Gallery Ties to Putins Alleged Daughter Ignite Ethical Debate Among Exiled Artists

PARIS — Are children accountable for their parents’ actions?

This question has caused a divide within the Russian expatriate community following reports that President Vladimir Putin’s purported daughter is interning at a Parisian art gallery notable for highlighting anti-war artists from both Russia and Ukraine.

Yelizaveta Rudnova, 22, is widely thought to be Luiza Rozova (Krivonogikh), the offspring of Svetlana Krivonogikh, a former cleaner turned millionaire who is said to have had an affair with Putin in the 1990s.

Neither Putin nor Rudnova has confirmed these alleged familial connections. Following the onset of Russia’s invasion of Ukraine, Rudnova reportedly shared a “No to war” message on one of her Instagram accounts, though the authenticity of this account has not been independently verified.

Rudnova, who many observers note bears a strong resemblance to Putin, was recently said to be residing in Paris and pursuing art studies.

Last week, exiled artist Nastya Rodionova disclosed that Rudnova was interning at L Association, described as a major player in the Russian-speaking emigrant art scene.

“In light of the aggressive war initiated by Russia, those organizing public events with anti-war artists — who are often direct victims of the regime — must act transparently and with caution,” she posted to Facebook earlier this month.

Rodionova informed The Moscow Times that she felt a moral obligation to go public once L Association’s co-owner corroborated Rudnova’s employment there.

“I don’t have proof of how closely she is tied to [Putin’s] family,” Rodionova stated. “However, as an employee of the gallery, she has access to the personal information of anti-war artists, including those who are being persecuted by the Russian government. I have the right to protect myself and choose not to work [with the galleries].”

Gallery owners Alexander Vishnevsky and Dmitry Dolinsky defended Rudnova’s role, explaining they do not vet employees’ familial backgrounds for legal and ethical reasons.

“This news is shocking, of course,” Dolinsky said in an interview with The Moscow Times. “However, fundamentally, it doesn’t alter anything. We are working with a real individual who acts responsibly, holds sensible opinions, and assists us in supporting artists — including anti-war talents from Russia and Ukraine.”

Having been with L Association for several months, Rudnova reportedly has responsibilities “similar to those of any other assistant,” and there have been no indications of “improper behavior,” according to the gallery’s owners.

According to them, she appears to lead a typical life, commuting by subway to work, earning an intern’s wage, and participating in a placement program through her university.

Sources speaking to exiled Russian media characterized Rudnova as “a kind and intelligent individual, always willing to help” and “an excellent colleague.”

“We presume innocence,” Dolinsky and Vishnevsky told The Moscow Times. “As for the moral dimension, we have no evidence suggesting she supports pro-war, pro-Putin, or anti-Ukrainian sentiments.”

“No one has provided any proof that she is indeed Putin’s daughter. Yet, we are being criticized for not revealing her personal information. Legally, we are barred from doing so based purely on rumored connections,” they explained.

However, the gallery owners noted that Rudnova did not deny that her mother is Svetlana Krivonogikh.

Russian investigative journalists estimated in 2020 that Krivonogikh’s wealth totaled around $100 million, including assets allegedly obtained from individuals near Putin and stakes in Bank Rossiya. Krivonogikh was sanctioned by the U.K. in 2023.

Despite the gallery’s firm defense of its actions, responses from observers have been varied.

Some voiced concerns about potential security risks for exiled artists, whose work could be deemed illegal under Russian law, as well as the ethical implications for Ukrainian artists, whose nation bears the brunt of Putin’s aggression. Others urged caution against speculation in the absence of evidence.

Exiled anti-war artist Slava PTRK is scheduled to launch a new solo exhibition next week at L Gallery, one of L Association’s venues, focusing on Russia’s protest movements in the 2010s.

He told The Moscow Times that Rodionova’s revelations had not influenced his collaboration with the gallery.

“I am unaware of her [Rudnova’s] political beliefs, but I do know that assistants at her level do not determine what is exhibited,” he stated.

While he expressed that background checks might be warranted in situations involving opposition political groups or media, he questioned whether the same should apply in the context of an art gallery in Paris.

“I don’t perceive this as a sensitive issue for exiled artists,” Slava PTRK noted. “Several friends mentioned hearing the rumors, but it did not affect their engagement with Liza [Rudnova].”

Pavel Otdelnov, an exiled artist residing in London, echoed similar sentiments.

“It’s crucial to differentiate between what a person is responsible for and what they are not. No one can choose their parents… It is more logical to evaluate individuals based on their personal actions rather than their family connections. I wouldn’t let that influence my decision to collaborate,” he told The Moscow Times when asked if the reports would impact his potential work with the gallery.

Despite the recent revelations, no artists have publicly withdrawn from L Association’s upcoming exhibitions, and the schedule for its galleries remains fully booked for the next six months with numerous artists from various nations, according to Dolinsky and Vishnevsky.

Nevertheless, those dedicated to anti-war art argue that any institution curating such exhibitions must exercise extra care and responsibility when engaging politically vulnerable artists.

“If this were merely a gallery showcasing neutral contemporary art, I doubt there would be any debate, as someone working there could be assessed solely on their professional abilities,” commented Vladimir Shalamov, the curator of All Rights Reversed, a Berlin-based gallery supporting artists facing reprisals in Russia for their work.

“However, I don’t see an issue here, as this information is now public, allowing artists to make informed decisions [about collaboration],” Shalamov remarked to The Moscow Times.

The Moscow Times reached out to Rudnova for a comment but received no response.

Rodionova, the artist who shared the information last week, stated that she stands by her choice to go public, despite facing backlash for it.

“Artists — Russian, French, and of course Ukrainian — can now make their own choices regarding collaboration with the gallery based on complete context,” she said.