Gromov Alexey
Born in 1988 in St.Petersburg.
Multidisciplinary artist exploring the crisis of technology. Studied at Berlin's Weizensee Hochschule für Kunst (KHB), took personal master classes with Fabio Viale (Italy) and Sarah Esser (Germany). Participant of international exhibitions. His works are kept in private collections in the USA and Europe. Currently lives and works in Moscow.
EDUCATION:
- 2006 - 2012 - St. Petersburg Academy of Art and Industry
- 2011 - 2012 - Berlin Higher School of Art Weizensee (KHB)
- 2003 - 2006 - St. Petersburg Art Academic Lyceum
SOLO PROJECTS:
- 2021 - Ammo/tool, Private Space Gallery, Moscow
- 2015 - Lithe, Erarta Museum of Modern Art, St. Petersburg
- 2013 - Blindfolded, Erarta Museum of Modern Art, St. Petersburg, Russia
SELECTED GROUP EXHIBITIONS:
- 2023 - Ivory Tower III, Radio House, St. Petersburg
- 2023 - Collector's track, Noodome, Moscow
- 2022 - At the Fingertips, Inart Gallery, Moscow
- 2019 - Plastic Mask, Russian Museum, St. Petersburg
- 2015 - Game Changes, Erarta Gallery, Hong Kong
- 2014 - Spuren, Pavilon am Michov, Berlin
- 2014 - Contemporary Russian Art, Erarta Gallery, London
- 2011 - Alle, Kunsthalle am Hamburger Platz, Berlin
- 2011 - Ich Haise, Kunsthalle am Hamburger Platz, Berlin
In his work, the artist aims to move away from romanticising technology and to put this attitude under critical analysis. The author asks whether it is possible to overcome the idealised image of technology through its deconstruction and to what extent technology can transform and define our lives. The artist reflects on the boundary between the virtual and the real, which is increasingly being blurred. The impossibility of complete control over the flows of generated information is also one of the themes the author deals with.
The artist creates objects using a combination of advanced digital printing technologies and traditional sculpture techniques. The author combines recognisable elements of industrial aesthetics as well as materials that are not typical of high-tech approaches, such as plaster, steel, concrete and nitro-enamel. Through the formal breakdowns and shifts thus manifested, a critique of stereotypes about the refined and perfect image of new technologies is made. Polemising with the ideological myth of their dominance, the author resorts to the deconstruction of industrial artefacts, disrupting their function and diverting them from associations with the direct purpose of the object.
Works
