


Leeds, UK 06/21-09/08/2019 EVER is the first solo exhibition of Nika Neelova in a UK public gallery. This ambitious sculptural project is in dialogue with the unique Art Deco architecture of the building in which it is located. …

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Nika Neelova was born in 1987 in Moscow and lives and works in London.

Education

2011 MA Fine Art Sculpture, Slade School of Art, London
2008 BA Fine Art Interdisciplinary, Royal Art Academy, The Hague
2004 Stage Design Formation Course Moscow, Lenkom

Selected solo exhibitions
2019 EVER, The Tetley, Leeds, UK
2019 GLYPHS curated by Domenico de Chirico, Noire Gallery, Turin
2018 drifts (there is always ground, even at night), MLF Brussels
2017 lemniscates, Independent, Brussels
2016 FAULTS / FOLDS / FALLS, Vigo Gallery, London
2015 Faults, Folds, Falls, Vigo Gallery, London
2014 I lean to you numb as a fossil. Tell me I'm here, Ron Mandos Gallery, Amsterdam
2013 Fragments Shored against the Ruins, Vigo Gallery, London
2013 Northern Taurids. Royal British Society of Sculptors, London
2011 Fractions, Jarmuschek + Partner, Berlin
2011 Monuments, Charlie Smith Gallery, London
2009 Attitudes to a Miss, Christus Triumphatorkerk, The Hague

Selected group exhibitions
2019 Hortus Conclusus, Fondazione 107, Turin
2018 She sees the shadows, curated by Olivia Leahy and Adam Carr. DRAF & Mostyn, UK
2018 DAMA curated by Domenico de Chirico, Palazzo Saluzzo Paesana, Turin
2018 Prevent This Tragedy, Post-Institute London, UK
2017 XVII. The Age of Nymphs, curated by Daria Khan, Mimosa House, London
2017 Theater of the Absurd, curated by Yasmin Atassi, Green Art Gallery, Dubai
2017 lithic seventeen with Yelena Popova, Code, Copenhagen
2017 Artist Rooms, Copeland Gallery, Bussey Building London
2017 The opposite of Now, curated by Encounter Contemporary, Guest Projects, London
2017 Contemporary Sculpture Fulmer, UK
2017 Micro Salon (1957-2017) Iris Clert Legacy, l'inlassable Paris
2017 Blue Seventeen, Osnova, WinZavod Center of Contemporary Art, Moscow
2017 Seventeen, Centrala, Birmingham
2017 Leidenschaft, Museum Biedermann, Germany
2017 New Material, Art in Perpetuity Trust, Arts Council England, London
2016 Habitus, curated by Matthew Burrows, The Observer Building, UK
2016 Antislip, Royal British Society of Sculptors, London
2016 Playroom, Union Club Soho, London
2016 A city without a sound, curated by Karina El-Helou, Averard Hotel, London
2015 ARCHEOLOGIA E ARCHITETTURA, Fondazione 107, Turin
2015 The Sky is a mountain, organized by Stifelsen 3,14, Norway
2015 The Presence of Absence, Berloni, London
2015 Art Rotterdam, Ron Mandos gallery, Van Nellefabriek, Rotterdam
2014 Brand New Second Hand, Vigo Gallery, London
2014 Lichtspiele, Museum Biedermann, Germany
2014 Warp and Woof, The Hole Gallery, New York
2014 The Crisis Commission curated by Laurence Sillars, Christie's London
2014 Art 14 London, exhibiting with Vigo Gallery, London
2013 Great Men Die Twice, Mario Sequeira Gallery, Portugal
2013 Gaiety is the most outstanding feature of the Soviet Union, Saatchi Gallery London
2013 Russian London, PERMM Museum of Contemporary Art, Russia
2013 Dismantling, Jarmuschek+Partner, Berlin
2013 Volta Basel, exhibiting with Jarmuschek+Partner, Basel
2013 It's About Time, curated by Paul Carey-Kent, ASC gallery, London
2013 The Future Can Wait, Victoria House, London
2012 Royal British Society of Sculptors Bursary Award Exhibition, London
2012 The Crisis Commission, Somerset House and Christie's London
2012 Saatchi New Sensations and The Future Can Wait, Victoria House, London
2012 Recasting the Gods, Sumarria Lunn Gallery, London
2012 Dividing Line, curated by Sumarria Lunn Gallery, High House, Oxfordshire
2011 Reworking Memories, Group Show, Federica Schiavo Gallery, Rome
2011 The Future Can Wait, Victoria House, London, UK
2011 Polemically Small, Torrance Art Museum, United States
2011 Charlie Sierra Lima, Group Show, Charlie Smith, London, UK
2011 3 Worlds in 1, London International, Lithuania
2011 The Future Can Wait presents: Polemically Small, Charlie Smith London
2010 Saatchi Gallery and Channel 4's New Sensations, Boswall House, London
2010 The Future Can Wait, Shoreditch Town Hall, London
2010 Young Gods, Charlie Smith Gallery, London, UK
2008 Paraat #4. Ron Mandos gallery, Amsterdam, Holland

commissions
2017 NOVA public art commission, Victoria, London
2015 Land Securities Commission, One New Ludgate, London
2012 The Crisis Commission, Somerset House, London

Awards and residencies
2019 Fondation CAB residency Brussels, Belgium
2017 Syllabus residency Wysing Art Centre, UK in association with Studio Voltaire,
Spike Island Bristol, New Contemporaries, S1 Space, Eastside Projects
2017 Fibra Residency Colombia (forthcoming)
2016 Awarded Nova Art Commission London, UK
2015 Stiftelsen 3,14 Residency, Bergen, Norway
2013 Sculpture Shock Award & Royal British Society of Sculptors
2013 Villa Lena Art Foundation Residency, Italy
2012 Royal British Society of Sculptors Bursary Award, London
2011 Olga Roubinskaya Foundation Award, Moscow
2011 The Land Securities Prize Award, London
2011 The Saatchi Gallery and Channel 4 New Sensations Prize, London
2010 Kenneth Armitage Foundation, The Fifth Annual Young Sculptors Prize
2010 Residency at the Kurt Schwitters Merzbarn Foundation, Lake District

Collections
DRAF David Roberts Art Foundation Collection, London
Saatchi Gallery Collection, London
Museum Biedermann Collection, Germany
PERMM Museum of Modern Art Collection, Russia
Beckers Collection, Sweden
Beth De Woody Collection, New York
Jason Martin Collection, Portugal
Levett Collection, London
Land Securities Commission, London
Quasimi Homme Collection, Paris
Ian Rosenfeld Collection
Private Collections UK, Germany, France, Russia, The Netherlands

Publications
2018 She sees the shadows, Mostyn gallery and DRAF
2018 An artwork for the end of the world by Chelsea Pettitt, Sculptor Vox
2017 Art Monthly Review of Seventeen Centrala Birmingham review
2017 this is tomorrow review ‘Seventeen’ Centrala Birmingham review
2017 Art Research Map, review of Independent Brussels 2017
2017 White Hot Magazine, review of Independent Brussels 2017
2017 AroundArt.org review of Blue Seventeen by Y. Ginsbourg
2017 Scandale Project magazine and publication Art is.
2016 Sailing on Solaris by Nick Hackworth
2016 Sculpture Shock Publication, RBS London
2016 Review and Interview, FMS magazine London
2015 Art and Religion in the 21st Century, by Aaron Rosen, Thames&Hudson publishing
2015 The Presence of Absence, Paul Carey-Kent, London
2014 100 London Artists, by Edward Lucie-Smith
2014 Highlike Book, Electronic Language International Festival and SESI publishing
2014 The Language of Sculpture, Crowood Press
2014 Aesthetica Catalogue, Artists Reviews
2014 Lichtspiele, Museum Biedermann
2013 Gaiety is the most outstanding feature of the Soviet Union, Saatchi Gallery Catalog
2013 PERMM Museum of Contemporary Art Exhibition Catalog


2013 Interview Feature, Near East Magazine

2012 ‘Salvaged Memories’ Interview, Phaidon
2012 1883 Magazine Interview and exhibition review
2012 Royal British Society of Sculptors Bursary Award
2012 Christie's Auction Catalog The Crisis Commission
2012 The Crisis Commission Catalog
2011 The Catlin Guide, Selected Artists
2011 ‘The moment before collapse’, K Magazine
2011 Nika Neelova: Memories of Now by Paul Carey-Kent
2011 ‘Monuments’ New Style Magazine
2010 ‘Future art stars cause a New Sensation’, Exhibition review, Evening Standard
2010 Short feature film, Channel 4 & Saatchi New Sensations

Press
2013 Nika Neelova Short Feature Film, Crane TV
2013 Russian Art is Hot says the Saatchi, Huffington Post
2013 Interview Art and Surrender, Near East Magazine
2013 Interview and exhibition review, Formidable Magazine
2012 Nika Neelova Feature Film | Crane TV
2012 Russian Art is Hot says the Saatchi| huffington post
2012 Phaidon Interview ‘Salvaged Memories’| www.phaidon.com
2012 1883 Magazine, Interview | www.1883magazine.com
2012 RIA Novosti | en.rian.ru
2012 The Voice of Russia, Radio Interview | english.ruvr.ru
2011 ‘The moment before I collapse’ Interview K Magazine, KABK, The Hague
2011 Nika Neelova: Memories of Now by Paul Carey-Kent| SaatchiOnline.com
2011 ‘Monuments’ New Style Magazine| Nika Neelova
2010 Evening Standard | ‘Future art stars cause a New Sensation’
2010 3 minute feature film, Channel 4 & Saatchi New Sensations
2010 A-N Magazine| News
2010 Financial Times | Dusty, rubble-strewn and quietly radiant
2009 Kerk in Den Haag| Light krakende schommels
2008 Den Haag Central Jong talent groeit in Den Haag

Nika, your art education began in Russia, where you studied at the courses of the chief artist of Lenkom, Oleg Sheintsis. Then she entered the Royal Academy of Arts in The Hague (2008). What was the reason for your choice, how did you study at the academy?

In the first introductory course at the academy, we studied all types of art - painting, graphics, sculpture, and then each chose a direction for himself, got a studio and worked for four years, consulting with teachers. True, many students did not reach the finish line. In fact, it is very difficult to work on your own. From the very beginning, teachers warned that, as a rule, only 6% of graduates of such academies of arts subsequently pursue their profession - the rest cannot stand it! Of course, we did not believe the teachers, we were full of enthusiasm and ambition, but now I am really convinced that very few of those with whom I studied in The Hague continue to make art.

What motivated you? You were the youngest on the course when you entered the university.

Probably, this was one of the motives: to prove to myself that I can work on a par with others and preferably even better!

Of all the arts, why did you choose installation and sculpture?

For me, this choice was unequivocal from the very beginning. I somehow immediately fell in love with space, it was interesting to see and create things in space, in three dimensions. This process intrigued me, forced me to look for new structures, materials, shapes, sizes.

The installations you showed in the Netherlands are huge, require a lot of materials and, consequently, a lot of money. For example, 360 kilograms of burnt sugar went to one of the installations. Who financed its implementation - the college?

No. (Sighs) I'm on my own. I was always working in some other job, in galleries, doing translations, writing articles - and this brought income, which I used to create my installations.

How are the ideas for your work born?

This is a rather lengthy process of accumulating everything seen, heard, read over months, and sometimes over years. I very often work with my own history, childhood memories.

Please tell us about the installation “There is always a time for departure…”.

It was my last examination paper at the Royal Academy of Arts, a month before moving to London. A long six-year period in my life was coming to an end, something new, unknown was ahead. I wanted to capture this past stage and the uncertainty of the future. Stepping on a sticky “sensitive” floor, you feel its texture, interact with it, leave traces. For me, this feeling was unusually exposed and intensified at that transitional moment in my life. The spiral in the installation is like a staircase that, resting against the ceiling, leads either up or down, or nowhere. The work has many associations with Holland, its history, the painting of the 188th centuries: the dark brown tiles found on the canvases of Vermeer, their burnt ocher shades - as a symbol of the experience.

How did the idea for burnt sugar come about?

As children, we always burned sugar on a spoon. This smell for me is the smell of childhood, and some kind of painful memories, something burned, changing its consistency in a short moment.

Many of your installations have a philosophical and pessimistic tone: stairs leading to nowhere, bells that will never sound...

Basically, they respond to a sense of loss - childhood, history, time. Many of my works are based on personal experience.

It so happened that I moved a lot - every five years, and childhood memories of loss are associated with this. I lost one city - gained another, lost one life -

got another. It was a constant cycle of impermanence - I always knew that I was coming on time. This temporality and fragility somehow took root in me, it is interesting for me to reflect on this in my works. After moving to London, this theme has changed, I focus more on the idea of ​​ruins and the restoration of history from memory, with its attendant distortions of the past.

And how was the “Swing” (“Attitudes to a Miss?”) installation created?

- I showed "Swing" in The Hague, in a rather strange cathedral with ten-meter ceilings. I went back there for a very a short time, after moving to London, just to do this installation. It was some kind of moment of return to the past, and I wanted to convey a quick reaction both to this room and to my feeling of an anachronism between the past and the present. A swing for me is, first of all, a childhood memory, and it is a very specific, real swing, a kind of iconic picture in my memory. I decided to reproduce the swing in a large size in the cathedral. The material was old boards from a destroyed house, and I attached new chains to the swings - as a connection between the past and the present.

How was your life in London? Why did you choose Slade School of Fine Art?

It is one of the best art universities in the UK. While still living in the Netherlands, I sent my documents to Slade - not really hoping for anything, to be honest. Thousands submit documents, and 40 people are selected for interviews. And when I suddenly received an invitation for an interview, I realized that something was going on. This admission was for me, probably, the most unexpected and great achievement in my life.

After graduating from university, you took part in the New Sensations competition held by the Saatchi Gallery among graduates of art universities in the country, and became the winner ...

I entered the competition out of desperation. After graduating from university, I had no job, no studio, besides, my British visa was ending. When I applied for the competition, I didn’t really expect anything, and only when I entered the top twenty out of a thousand, and then got into the top four, I had hope, and I began to work like crazy. The installation with bells (“Principles of Obedience”, 2010) is by far one of the most complex and interesting for me. As in my work with upside-down tree roots (The Grove, 2010), I wanted to show what is hidden from view, but is of great importance in the life of the subject. I cast the tongues of bells from wax mixed with ash - they lost all their acoustic properties, they could no longer fulfill their main function. The obedience of the removed bells, which will never ring again, but only remind of something that could be. I'm interested in ripping things out of them natural environment and placed in a completely different context in which they create a rather unusual strange impression.

Your mother, Marina Neelova, is one of the most beloved actresses in Russia. Have you ever had aspirations to become an actress?

No, it was not. Mom beat them off (laughs) when I was still three years old. I didn’t know how to speak yet, but I knew that I wouldn’t become an actress!

Didn't you want to try yourself in your father's footsteps, in a diplomatic career?

I have always enjoyed playing the role of a diplomat's daughter... and over the years I have seen and learned a lot. But, as it seems to me now, I knew from the very beginning that I wanted to do some kind of art. Over time, the realization came that it would be a sculpture.

What happens to your installations after exhibitions?

My work is basically the embodiment of the moment of presence. Usually they are captured at the moment of a protracted collapse or just before the collapse - on the verge of disappearing in the presence of the viewer. Of course, they have a short life. But this is precisely their essence - to convey the temporality of life, the fear of disappearance, death. So far, installations have been successfully bought, but what will happen next ...

And who are the buyers?

The Principles of Obedience installation was purchased by Saatchi for the gallery's collection and is now in his warehouse. Coal chandelier bought in private collection in London, mirrors ("Prophecies for the Past") from "The Future Can Wait" are now being acquired by a collector, and upside-down trees ("The Grove") were commissioned for a park in the Netherlands. So far, all the work is going somewhere, but I'm already starting to think about what I need to do something more permanent.

What are your plans for the future?

I'm lucky that Lately I received three art awards in a row, and also sold three installations. This year I will have two solo exhibitions: in April - at the Charlie Smith Gallery in London, and also in Berlin. This is my first experience of solo exhibitions, so I feel great tension and responsibility.

Your installations tend to be large in size, which in turn requires large studio spaces to implement them. Where are you currently working?

I rent a small workshop. It's too small to do more than two jobs at the same time, so I'm currently looking for another space.

Perhaps the fact that you speak several foreign languages ​​helps to live in a cosmopolitan city like London? What languages ​​do you speak?

French, Dutch, Russian, English. I am currently studying Italian.

What is your perception of London as an artist?

Since my first visit to London in 2006, I have dreamed of living in this city. London shocked me, struck me with its extremely close coexistence of history and modernity, its dynamics. This city makes me want to create something, to respond to what I see, feel, and experience here.

Marina Neelova was born in Leningrad, which was dilapidated during the war. She has the title of People's Artist of the RSFSR. Neelova's creative career began in the late 60s of the last century. According to critics, she is one of the most prominent Russian actresses.

Marina Neyolova was born on January 8, 1947. Her childhood was difficult post-war years. The parents of the future theater star were people far from creative professions, but this did not stop them from instilling in the girl a love of art. Mother, Valentina Nikolaevna, who went to war from the student bench, was never able to graduate from the institute, returning from the front. She devoted all her time to raising her daughter. Her parents saw her as an artist or a ballerina.

Father, Mstislav Pavlovich, was a great lover of painting. Trying to show his daughter's interest in her, he hung his watercolor drawings throughout the apartment. When the girl was 4 years old, she was taken to a ballet school.

Neyolova's love for ballet remained for life. She was no less strong than her passion for the theatre. The family's trips to the cinema and concerts alternated with visits to the Kirov Theater, which staged its opera and ballet productions. All this awakened in the girl from early childhood an interest in art.

Neyolova's creative talents began to appear in her school years. In first grade, she won a poetry reading competition at school. After this victory, her parents sent her to a circle of artistic expression. The recitation skills gained in it were useful to Marina in her future profession. In 1964, after graduating from school, the girl applied for admission to LGITMiK. The dream of becoming an actress haunted her since childhood.

The competition at that time in this institute was more than 100 people per place. For creative viewing, she chose an excerpt from War and Peace. The girl managed to do the almost impossible. She entered the institute on the first attempt and got on the course of Irina Meyerhold.

The first creative successes

Student Marina Mstislavovna Neyolova looked like a little sparrow for a long time. She weighed 45 kg and could not get better. Already during her studies, she established herself as an extraordinary actress. Her talent was combined in her with a difficult character and uncompromisingness.

The first serious success came to her in the third year of the institute. A young student was invited to star in the film "Old, old fairy tale". It was the first film of the actress in which she played two roles at once.

The first picture was immediately followed by the second and third. First comes the film "The Color of White Snow", followed by "Shadow". While studying at the institute, Neyolova dreamed of the stage of the BDT. The main director of the theater long years was a famous Soviet director Georgy Tovstonogov.

Fate turned out so that at the end of the institute in 1969, Neyolova did not even try to enter this theater for service. She was unsure of her abilities. She maintained a critical attitude towards herself throughout her creative activity.

Instead of trying to get a job in the theater, the artist went to work for Lenfilm. It seemed to her that Tovstonogov, having seen her in the cinema, would certainly invite her to work in his theater famous all over the country. Her dreams almost came true. The director appreciated creative potential artist after her first acting job, but was late with his proposal.

After graduating from the institute, Neyolova got married and moved from Leningrad to Moscow. She never managed to work with Tovstonogov. The frustrated director then predicted sad prospects for the actress. The director's prophecy did not come true.

Theatrical career of the actress began in 1971 with a service in the theater of the Moscow City Council. The head of the theater at that time was Yuri Zavadsky. At the same time, Marina Neyolova is rehearsing Radzinsky's play "Turbaza". It is put by Anatoly Efros.

Following these works, Neelova receives an offer from Nikolai Fokin. Together with Konstantin Raikin, he introduces the actress to the play based on the play by playwright Roshchin "Valentin and Valentina". This work has become for the actress a real entrance ticket to the big theater stage.

A successful theatrical debut led Neelova to the Sovremennik Theater, to which she devoted more than 30 years of her life. creative life. She has played many roles over the years.

Among them: Viola in Twelfth Night and Anya in The Cherry Orchard. The roles of Marya Antonovna in The Inspector General and Nika in Lopatin's Notes became a great creative success for the actress. All theatrical roles of Neyolova have always been positively evaluated by critics and received warm responses from the audience.

Film work

The cinematic fate of Neyolova was no less successful than the theatrical one. She starred in 69 feature films and TV series. Many films with the participation of the actress are considered the golden classics of Soviet cinema. There could have been much more films, but the actress refused many offers. She is quite serious about the choice of scenarios.

The last picture with the participation of the artist was released in 2017. In a star company with Yevgeny Mironov, she played a major role in Vladimir Kott's film Frostbitten Carp. This film received the Golden Eagle award, and Neyolova was recognized as the best actress.

"Old, old tale"

The film was released in 1969. Neyolova's partner in the film was Oleg Dal. The actor at that time was a student at the Shchukin school. When approving the artists for the role, the artistic council was categorically against Neyolova.

The director of the film, Nadezhda Koshevarova, managed to defend the actress. She delivered an ultimatum to the artistic council, saying that she would not shoot a picture without Neyolova. Ultimately, the actress played two roles: the princess and the daughter of an innkeeper.

"Monologue"

The film was released in 1973. The premiere was held at the Cannes Film Festival. The director of the film, Ilya Averbakh, gathered a star cast for the filming of the film. It included: Mikhail Gluzsky, Stanislav Lyubshin and Marina Neyolova. The picture was recognized by the Polish magazine "Ekran" as the best foreign film of the year. Neyolova played the role of Ninochka Sretenskaya.

"Autumn marathon"

The film by George Danelia was released in 1979. The picture was difficult to shoot. The actors were in constant conflict. For a long time, Oleg Basilashvili could not find mutual understanding with Neyolova. Ultimately, the picture was nominated for an Oscar and had every chance of becoming the best foreign film of the year. Cross on the "Oscar" put the introduction Soviet troops to Afghanistan.

Neyolova played the role of the mistress of the protagonist Alla in the film. For her performance, the actress was awarded the State Prize.

"Ladies Invite Cavaliers"

The premiere of the film by Ivan Kiasashvili took place in 1981. Neyolova appeared before the audience as a comedian. She played the main character Nina Pozdnyakova in the film. Most of the filming took place in Sochi. In this picture, Karen Shakhnazarov made his debut as a screenwriter.

"Dear Elena Sergeevna"

The film was released in 1988. For director Eldar Ryazanov, this picture was the first in the youth theme. It is out of context with his other works. Neyolova played in the film the main role of the teacher Elena Sergeevna, who opposes the students-majors.

Awards and recognition

The actress has government awards: the Order of Friendship of the People (1996), the Order of Merit for the Fatherland, IV degree (2006), the Order of Honor (2012). Twice she was awarded the State Prize of the RSFSR (1981 and 1999) and once the State Prize of the Russian Federation (2001).

Among other significant prizes and awards for the actress: the Golden Femina prize for her role in the film With You and Without You, the Lenin Komsomol Prize, Nika and Triumph. In 2017, the actress was awarded the prize for best actress in the film Frostbitten Carp at the Honfleur Film Festival.

The personal life of the actress was not easy. Family always came first for her. The first husband of Marina Neyolova was the director Anatoly Vasiliev. He met her while looking for an actress for his short film The Color of White Snow. Vasiliev was 8 years older than Neyolova. It was he who moved her from Leningrad to Moscow. The couple married in 1970. The marriage broke up without visible reasons in 1978. None of the former spouses revealed the true reason for the separation.

The second husband of the actress was the diplomat Kirill Gevorgyan. He turned out to be 6 years younger than Neyolova. Between the first and second marriage, the actress had a love affair, which was discussed by the entire creative beau monde of the country. He turned around in 1984.

The 37-year-old actress has a relationship with 21-year-old chess player Garry Kasparov. Neyolova met him with the composer Vladimir Krainev.

The actress introduced the young man to all bohemian parties. At that time, Kasparov was still living in Baku. His mother was categorically against his relationship with Neyolova. She did everything to break this relationship. Eventually, they faded away.

Immediately after the breakup, it became known that Neyolova was pregnant. In 1987, her daughter Nika was born, whom Kasparov never recognized. Despite this, it is enough to look at the girl to understand who her father is. She is very similar to Kasparov.

Marina did not raise a fuss. For two years after the birth of her daughter, she led a reclusive life. Having connected her fate with Gevorgyan in 1989, she left the country, leaving the theater for several years. The second husband of the actress replaced Nick's father. She graduated from the School of Fine Arts in London in 2010. Now Nika works on television.

After filming the film "Monologue", Mikhail Gluzsky began to call Neyolova his granddaughter. This is the role the actress played in the film. In the process of work, a warm, almost family relationship arose between the actors.

In the late 90s, the actress left the country for several years. During this period, the schedule of performances with the participation of Neyolova in Sovremennik was specially matched to the dates of the actress’s arrival in the country. During this period she lived 3 years in France and 6 years in the Netherlands. In Paris, the daughter of the actress went to the 1st grade.

Throughout her life, the actress maintained ballet weight. At over 70 years old, she weighs 57 kg with a height of 165 cm. All her life, Neyolova had complexes about her height and weight, considering herself a gray mouse.

For many years, the artistic director of the Sovremennik Theater went to meet Neyolova, redrawing the schedules of performances with the participation of the actress. During this period, the theater troupe joked, calling Volchek Neyolova's husband.

The list of roles played by Neyolova in the theater includes not only female ones. In the play "The Overcoat" the actress plays Bashmachkin.

Neyolova does not like to talk about her life. During the period of her work, she gave no more than 4 interviews.

Marina Neelova now

In 2017, the actress celebrated her 70th birthday. You can see her on the stage of Sovremennik in the performances The Cherry Orchard (Ranevskaya), Steep Route (Evgenia Semyonovna), Playing Schiller (Elizaveta). Marina Neyolova is still happy in her second marriage.

Conclusion

The creative fate of Marina Neyolova successfully developed in cinema and theater. She took place as a woman and mother. The audience is waiting for the new roles of the actress in the cinema and is happy to go to her performances in the theater.

About the romance of young Kasparov with a wonderful actress Marina Neelova gossiped all theatrical Moscow. When they met, Marina was 37 years old, and Garik was 21.

In 1984, Kasparov met actress Marina Neelova. He was 21 years old, and he was the youngest contender for the title of world champion in the history of chess.

“Our close communication with Marina Neelova lasted more than two years. She was 16 years older than me, like all my then girlfriends. Partly because I grew up so fast. But much more due to the fact that the same age, as a rule, sought to get married as soon as possible. Of course, I could not even think about this, as I was preparing for my first match for the world championship. Everything - my health, my training, my aspirations - was subordinated to this goal. On the other hand, I was a normal young man with normal needs and desires. Not a monk at all.

She and I had many common friends among writers and artists. She is a very extraordinary woman. It is quite possible that our union was also based on a sense of our exclusivity. (From Garry Kasparov's book "Child of Change"

He then lived in Baku and visited Moscow only on short visits. Neelova received a young lover in her apartment on Chistye Prudy. But in the light they have repeatedly appeared together. When in 1984 Kasparov first met in a world title match with Anatoly Karpov, Neelova was sitting in the hall next to the mother of the chess player.

The actress supported Kasparov at a difficult time for him. In the match for the world title with Anatoly Karpov, he first lost. Yes, even with a score of 0:5! Harry was even nicknamed the long-playing player. At matches, Neelova sat next to Klara Shagenovna. “Two mothers,” they said about them.


“At the end of January 1985, with the score 5:2, Karpov and I were even driven out of the Hall of Columns in the House of the Unions. Because Karpov, despite his assurances that he was about to press me, could not win, and here the members of the Politburo were dying one by one, and for the farewell ceremonies it was necessary to vacate the territory. Then Karpov handed over the third game, and the question was not even that he was physically exhausted and could not continue to play ... He became psychologically uncomfortable - he was just scared, and most importantly, those who were behind him frightened.

But it was Klara Shagenovna who separated them.


First she told her son:
- You need to focus on chess. And if you want to marry an actress, it's better to marry an entire factory hostel at once. She will infect you with a bad disease!
When Neelova became pregnant, Klara Shagenovna inspired her son that an illegitimate child could negatively affect his sports career. Ambitious Harry, who had already won the world title, did not object. His mother told the press: "This is not our child." As if hinting at the fact that Neelova was dating another man in parallel. The proud actress did not utter a word then. But the daughter Nika, whom she gave birth to, turned out to be like two drops of water similar to Kasparov. Neelova's colleagues at the Sovremennik Theater were outraged by the act of the grandmaster, and Valentin Gaft publicly stated:
- Kasparov is not worthy to be received in a decent house.


“I almost stopped seeing Marina. Parting became inevitable. Therefore, I was completely sure that the child she was carrying could not be mine. Each of us already had a separate personal life. I tried to put it all out of my head and focused on chess." (From Garry Kasparov's book "Child of Change")

In 1987, Marina Neelova's daughter, Nika, was born, like two peas in a pod, similar to Garry Kasparov.

Now Nick is 28 years old. She went to first grade in Paris. Her father was replaced by the current husband of Neelova - a Russian diplomat Kirill Gevorgyan. It was thanks to her stepfather that Nika visited different countries at school age and learned several foreign languages. Neelova's daughter, a burning brunette, looks very attractive, although she says that she never considered herself a beauty.

Nika studied at the courses of the chief artist of the Moscow Lenkom Theater Oleg Sheintsis. In 2008 she graduated from the Royal Academy of Arts in The Hague. She studied abroad, or rather in the Netherlands, where her father, Kirill Gevorkyan, was appointed ambassador of the Russian Federation several years ago.

It is known that she is not a fan of public life and has incredible abilities in learning foreign languages. In the Netherlands, she graduated from the academy, her second education, artistic, was already in London, at the design school.


In 2010 she graduated from art school in university college London. Participated in several collective exhibitions, mainly in the Netherlands. In 2010, Nika, with her installation Principles of Obedience, became the winner of the New Sensations competition held by London's Saatchi Gallery. According to the conditions of this prestigious competition, all graduates of the country's art universities are allowed to participate. But from the numerous applicants at its first stage, 20 of the best are selected, whose works are exhibited at the art fair in London. And only four winners receive a grant to create new projects. After the victory, she received many interesting offers, she had a solo exhibition in London.