Kasparov hid a family secret for many years. Marina Neelova: a lady from Amsterdam and her mother Personal life of Marina Neelova

Info Selected exhibitionsWorks in the gallery Events Video CV

The works of Nika Neelova explore a hypothetical post-humanistic landscape, developing the ideas of geophilosophy and non-linear history, seeking to present 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 for existence in a new form, restarting the course of their initial formation, modifying the internal structure of each 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 merges them with each other, 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 many forms 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

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.

“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 then one by one the members of the Politburo were dying, 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 declared:
– 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 Neelova's current husband, 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 the School of Art at 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.

Neelova Marina Mstislavovna has been an actress for the past 40 years, performing equally well in theatrical productions and on the set. The artist is incredibly in demand. She plays even in her advanced age in several productions. Soon there will be a new movie in which the woman played one of the main roles.

In the first place for the artist has always been a family. In the harsh 90s of the last century, for the sake of her husband and daughter, Marina quits theater and cinema. She becomes the keeper of the hearth, providing comfort to her relatives. After returning, it turns out that fans were waiting for her new roles. The artist rewarded admirers of her talent with various films and performances, allowing her to see her from different angles.

After the debut, they started talking about a young, promising artist. She had fans, the number of which grew relentlessly. They know all the data about the star, including height, weight, age, how old is Marina Neelova.

It is easy to find out the age of the actress. To do this, you can make simple arithmetic calculations in your mind, knowing the date the woman was born. Neelova Marina Mstislavovna was born in 1947, after calculations it becomes clear that she is 70 years old.

Marina Neelova, a photo in her youth and now which attracts the attention of her many fans, has a weight of 68 kg with a height of 165 cm. For her age, the artist is in excellent physical shape.

Biography of Marina Neelova

The girl was born in the city on the Neva one and a half years after the Great Patriotic War. My father disappeared all the time at work, and during his infrequent hours of rest, he painted pictures and hung them around the apartment. Mother - Valentina Nikolaevna developed the girl, encouraging all her desires. At the age of 4, Marina began to dance ballet. But still, the dramatic art outweighed. Without problems, yesterday's graduate of the school enters the theater institute in her hometown. After receiving the certificate, the girl starred in the "Old, Old Fairy Tale", which was appreciated by viewers and professionals.

The biography of Marina Neelova soon continues in the capital of the Soviet Union. After working for only a few months at the Yuri Zavadsky Theater, the actress, at the invitation of Konstantin Raikin, moves to the famous Moscow theater Sovremennik. Since that time, she has been playing on his stage. There was no desire to leave the already native stage.

Filmography: films starring Marina Neelova

The filmography of the popular actress includes a large number of a wide variety of works in the cinema. For example, the audience fell in love with her in the "Autumn Marathon", "Carousel", "Ladies invite gentlemen" and others.

In the 90s of the last century, the star of Soviet cinema is removed much less. At this time, she begins to devote all her time to her beloved people. The husband of Marina Neelova is a diplomat. With him, the artist lived in Paris for several years. In the late 2000s, the husband travels as an ambassador to the Netherlands. The artist went with him, only occasionally arriving and performing on the stage of her beloved Sovremennik.

Currently, Marina Neelova plays in several productions at the same time. She is currently filming a new movie.

Personal life Marina Neelova

The film actress married twice, each time for great love. The details of this have been of interest to journalists for a long time.

For the first time, Marina Neelova married a colleague in the artistic workshop. For 8 years, the popular actress and her husband were often on the set separately from each other. In the end, the actors decided to divorce so as not to burden each other.

The personal life of Marina Neelova for a number of years proceeded in parallel with the famous chess king Garry Kasparov. Lovers often came together to various events. After a short time, the artist became pregnant, but the chess player said that he had nothing to do with the child. Until now, Marina Neelova and Garry Kasparov do not reveal the secret of the girl's birth. Former lovers do not communicate to this day.

Currently, Marina Neelova is very happy. Her husband serves in the embassies of the Russian Federation in one or another European country.

Family of Marina Neelova

The family of Marina Neelova consists of her beloved husband and daughter Nika. A woman, despite being busy in theatrical productions, devotes a large amount of time to her relatives and close people. In the 90s, the actress leaves for several years with her husband to France, where the man works in a diplomatic mission.

Neelova's parents had nothing to do with theater and cinema. Who worked father, no one knows. In his free time, he painted. The mother was a housewife and raised her daughter.

Children of Marina Neelova

Marina Neelova became a mother only once, having given birth to her daughter Nika. Who is her father, no one knows to this day. According to rumors, the famous chess player Garry Kasparov became the girl's father. But the man himself denies it.

The children of Marina Neelova are also her two godsons, who are already quite old. They have their own families in which children were born. Godchildren often call up the actress, invite her to family holidays.

The actress considers her roles to be her children, each of which she loves. A woman cannot name her most important work, they are all equal for her.

Daughter Marina Neelova - Nika

In the mid-80s of the last century, a popular artist gave birth to her only daughter. She named her Nika. Who is her father, the actress herself hides.

Daughter Marina Neelova - Nika, together with her mother and stepfather, lived in France for several years. She is incredibly talented. Knows French, English, German, Italian, Spanish and Russian.

Currently, the girl is a famous artist. She has already received several awards at various specialized events.

Nika recently met a young man whom she is going to marry in the near future. But his name is carefully hidden.

Former husband of Marina Neelova - Anatoly Vasiliev

The former spouse was born in the harsh pre-war years. From childhood, he showed himself to be a talented person. He read poetry well, played in school theater productions, which determined his fate. Even in his student years, he played in several films, after which his name became known to every inhabitant of the Soviet Union.

The ex-husband of Marina Neelova, Anatoly Vasiliev, met a girl in the early 70s of the last century. After the candy-bouquet period, the lovers got married. A few years later, the couple decided to leave.

Vasiliev, after parting with his wife, began to live with another star of Soviet cinema - Iya Savvina. Actors officially registered just a few days before Ii's death. After the funeral, Anatoly lives with his wife's son, Sergei, who suffers from an incurable disease.

Marina Neelova's husband - Kirill Gevorgyan

In the mid-80s of the last century, a popular theater and film actress vacationed in Italy. There she met an imposing man who began to show signs of attention to her. Without noticing it themselves, Marina and Cyril talked until the morning. The second time they met in Neelova's native Sovremennik. After that, the lovers began to live together. After a year of living together, they got married. The husband of Marina Neelova, Kirill Gevorgyan, officially adopted the daughter of the actress. She considers him her real father.

In the mid-90s, the husband worked in France. The actress left everything and went with her husband.

Currently, the man works in the Ministry of Foreign Affairs of the Russian Federation. Despite being busy, Cyril still invites his wife for a romantic dinner. She believes that she was very lucky in this life, because their paths could never cross.

Instagram and Wikipedia Marina Neelova

Nowadays it is difficult to find a person who does not use social networks. The artist is a completely modern woman who is registered in many social networks. Instagram and Wikipedia Marina Neelova allow you to find out the most detailed information about the life and work of a woman, her personal life.

Wikipedia tells in detail about the star of Soviet and Russian cinema. But the page on Instagram, according to the actress, is led by her best friend, who exposes photos of Neelova taken at different points in her life. Here you can see videos from films in which the actress participated.

December 17, 2015, 17:59

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.

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 then one by one the members of the Politburo were dying, 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 declared:
- Kasparov is not worthy to be received in a decent house.

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.

Her work has also been shown at exhibitions in Basel, Switzerland, Paris, Lithuania and Germany. "Principles of Obedience" and another work were purchased for the Saatchi Gallery. And the rest went to private collections.

However, this is just a statement of fact. Prima "Sovremennik" does not talk about those whom he loves or loved. Nothing. Neither about the first marriage with the actor of the Taganka Theater Anatoly Vasiliev, nor about the stormy romance with grandmaster Garry Kasparov. These facts were made public by the former companions of the actress ... For many years she has been happy in her second marriage. Her husband is diplomat Kirill Gevorgyan. Daughter - artist Nika Neelova. She is twenty-four years old and has been living abroad for a long time. For the first time, Nika agreed to talk about what her famous mother usually ignores.

Shells, ashes, wax, sheep bones... To the uninitiated, it all looks like the ingredients of a witch's potion. And for Nika Neelova - the usual working material. She is engaged in installations - a very labor-intensive kind contemporary art. Making a name for yourself in this genre is not easy. However, Nika, apparently, is on the right track: at the end of 2010, she became the winner of the prestigious New Sensations competition, which is curated by the Charles Saatchi Gallery in London in conjunction with British television. It is held among graduates of art universities in the UK - four finalists are selected from hundreds of applicants, among whom the strongest is determined. They became Nika. She is petite and charming, she has a melodically happy voice and an attractive look of blue eyes. Keeps a distance - benevolently, but rigidly. Well, heredity. Her mother, the legendary Marina Neelova, rarely gives interviews and coldly suppresses questions about her personal life. And his father, Kirill Gevorgyan, is a diplomat. And that's it. So Nika is the true daughter of her parents, about whom she talks carefully and little. However, even this meager information is enough to get an idea of the world that shaped her as a person.

School of survival

Nika lived longer abroad than at home. At the age of five, she moved with her parents to France. At eleven she returned back to Russia, and at sixteen she left it almost completely, coming here occasionally for a week or two.

Nika, where do you feel more like a foreigner - here or abroad?

Nika NEELOVA: “Now I’m more used to living there. Eight years have passed since I left Moscow. I got an education abroad, started a career, achieved something and now I am trying to determine my prospects. In general, it seems to me that I have learned to combine two cultures - Russian and Western. I am impressed by European minimalism in everything, restraint and even aloofness to some extent. And at the same time, Russian features are also close to me, combining a certain abundance of everything. These two extremes are dear to me, since they are both part of me.

What do you remember from early childhood, before the first departure?

Nika: “Kindergarten, cold winter, overalls, life with mom, her leaving for rehearsals. She never took me to work with her - she did not want me to be interested in the theatrical life. In the end, she was right, I never had a desire to become an actress.

In 1992, you and your mother moved to Paris following your father, who received a diplomatic post there. Was it difficult to adapt to the new place?

Nika: “Dad took me to school two days after we arrived. I was five years old and didn't know a word of French. At first, she explained herself on her fingers, walked by the hand with the teacher. But I really didn't like being dependent on someone. It has become good incentive to learn the language faster.

How did your classmates treat you?

Nika: “At first they scoffed - they laughed and ran away. But soon I learned the language and no longer hesitated to answer them. And no one else touched me. After two or three months, I spoke French quite fluently, and a year later I studied freely and became the first in the class.

Did your parents stand up when you were offended?

Nika: "No never. They taught me to solve my own problems and achieve what I want. And don't rely on anyone. It helps me a lot now that I live abroad alone. In addition, with such parents, the desire comes early to prove that I am not only their daughter, but that I can achieve something on my own. And then this ‘proof’ becomes a part of life.”

Children quickly get used to the new environment. There was no such moment that you felt more like a Frenchwoman than a Russian?

Nika: “In France, I adapted very quickly and turned into a typical Parisian child - they all have the same neat blouses, shoes and very bad characters. But my dad always raised me as a bicultural person. He taught me to love France, but at the same time not to forget where I come from. He told me when and how they celebrate Shrovetide and Easter in Russia. At the same time, we celebrated both Catholic and Orthodox Christmas. Dad generally opened limitless horizons for me. He gave me first France, then Holland, where he was Ambassador Extraordinary and Plenipotentiary. Without him, I wouldn't be there."

But before you came to the Netherlands, you returned from France to Russia and lived here for several years. Did you fit in easily too?

Nika: “Life in Russia was very different from life in France, and at first much was incomprehensible and unusual. For example, here I was forced to get rid of the habit of not letting you cheat. What was considered the norm in France was perceived here as greed and seriously spoiled relationship . I also had to get used to the prefix "Neelova's daughter".

What principles did your parents follow in their upbringing?

Nika: “They gave me complete freedom to do what I want. I made all the decisions from early childhood on my own. They encouraged me all the time. I graduated from school as an external student at the age of fifteen - a year and a half earlier than others, I myself chose an educational institution in Holland - the Royal Academy of Arts and a specialty - sculpture ... Although my parents would have preferred that I chose architecture.

And when did you decide that you should be doing installations, and not painting, say?

Nika: "With time. I have been drawing since childhood, but I never went to art school. Then she attended the courses of the famous theater artist Oleg Sheintsis. Admired him, but realized that the theatrical design - that's not mine. I finally decided what I want to do only at the Royal Academy of Arts.

Is it true that you became the youngest applicant in the history of its existence?

Nika: “Yes, they say so... I entered the academy at the age of sixteen, which is very early for Europe. They prefer to take people who already have life experience there. However, the head of the department liked my portfolio, and I was enrolled. True, I had to learn Dutch in record time - three months. The academy taught only on it.

So what is student life like in Holland?

Nika: “Most of the time we spent in the studios of the academy, worked from morning to night, went to each other's workshops, visited museums and galleries. At the same time, of course, they did not forget about all kinds of cafes and clubs. In many ways, it was a wonderful, versatile life - endless work at the institute, the madness of Amsterdam and the tranquility of The Hague, located on the sea ... "

In your biography were the extravagant antics characteristic of youth?

Nika: “There were many different things, but basically I tried to be the “correct” daughter of an ambassador and a diplomat. Since my mother often flew to Moscow for performances, I went with my father to receptions. Etiquette was not difficult for me. From the age of three I was taught to eat with a knife and fork and not to keep my elbows on the table. In addition, before moving to Holland, my mother and I read many books on etiquette, where all the details were described. And then, I have always been very attracted to the idea of a monarchy. Despite the fact that in Holland she is democratic and modest, the presence of a queen, ladies-in-waiting, life at court - all this somehow excited my imagination.

Have you ever upset your family?

Nika: “As a child, I was quite a daring, wayward girl, I never obeyed anyone and learned solely from my mistakes. My mother criticized me a lot - harshly, but always objectively. Thanks to her, I was able to withstand the most severe criticism from the teachers of the academy. They often said terrible things to the students' faces - "how mediocre, incapable you are, and your topics are empty and worthless." In general, tears were shed during the exams, chairs flew from the windows. Many students could not stand it and left. Criticism has always encouraged me. If they scold, then there is an opportunity for growth. In our academy, praise was considered a bad sign - it means that they sympathize with you. Everyone started to get scared when they heard positive comments addressed to them.”

Without fear and reproach

In Europe, children leave their parents early. When did you start living separately?

Nika: “Only when I graduated from the academy in Holland. I decided to continue my studies at the Slade School of Fine Art in London, one of the most highly regarded educational institutions for artists. Since then, I have been living on my own. I really like London, there are a lot of people of different nationalities, aspirations, interests, I admire its dynamics and brilliance.

England is known for its fanatical attitude towards sports. Did it affect you in any way?

Nika: “There is no time for him now. And before that I was athletic - I swam, played tennis, did gymnastics and horseback riding. She especially loved steeplechase, although she too often took unjustified risks, fell from a horse and sometimes took obstacles without a horse. I liked to ignore the feeling of fear ... My parents were nervous, but they tried not to show it.

Among your works there is a spiral staircase, resting against the ceiling, called "It's never too late to leave." Have you ever had periods when you wanted to escape from people and circumstances?

Nika: “This installation was made before my departure from Holland and symbolized the end of an important period in my life. I knew that I would not go back there, and if I did, I would not be the same as before. I said goodbye to the past, which was what my work spoke about. The spiral staircase is a spiral, a symbol of continuous movement that never returns to its starting point. Either you are higher or lower. It is impossible to stop - as in life.

The installation "Principles of Obedience" brought you victory in the "New Sensations" competition, it was called successful and philosophically deep. Could you explain what your hymn to abstract art means - is it a large-scale structure with numerous loads?

Nika: “The weights are bell tongues that I cast in wax from samples taken from the Whiechapel foundry, where all London bells, including Big Ben, were cast. This is a topic that I have been doing for a long time - to show what is usually hidden from view. The tongues of the bells are almost never visible, their shape is not familiar to anyone. And in the wax incarnation, they lose their acoustic properties - they become fragile objects, extracted from their usual context, time and history. So the tongues of the bells no longer fulfill the role originally intended for them. ”

How has your life changed since winning the competition?

Nika: “I received many interesting offers, I had a personal exhibition in London. Also my works were shown at exhibitions in Basel in Switzerland, in Paris, in Lithuania and in Germany. Principles of Obedience and another work were purchased for the Saatchi Gallery. And the rest went to private collections.

So your profession is profitable?

Nika: "Not yet. My production costs exceed the income from the sale. But now profit is not my main goal.

Do your parents help you financially?

Nika: “I try to manage on my own. Recently received sponsorship from the Olga Rubinova Foundation to finance exhibitions in 2011. I was also given several awards after graduating from the institute, and my work is also sold. What will happen next, I don’t know.”

You like to use unusual materials - shells, ashes, chocolate, burnt sugar and animal bones. Why do you need such strange substances?

Nika: “They have certain properties necessary for the realization of some idea in each work. And in themselves, these materials already speak volumes, they touch upon the themes of the transience of time, fragility, the irrevocableness of the past and history.”

Does your mother understand your art, does she visit exhibitions?

Nika: “She is very interested in my work and goes to exhibitions whenever possible. Her approach is neither an artist nor a gallery owner, she perceives what she sees on an emotional level. Her opinion is very important to me."

Do you watch films and performances with her participation?

Nika: “I know all her performances almost by heart and sometimes jokingly quote her monologues to her ... For some reason it is more difficult for me to see her on the screen, especially in old films, even before my birth. It always hurts me to see her suffer. Mum admires me as an actress, but even in the auditorium, I first of all remain her daughter.

What do you read, what kind of music do you prefer?

Nika: “I don't really listen to music. It just so happens that I prefer silence. And I read a lot. Mom has a huge library.

You are very calm and confident. Have you really never had complexes - about appearance, for example, in adolescence?

Nika: “This confidence, alas, is very deceptive ... I have never been confident in myself and have never considered myself beautiful.”

Are you not going to get married?

Nika: “No, not yet. Although I have a young man and we live together.”

Who is he?

Nika: (After a pause.) “He is not of my profession. He is Italian, we met in London. In general, I prefer to adhere to the idea that personal life is personal, that you can not talk about it.

And yet I wonder: what should a man have to be next to you?

Nika: (Dryly.) “He must be an intelligent and interested person. Then people just complement each other.”

In Russia, girls are often brought up on the fairy tale about Cinderella waiting for the prince. What do you think about it?

Nika: “Waiting is not in my nature. I prefer to achieve everything myself, not counting on anyone. And I never dreamed of wearing a wedding dress.”

Marina Makunina