Booroom Gallery was founded by Irina Budtseva-Vinitskaya and Maksim Vinitskiy in 2014. Contemporary art and collectible design coexist at the core of the gallery’s DNA as two equally important fields that shape its development both locally and internationally.
Booroom positions itself as an active participant in the cultural process, approaching art as a living channel of communication in which the work itself and the encounter between artist and audience are equally significant. In this sense, the gallery functions as a mediator, gathering meanings and re-situating them within new contexts. At the core of Booroom Gallery are people: artists with diverse trajectories, sensibilities, and cultural backgrounds, united by their ability to register the impulses of their time and translate them into form. The mission, articulated by founder Irina Budtseva-Vinitskaya, is to create conditions in which new ideas and values emerge through the intersection of different voices — those that resonate in the present and retain relevance over time.
For the 2026 edition, Booroom Gallery presents two parallel projects within the framework of the Cosmoscow fair, developing the unified concept Dream Catcher across two complementary fields of inquiry: design and art.
In the chapter dedicated to design, Booroom Gallery regards an object as a material carrier of memory — personal, cultural, intergenerational and embedded within matter itself. In this logic, craft becomes a form of resistance to disappearance. An object is never only its final form; it is also the story of its making. It embodies time, knowledge, and human experience, and the process of creation itself becomes inseparable in importance from the final result. It is through craft practices that an object becomes a receptacle for memory, embodying the fragile and elusive: family memories, the traces of the hands that created it and the traces of time. While maintaining their function, these objects simultaneously exist as carriers of meaning, inviting a slower, more attentive engagement. Their significance does not reveal itself immediately, but unfolds gradually through materiality, craftsmanship and the multilayered narratives they conceal.
Yuxuan Huang, in her practice, turns to natural materials that clearly bear traces of the past: recycled wood, bamboo, stone, found or deconstructed elements. The artist constructs her compositions using collage principles, drawing inspiration from traditional paper cutting. These pieces combine craft traditions with the fragility of memory preserved in the material. Sustainability is interpreted here not only as the reuse of resources but also as the preservation of memories — cultural heritage and personal past.
For Rui Matos, the theme of containing, understanding, and reassembling memories remains central. For the low tables, Rui Matos turns to stone — a material that inspired him early in his career. Although the objects retain a utilitarian function, their sculptural nature predominates. The tables are crafted from limestone, a metamorphic rock quarried in Portugal between the Sintra Mountains and the sea. Between 100 and 150 million years ago, this region was a shallow coastal environment. Over time, limestone formed, preserving organic fragments from that era, now fossilized. For the artist, who works with multiple layers of time and memory, this material is particularly significant.
Past and present likewise converge in the work of KAMEH. At the heart of KAMEH 0.6, a collection created by Nikita Erokhin, is the image of the desert rose — a mineral formation of gypsum and barite crystallising in arid sands over centuries. This natural artefact exists simultaneously as a geological record of time and as a sculpture shaped by nature itself. KAMEH explores this paradox: the coexistence of fragility and permanence. In the KAMEH 0.6 collection, crystalline structures become the basis for functional sculptures — objects that evoke relics of an ancient landscape while speaking through the language of contemporary design.
