Moñ

Lana Morozova

March 21 — April 16, 2025
Gallery "Triumph"

The project, bringing together installation, objects, and textiles, conveys a sense of the sentimentality of memories, the fragility of recollection, the delicacy of childhood, and the tenderness of youthful experiences.

Moñ
noun
sadness, longing, melancholy, sorrow;
melody, tune;
harmony, emotional depth, lyricism
Tatar-Russian Dictionary, ed. by F. A. Ganiev. Kazan: Tatar Book Publishing House, 1988.

Triumph Gallery presents a solo exhibition by Lana Morozova titled "Moñ." The project, bringing together installation, objects, and textiles, conveys the sentimentality of memories, the fragility of recollection, the delicacy of childhood, and the tenderness of youthful experiences. The title "Moñ" is a Tatar word belonging to the category of untranslatable vocabulary. In the Encyclopedic Dictionary of the Tatar Language, moñ is defined as "a concept expressing a national characteristic of the Tatars … conveying longing, sadness, lyricism, a melancholic state of the soul," which resonates deeply with the nature of the artist’s work.

From the project "Moñ"
2025
Wood, ceramic

Moñ
noun
sadness, longing, melancholy, sorrow;
melody, tune;
harmony, emotional depth, lyricism
Tatar-Russian Dictionary, ed. by F. A. Ganiev. Kazan: Tatar Book Publishing House, 1988.

Triumph Gallery presents a solo exhibition by Lana Morozova titled "Moñ." The project, bringing together installation, objects, and textiles, conveys the sentimentality of memories, the fragility of recollection, the delicacy of childhood, and the tenderness of youthful experiences. The title "Moñ" is a Tatar word belonging to the category of untranslatable vocabulary. In the Encyclopedic Dictionary of the Tatar Language, moñ is defined as "a concept expressing a national characteristic of the Tatars … conveying longing, sadness, lyricism, a melancholic state of the soul," which resonates deeply with the nature of the artist’s work.

At the core of Lana Morozova’s artistic practice lies a personal archive of childhood memories, fears, experiences, photographs, and dreams. These are often connected to the small village of Zychebash in the Zainsky District of the Republic of Tatarstan, where the artist spent her holidays. Her grandmother’s house and the surrounding nature became the foundation for numerous childhood fantasies and mystical reveries, shaping her way of thinking. At the center of the project is an installation that serves as a metaphor for that very grandmother’s home. In her works, the artist favors natural materials—wood, ceramics, textiles—drawing inspiration from their organic origin. Morozova borrows her characters from old photographs, transforming them into naive and tender images reminiscent of children’s drawings.

"Within the exhibition space, among these intimate and touching images, the viewer is overcome by a sentimental longing for childhood—so close, yet irretrievably lost. The lyrical sadness and fragile poetics of the imagery touch the most delicate inner strings, and within this melody resonates that very inexpressible moñ," says the curator, Polina Mogilina.

Curator: Polina Mogilina

From the project “Moñ”
2025
Wood, ceramic

"Within the exhibition space, among these intimate and touching images, the viewer is overcome by a sentimental longing for childhood—so close, yet irretrievably lost. The lyrical sadness and fragile poetics of the imagery touch the most delicate inner strings, and within this melody resonates that very inexpressible moñ," says the curator, Polina Mogilina.

Curator: Polina Mogilina