George Cohen is a name that opens a new chapter in the career of the artist known for over three decades as George Pusenkoff.
The period of George Pusenkoff (1983–2024) represents a complete artistic organism. This is a time of digital painting, work with pixelated image structure, the Mona Lisa Travels project, a lawsuit with Helmut Newton, museum exhibitions, participation in the Venice Biennale, and even a space mission. This phase focuses on the analysis of the digital icon, cultural memory, simulation, and the medial code of the image. The archive of this period is not a past to be forgotten, but rather a formed capital and the historical foundation for all subsequent work.
Since 2025, the artist has worked under the name George Cohen. This is not a pseudonym or a biographical mask, but a name that corresponds to a new artistic state. Technology, material, philosophical foundation, and the starting point of artistic thinking have changed. The Cohen period addresses the matter of light, shadow, and surface. Within the framework of a doctrine known as "Shadow Theory," the artist is interested in the moment of form's birth—the ultimate act in which the dispersed energy of the imagination is compressed into a material presence. Here, shadow ceases to be a consequence of light and becomes its boundary, its body, and the condition of form. This is the transition from pixel to surface, from code to matter, from simulation to ontological act.
George Pusenkoff was born in 1953 in Krasnopol (Belarus) in the family of doctors. He received his first drawing lessons from his grandfather, who studied in Vitebsk with Marc Chagall. In 1967 he graduated from the Feshin Art College in Kazan. In 1968, the family moved to Moscow, and in 1971 he entered the Moscow University of Electronic Engineering at the Faculty of Computer Technology, continuing to practice art. After graduating from the university with honors, Pusenkoff entered the Moscow Polygraphic Academy at the Faculty of Graphics, from which he graduated in 1983.
From 1983 to 1987, he worked with publishers and participated in the exhibitions of Perestroika: the 17th and 18th Exhibition of Young Artists, the Rock - Art Parade, ASSA, Hermitage, Labyrinth and others. Since 1987, he began to exhibit abroad, and in 1990, after the invitation of the Hans Mayer Gallery, he began working in Germany.
In 1995, Cohen became the central figure in one of Europe's first copyright trials in the context of postmodern appropriation: he won the case against Helmut Newton, which set a legal and artistic precedent.
He lives and works in Cologne and Moscow.
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