Gathering a wide collection of his works, and documents including his Dada performance poem Foule Immobile, the exhibition emphases the historical importance of Berlin in Charchoune's life. After his first visit around 1910/11, he would return some ten years later as an active figure in Dada, exhibiting at Der Sturm gallery and publishing a Russian-language anthology of Dada texts.
With stops in Moscow, Barcelona, Paris and Berlin, Charchoune was exposed to a variety of modern styles, vanguard painters and writers. Up to the 1930s his reputation grew steadily, with exhibitions at Percier, Quatre Chemins, Aubier, Théophile Briant, Jeanne Bucher. He maintained his individuality, however, and organic shapes and fluid forms in his work consistently represent his strong empathic connection with nature, referencing the rural environment in which he grew up in Russia. The rhythm and fluidity in his later paintings also relate to his love for classical music.
Charchoune quite consciously flew below the radar, commenting, 'I keep a low profile and have a lot of freedom`.