Siberia’s Premier Art Space

Victor Bronstein Gallery

LOCAL ART
AS A NEW GLOBAL TREND

The Victor Bronstein Gallery stands as the largest and most distinguished art gallery in Siberia, showcasing extraordinary collections of bronze sculptures, paintings, and graphic works by both local talents and artists from across Russia and abroad. We sat down with Olga Bronstein, co-founder and co-owner, whose vision brought to life this breathtakingly elegant, luminous, and modern venue—a cultural magnet for Irkutsk residents and international visitors alike. As the gallery prepares to celebrate its first major anniversary this year, we at [publication name] are thrilled to share its story with the world.

Olga, what are the gallery's plans for 2025?

2025 is a special year for us—the gallery will celebrate its 10th anniversary. In 2015, we reopened after renovations in a new format, and since then, we’ve undergone a tremendous transformation. At first, we chased new experiences, launching project after project. Now, we want to slow down a bit and focus on bigger goals.
In February, we plan to launch a major group exhibition dedicated to folklore. It will feature everything: ceramics, sculpture, installations, paintings, and graphic art. We’ve searched for artists all across the country, and the final lineup will include works from cities spanning Moscow to Yakutsk. With this project, we’re opening a window to young contemporary art—something we haven’t prominently featured before.
By summer, we’re preparing another large-scale exhibition—one that will reflect our history while setting a course for the future.
We also plan to expand beyond Irkutsk: we want to participate in festivals, art fairs, and are considering pop-up projects. This isn’t just our ambition—there’s genuine interest from collectors in Moscow, St. Petersburg, Krasnoyarsk, and other cities. We see that local art is trending now, not just in Russia but also in Asia and the Middle East

Absolutely. We dedicate significant effort to artist development handling everything needed to make their names known and remembered. Solo exhibitions here aren’t just about visibility; they’re a launchpad for sales, often marking a young artist’s first major career breakthrough.
For now, our priority is gallery-based projects, but we’re open to expanding into full-scale artist management beyond these walls in the future. We’ve built the expertise and know exactly what it takes.

In the early days, we did the legwork ourselves—building a database of talent over years. Now, our curator handles this, tracking art scenes not just across Russia but globally. We still use traditional methods like open calls. For one upcoming project, we received over 300 submissions nationwide. It was fascinating but resource-intensive—though the potential to uncover raw talent makes it worthwhile.
We also go on "scouting trips" to other cities, visiting studios and meeting local artists. Even neighboring regions can have radically different creative ecosystems. Art fairs and festivals serve as another hunting ground for promising names.

It gets around 50,000. We know how to increase this number faster, but we choose to grow it gradually. Year after year, the figure keeps rising.

How do you discover new artists?

One of the gallery’s key focuses is scouting new talent, promoting artists, investing in their careers, and facilitating sales, correct?

How many visitors does the gallery receive per year?

Many people imagine gallery work as sipping champagne while discussing art.
In reality, it’s logistics, insurance, complex of  legal matters, and copyright issues. For instance, for the exhibition "Clairvoyance" by Dashi Namdakov (a renowned Russian sculptor, graphic artist, jeweler, and designer, Honored Artist of Russia, member of the Russian Presidential Council for Culture and Art), we transported multi-ton artworks across the country and hoisted them to the gallery’s second floor.
Every step carries immense responsibility, risks  involve a serious amount of money.
Then there’s working with artists. It won’t surprise anyone if I say creative personalities require a special approach. Agreeing on an exhibition is just the beginning; you have to navigate the entire process of organization and opening. This demands not just professional expertise but also patience, empathy, and the ability to find fair compromises.
So yes, we’re all a bit nervous about it because there’s always something to worry about.

First and foremost, his talent is something you feel on an almost intuitive level. True brilliance has an undeniable right to exist. I’m captivated by how delicately and profoundly he converses with his own culture and traditions. It’s genius!
When we curate his exhibitions, we strive to create a "pure" space for the artworks—no embellishments, no distractions. Nothing should pull attention away from their essence. Art historians might offer keys to understanding them, but that’s not the same as imposing a "concept." We have no right to insert our own meanings into the dialogue between the creator and the viewer.

It taught me to recognize talent beyond just art—in business, design, even in the way people organize processes. Sometimes, I’m left utterly awestruck watching someone wield their gift. That sense of reverence for human brilliance has completely transformed how I see the world.

Tell us about the behind-the-scenes of this glamorous world! From the outside, it seems all about aesthetics, but how much hard work really goes unseen?

How Has Working in a Gallery and Constant Exposure to Art Shaped Your Perspective on Life?

To be honest, there’s no exact formula, it’s a mix of cultivated intuition, experience, and constant exposure. We operate as a team there is no single person—not me, not the curator—makes unilateral decisions. After years in this business, we’ve developed an instinct: some projects get an immediate "yes," others a "no," while some need refining.
Context is everything. What’s cutting-edge in Moscow might fall flat in Irkutsk. Pure conceptual art? We either avoid it or find ways to ground it in more accessible elements.
It’s a delicate puzzle. We balance challenging audiences with fresh perspectives while ensuring they don’t feel alienated. Every exhibition walks that tightrope—provoking thought but never losing connection.
A private gallery must be in demand and relevant.Unlike state museums, we don’t benefit from institutional privileges. On one hand, we create exhibition projects for a broad audience; on the other, we operate as a gallery working with collectors seeking art as an investment.In both cases, we focus solely on what aligns with our ethical and aesthetic principles.

How do you identify art trends?

IF THE AUDIENCE DOESN’T UNDERSTAND US, THEY’LL STOP COMING

"No stunning finale comes without its struggles—and that’s how it should be."

What Moves You About Dashi Namdakov’s Work?