If we puzzle the viewer with the question of what is the female beginning in contemporary art, the visual illustration and the answer will be the work of the Moscow artist Olga Gorokhova. Of course, she is not alone in art, although she constantly complains about it. But this loneliness is akin to uniqueness. This is a special, natural and very feminine loneliness, inherent only in the creative nature of "beautiful gender". It is a state of mind, and a stereotype of behavior, and an extremely expressive gesture, expressive as much as it can afford only a woman. Art visualizes all this, makes it clear.

As an artist Olga Gorokhova was formed in the environment of Western European bohemia, in the context of the art there, in which she lived for more than twenty years, preferring to her Moscow mainstream art tussle of the early 90s. It is Olga Gorokhova who is dedicated to the hit composition "The Source Fly" of the legendary "Sounds of Mu" by Peter Mamonov. But, having survived the typical for creative nature state of "everything is gone", "The Fly" flies to Belgium. Naturally, in search of chocolate happiness, believing to find it among the intellectuals and artists there.   

At first, Gorokhova, as it should be, goes to study classical painting at Santa Monica College. After a while and becoming a student at the Royal Academy of Fine Arts in Ghent, Gorokhova organizes her first show at Jan Colle Gallery, one of the best galleries in Belgium, showing abstract minimalism, believing that it is the future. It was then that Gorokhov, fascinated by the art of Marc Rothko and other representatives of the New York School. However, Olga soon realizes that "this is not hers". She turns her gaze, her interest in the space of magical, fashionable and inordinately sought after Marlene Dumas, the most sought after European star!  And Olya begins to work with live form, with nature and models, and does it very expressively.

Twenty years later, she returns to Russia and in one of her interviews ahead of a solo exhibition at the Crocken Gallery, one of the oldest private galleries in Moscow, says that "exhibiting in Moscow, I get more adrenaline, resonance, meaningful, sincere words, real friends and more happiness. In Europe I know all the famous and the rich, I know who does them, how they are promoted and why. I communicate with them and I talk about art. But boring, superficial, not enough sense in their words, a lot of cliches. They're very kind and friendly, everybody smiles, everybody has similar facial expressions, everybody has more money, but no happiness..."

Of course, Olga Gorokhova is a very local artist, she is fr om here, and that is why there is a lot of authentic, real and understandable in her art. To pass the Academy in Belgium, to come to her senses and return home, wh ere the paradox in ecstasy merges with the regularity.  What school, girls?  Add to that the specificity of female nature...

The peculiarities of the so-called "gender art" are well known, its perspective, assessment scale and priorities are known. It is also known that the phenomenon of "female art" is extremely personal, almost shameless with its extreme frankness, devoid of a little bit of privacy in understanding and interpreting the image. Including his way of life, his own life, which is displayed in all its glory on a personal page in the social network. The series of works under the conventional title "ZOZH" can certainly be translated as "Healthy Lifestyle", but it is better not to do it. As for the lifestyle of "Flies", it will be too frank. Name it and name it. She does not stick to any program or concepts, she is always in the free flight of her own moods, her "whispers and screams. That's her value, the value of her authentic art.

All of Olga Gorokhova's art is about the author, about herself. It is variative and frank as much as only a woman can be frank - in an unpredictable gesture of her art, uncompromising and extremely real.

The Games with Context project is a replica of the personal exhibitions of Konstantin Batynkov, Olga Gorokhova and Vladimir Anzelma organized by the Krokin Gallery on its site and in the halls of Moscow museums.

The expositions are based on large-format paintings and graphic works created recently by three authors representing three directions of search, three autonomous statements in the space of what is called contemporary art in its qualitative version.  

With the undoubted difference between the stylistics and artistic program of these authors, the general is the fullness of artistic expression. In this case, there are iconic and, in some cases, familiar works shown in a different substantive context, in a different exposition space.

All of them declared themselves at the very beginning of the 90s, and today, devoid of formalities to be presented, correspond to the nomination - the textbook of the Moscow art of transition, the art of changing social paradigms, art as such, what it should be and how it should be seen, and who is able to possess it.

They talk about their own and in their own way, do it clearly, structuring the space with a special visual intonation. They do not lim it themselves to once found and appreciated by the public, continuing to actively increase the importance of their art with a new form, meaning and motivation.