Haralampi G. Oroschakoff

Against the backdrop of East-West rapprochement and subsequent estrangement, Oroschakoff has been engaging as publisher and publicist, e.g., with Kräftemessen and Instant Archaeology. Beyond his immediate artistic commitment, he follows the socio-cultural and geostrategic development. Thus, besides drawing and painting, the archiving and juxtaposition of self-conception and behavioral patterns in East and West form an integral part of his work. In his non-fiction book Die Battenberg Affäre (Bloomsbury 2007), Oroschakoff creates a historical panorama of cultural struggle, connecting historical events of the 19th century. Subject is the Eastern Question. It "is (...) the history of Europe in the Southeast of the continent that follows the collapse and demise of the Ottoman Empire." Since the turn of the century, Oroschakoff has been participating in political discussions around Russia, the Balkans and the Caucasus. He regularly publishes essays and commentaries in Lettre International, Russlandkontrovers, etc.

• 2016 "Oroschakoff Doppelkreuz", Monographie, Hatje Cantz, Berlin • 2013 "Wenn sie nicht elegant sind, dann bemühen sie sich um eine eigene Note" in: Charade-Rochade, herausgegeben von Axel Haubrok, Distanz Verlag Berlin • 2013 "Der Prokurator" in: Galerie der Namenlosen, edited by Hanns Zischler, Elke Schmitter, Alpheus Verlag, Berlin • 2007 "Die Battenberg-Affäre", Berlin Verlag • 2007 "Die Orientalische Frage" in: Lettre International, No. 78 • 2004 "Moskauer Konzeptualismus, Collection Haralampi G. Oroschakoff", Archiv Vadim Zakharov, edited by Hein-Th. Schulze, Altcappenberg, Kupferstichkabinett Staatliche Museen zu Berlin, Verlag der Buchhandlung Walther König, Cologne • 2001 "Moskau oder die eigenen Leidenschaften sind nicht verhandelbar und Die Berliner Republik: Was im Werden ist, war schon" in: Moskau-Berlin Stereogramme, edited by Tilman Spengler, Berlin Verlag • 1999 "Weltverdopplung oder die Realisierung der Orientalischen Frage" in: Dogma 95 Dämonen, edited by Frank Castorf, Volksbühne Berlin, and Kleist–Festtage Frankfurt/Oder • 1999 "Inhabitants at the Edges of the World: Itinerants and Orientalists", texts by Alexander Borovsky, Margarita Tupitsyn, Kathrin Becker, Marie-Louise von Plessen, Matthias Flügge, Haralampi G. Oroschakoff, Berlin Press • 1998 "Bulgariaavantgarde", texts by Haralampi G. Oroschakoff, Iara Boubnova (curator), Alexander Kiossev, Luchezar Boyadjiev, Ivailo Ditchev, Diana Popova, edited by Haralampi G. Oroschakoff, Salon Verlag, Cologne • 1997 "Instant Archaeology", texts by Josif Bakschtejn, Sabine Hänsgen, Aleksander Jakimovič, Michael Meuer, Christian Schneegass, Viktor Tupitsyn, edited by Gerhard Theewen and Berlin Academy of Arts, Salon Verlag, Cologne • 1997 "Die Akte Odessa", texts by Boris Groys, edited by Reiner Speck and Gerhard Theewen, édition séparée, Salon Verlag, Cologne • 1996 "Kräftemessen", texts by Nikita Alexejew, Katja Degot, Boris Groys, Sabine Hänsgen, Haralampi G. Oroschakoff, Viktor Misiano, Margarita Tupitsyn, Victor Tupitsyn, Slavoj Žižek, u.a.), edited by Haralampi G. Oroschakoff, Cantz Verlag, Ostfildern • 1995 "Eine Textsammlung 1979–1994", Reihe Cantz, Cantz Verlag, Ostfildern • 1994 "Stalnimi Subami-Upustenii Avangard" in: Emigrazia i Straniki, Pastor Zond Edition, No. 5, Cologne • 1993 "Polis", texts by Luchezar Boyadjiev, Dorothea Eichenauer, Rainer Metzger, Hohenthal und Bergen, Munich • 1988 "Lampos", texts by Francois Nedellec, Wladimir Sinojew, Luise Horn, Wilfried Dickhoff, edited by Wilfried Dickhoff for Gallery Joachim Becker, Cannes • 1987 "Oroschakoff", texts by Luise Horn, Wilfried Dickhoff, Noemi Smolik, Kunstraum Munich

The early installation Dandolo (Museum Fridericianum in Kassel 1989; Kunstverein Göttingen in 1989; Staatsgalerie Moderne Kunst in Munich 1990), which dealt with the destruction of Constantinople by the crusaders, caused a big controversy in the German art scene. Curator Justin Hoffmann called Oroschakoff a "Belarusian revanchist". The Süddeutsche Zeitung wrote: "Oroschakoff, the conservative, affirms the absoluteness of his beliefs and places it in the traditional canon of the aesthetically beautiful." The installation found a more positive response in the Frankfurter Allgemeine Zeitung: "Oroschakoff – and this makes him a role model for many whose cultural identity has been dramatically upset by the opening of the Eastern bloc – has learned how to own up to his ambivalence." Elke Schmitter wrote about Oroschakoff in Der Spiegel in 2002: "(...) the image of the angry young man, exotically enhanced by ostentatious dandyism and foreign origin. (...) Nowhere at home without questioning, his perception of cultural loss of memory is pronounced and his sensibility for opposites is heightened." In 2018, in the bi-monthly magazine CATO, Thomas Fasbender stated: „Unlike Kazimir Malevich, who attacked head-on, complemented and overcame modern thought with the monochrome square, Oroschakoff, in the patriarchal cross, leaves it behind like a dog that barks as the caravan moves on and into the beyond." The writer Martin Mosebach described him as an "orthodox painter and unorthodox historian."

• Städtische Galerie im Lenbachhaus, Munich • Museum of Modern Art (MUMOK), Vienna • Musée d´Art et Contemporain, Geneva • Berlinische Galerie, Berlin • Deutsche Bank, Frankfurt/Main • The State Russian Museum, St. Petersburg • Documenta Archiv, Kassel • Museum of Modern Art, Prato, Italy • Sparkasse Cologne-Bonn • Kupferstichkabinett Staatliche Sammlungen zu Berlin • Deutscher Sparkassenverlag, Stuttgart • Humanic Sammlung, Graz, Austria • Sammlung Graninger/Rupertinum Salzburg, Austria • Trevi Flash Art Museum of Contemporary Art – Palazzo Lucarini, Trevi, Italy • Deutsches Historisches Museum, Berlin • Archiv und Sammlung Pastor Zond/Vadim Zakharov, Cologne, Moscow/Berlin • Sammlung Dürckheim • Sammlung Dieter und Si Rosenkranz, Berlin • Sammlung Eltz-Oroschakoff, Hamburg • Sammlung Thomas, Munich • Sammlung Michel Würthle / Paris Bar, Berlin • Collection Gimbel, New York • Collection Holleb, Chicago • Tiba Art Collection, Belgium • Sammlung Grafen La Rosée • Sammlung Baron Gravenreuth • The Sons Collection, Belgium • Sammlung Hans und Uschi Welle, Berlin