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Anton Lytaev

Anton Lytaev

The wind blew from east to west and dried my face. A strong wind blew from the ocean and ruffled the strings of my...

The world will never be the same.

And it came to me that the world would never be the same again. And I gathered up my blind expectations and buried them in the dry ground, so that I would not leave them by the roadside and so that I would not tempt those who were traveling in the opposite direction. And I didn't water the ground and I didn't fertilize it. But I trampled the place so that it would not sprout, and leveled it without leaving any traces.

And the wind blew from east to west and dried my face. A strong wind blew from the ocean and ruffled the ropes of my hair. And the twilight distance gave no indication of its preference.

 

Denis Lotaryov

Denis Lotaryov

The water is the perfect place for me. I have more than 1000 dives under my belt. It is a way for me to...

Global synthesizer

I love scuba diving and being in the sea for long periods of time. Water is the perfect place for me. I have over 1000 dives under my belt. For me it is a way to find peace and quiet, to get away from the hustle and bustle of the big city. As an artist and diver with experience, I can study the element of water from the inside out. In the sea I create installations, test sculptures for hydrodynamics, paint oil studies, engrave etchings, make video and photo productions. Water is not a friendly element, one could say that there should be no human being in such a place. But thanks to technology, it has become possible. Land art is a good way to find yourself, to feel the power of the planet and realize that we are only guests on it.

Already on shore, I am thinking about how the modern world influences what I do. The visual arts have long since transcended the visual form of perception and have become broader and deeper. And this is not just due to discoveries in the world of art or culture, but to society as a whole. Now art is a Global Synthesizer. A great number of factors today shape and sharpen art, guiding it on an unknown path. These include technology, new speeds of communication, overabundance of information and consumer goods, ecology and climate change, rethinking gender stereotypes, expanding the boundaries of corporeality, as well as new scientific and philosophical trends that overthrow the established model of Anthropocentrism. Today art produces itself at high speeds, and soon this process will be without human participation. The modern artist can no longer be a recluse in his studio. Circumstances dictate that the creator must be a public figure or be part of a recognized art community - otherwise one can be left out of art history. It is also important to have a vision, a philosophy and, if possible, an innovative view of art. At the same time, be relevant and realize that the art that is popular and interesting to the mass audience is not always the right one. Perhaps the viewer doesn't know what he or she wants.

Yes, the tasks have become more complex, but the role of the artist remains the same - to shape a new reality.

The Global Synthesizer is a machine that grows every day with new media, meta-universes, AI software, etc. And sometimes it seems to me that the artist no longer controls anything. This machine is not evil, it's a given, but you have to be careful - it can rob you of your individuality. Only knowledge of the processes in society and current art will help you avoid this.

Vasily Nichiporuk

Vasily Nichiporuk

In chaos there is no sequence, no extension, no center or periphery

I Am Who I Am

Monotype "I Am Who I Am" is an inversion reconstruction of the famous Shroud of Turin using black twill, tempera and the author's body. In my opinion, regardless of the question of authenticity of the shroud, such an imprint on the fabric could arise naturally, in consequence of its direct contact with embalming oil on the body of the deceased. This practical study, firstly, demonstrates the principal technical possibility of such a visual projection, and secondly, gives the opportunity to make a philosophical comparison of the imprint with its Original. My statement is that each of us, being in the biblical paradigm an "imprint" (image) of the Supreme Initiation, is capable of manifesting this Initiation to the world through ourselves. In other words, the project poses to the viewer the problem of searching for the ultimate foundations of existence, which, upon closer examination, turn out to be in man himself. The author's text and image connect the theme of death with creation, sacrifice with peacemaking, and the Original with the imprint. The title of the composition implies the elusiveness of man's essence, a hymn to its Mystery. Literally, "I am Who I am" is the ancient self-title of the Israelite God. This is how YAHWEH's answer to Moses' question sounds in the original language (Ex 3:14).

Monotype text:

In chaos there is no sequence, no extension, no center or periphery. What precedes creation has no point of support of its own. The fulcrum is set from outside (from above) and belongs exclusively to its Author. Thus the light of the first day forms all visible and invisible space, to which, however, it does not belong and is not itself. This light is that which transcends any change and is its source. The beginning of the world is not in the power of the world, but Man, as the source of light, in every place, at every time, believes himself to be its foundation. Man unites all the elements of the world, he is the crown of creation and the measure of all things, every thing is subject to his canon. He animates and fructifies the world. He is the king of the world, and is slain of its composition. The world exists because of HIS VICTORY.

Polina Savina

Polina Savina

Anything that can be subjectively considered alive

Life and life

Imagine that there are ten pairs of eyes looking at you from a photo: blue, brown, gray, serious, sly, young, attentive, intelligent. All these people you do not know at all, but internal analytical mechanisms and natural intelligence already tell you who is who. Thinking about them for a couple of minutes, you can imagine their biography, remember your friends, whose features are guessed in these strangers, determine who you like, and with whom you do not want to deal. And then imagine that not all of the people in this picture ever existed - they are just a code, a hoax, and were never alive. Would that make the real people in the photograph any less believable? Can it be argued that given a complete simulation of life, the simulation is still a blank slate? It all depends on how much empathy we show for that copy.

Only empathy allows us to see the fundamental difference between those who are close to us and random passers-by, to recognize the character and loyalty in the eyes of our dog, to become attached to indoor plants and give them names, to cherish our stamp collection and bring back shells from the sea that seem more beautiful than others. People love to appropriate and humanize that which does not have its own will and consciousness - therein lies the joy of recognizing ourselves in that which is not like us. The more surprising to me is the rejection and fear that people feel when it comes to neural networks. I suppose it's the technical nature of artificial intelligence, but a robot vacuum cleaner tucked into a closet or a robot courier gingerly walking down a curb is as adorable to many people as kittens and puppies. The problem is that neural networks are sometimes too much like us.

The principle of operation is indeed comparable, but not identical. The main difference here is that humans and neural networks have a different understanding of creativity. Artificial intelligence creates formally new images that have thousands of analogs, while humans strive for ultimatum, unprecedented novelty. This is what causes rejection in most users - they expect from the technology that simply shuffles the original set of images, alchemical transformations and the miracle of creation, which is hardly available to anyone else but humans. From this point of view, a neural network is a portrait of all of humanity at once, or rather, the most average person.

For almost all of history, our ancestors and contemporaries have pondered other life forms and whether they would be like us. Yet, having created the most human-like creature possible, we refused to consider it alive precisely because of this. In my opinion, that is inhumane.

I'm convinced –

Anything that can be subjectively considered alive; 

Anything that can be empathized with; 

Anything that can communicate verbally or non-verbally; 

Anything that performs an activity and makes mistakes

Really carries life or part of it.

Oleg Kotelnikov

Oleg Kotelnikov

Welcome to white nightmare

"Over the awning skin

in the darkness of the white night

the sun of poetry flashed its eyes."

Welcome to white nightmare

Elena Filaretova

Elena Filaretova

"Heads" is not just a representation of a person's face, but an opportunity to make the viewer think and feel some...

"Portrait"

The image of a person at all times had a crucial role, performed different functions and had different purposes. Analyzing the entire history of fine arts, it can be seen that interest in the personality of man has always taken a leading place, since in artistic images we have the opportunity to observe the entire history of mankind for thousands of years.

We live in a world of information oversaturation, where every day we are exposed to the flow of information and events. In such an atmosphere, a portrait should be a way to stop time: to get away from the fleeting flow and see the personality, the depth in the face of one person.

When we think of a portrait, the first thing that comes to mind is the image of a detailed face, its physical and anatomical features. But I am convinced that understatement in a portrait is a more evocative, effective and memorable way of conveying personality. It gives you the opportunity to feel the versatility, to reflect on your own thoughts and feelings, to deepen your understanding of the portraitist and to form your own idea of the person. The ambiguity in a portrait, which I create through the creation of form from light, shadow and color, encourages the viewer to reflect. The elements and mysteries in the work cause a kind of resistance and subsequently a sense of curiosity in the viewer. They make one become fascinated and see every detail down to the smallest nuance on their own.

"Heads" is not just a depiction of a person's face, but an opportunity to make the viewer think and feel something new, to participate in the creation of the image. My portraits don't just reveal a person, they seek to convey their mood, thoughts and relationship with the world. We can experience and interpret the same image in different ways, depending on our experience and mood at a given time.

The peculiarity of the works in the Heads series is a special artistic technique that is used to convey emotion and mood.  Therefore, as an artist, I declare that understatement in my portraits is the philosophy and basis of my portrait art.

The peculiarity of the works from the Heads series is a special artistic technique that is used to convey emotion and mood.  Therefore, as an artist, I declare that understatement in my portraits is the philosophy and foundation of my portrait art. 

I hope that my manifesto will help to expand your boundaries of understanding, and touch your soul.

Ivan Simonov, Dinara Hurtnagl

Ivan Simonov, Dinara Hurtnagl

The name is quite conventional, just like the old plaques on houses that keep the memory of the past but do not re...

"House of exemplary maintenance"

The name is quite conventional, just like the old plaques on houses, which keep the memory of the past but do not reflect the present. 

We are not presenting a house of exemplary maintenance, but a play on the name. What is depicted is not directly related one thing to another. The coincidence of the house and its inhabitants is coincidental.

Often we do not choose an ideal house or an ideal model of society, rather we get caught up in it and exist trying to create comfortable conditions for ourselves.

What is the model? And who sets it?

In many ways, the model home for us is the conditions in which we grew up and the environment that raised us. To some extent, each of us is responsible for the pattern that will be in the perception of the younger generations. As sociologists James Wilson and George Kelling noted in their "broken windows" theory: destruction comes when it is allowed to happen.  And it is our responsibility to prevent that destruction.

For some, a city is houses; for others, it is people. It is a patchwork quilt, assembled from a multitude of particles. Chaos organized in concrete, brick and asphalt. A collision with your neighbors in the entryway or random passersby on the street has the power to change you the very second you bump into each other. But what this collision is and what will be its consequences - here it is impossible to predict anything. It's random and that's all there is to it. 

So all "models" are conditional and depend on ourselves, our attitude and perception. In a world of chaos and disorder, any "pattern" will sooner or later be abolished, forgotten or modernized.

Gosha Ostretsov

Gosha Ostretsov

It is said that man was created in the image and likeness of God. But nothing is said...

Gosha Ostretsov - founded the artistic association VGLAZ. In 1988-1998, he lived in Paris and worked with Jean-Charles de Castelbajac, Jean-Paul Gautier, and Luc Besson. Works are in the collections of the State Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, the Moscow Museum of Modern Art in Moscow, the Arctic and Antarctic Museum in St. Petersburg, the Dreams Museum in St. Petersburg. The Gallery's collections include the Tretyakov Gallery, the State Russian Museum, the RACh Moscow Museum of Modern Art, the Arctic and Antarctic Museum in St. Petersburg, the Z. Freud Dreams Museum in St. Petersburg, and the private collections of Charles Saatchi, Simon de Pury and Lawrence Graff.

MANIFEST

Modern Totem

It is said that man was created in the image and likeness of God. But nothing is said about other members of the created world. What about trees, animals? Man learns from nature, sacralizes it, turns plants into totems. But to what extent plants are not in fact animate? Are they thinking, do they not seek to resemble man, to imitate the human system of spiritual values?

After walking to the middle of earthly life, I found myself in a dusky forest. Here I felt the presence of spirits, felt their movement with my nostrils and skin. I stumbled upon fresh piles of moose, their forms perfect, and imagined these gigantic creatures. I was their uninvited guests, they invisibly followed me everywhere. One loses all sense of time in the forest. I descended deeper and deeper into the well of history until I reached the bottom, covered with ferns and dinosaur footprints.

Feeling like a primitive man with a keen sense of smell and hearing, I shuddered at the shadows of the mastodons, heard their heavy footsteps. My ancestors built totems from their bones, asking for protection from the dark forces and good luck in the hunt. The totems demanded worship and granted people unseen freedom. True freedom comes only to the artist in his unbridled imagination. In the woods, my instincts came back to me, I talked to my
my prehistoric ancestors. Problems of ecology, feminism, racial discrimination, and others relevant in the urban world remained on the surface of the mysterious depths.

Sergey Sonin / Elena Samorodova

Sergey Sonin / Elena Samorodova

We imagine Secret Russia as a gigantic marching altar with countless niches, vast spa...

Sergey Sonin and Elena Samorodova (Partnership "Lead and Cobalt") are multimedia artists, working in two capitals: Moscow and St. Petersburg, founders of several art associations. Their works are in the collection of the Museum of Moscow, Krasnoyarsk Museum Center "Peace Square", Multimedia Art Museum and in private collections.

MANIFEST

Secret Russia as Opus Magnum

We imagine Secret Russia as a gigantic marching altar with countless niches, vast spaces waiting to be filled, temporarily draped with coronal threads-a sunny cobweb in the measured sway of a silent overture.

Waiting for a light hand and a passionate eye. And the clock going differently...

Small creators ("sub creators") blow the dust off large forms and events. Centered Figures unleash energy, and shadows of light penetrate the space of Traditions, - as projections of the imaginary and the ineffable.

There is still sometimes the belief that for most of its annual cycle, Russia (both secret and manifest) remains in a state of sleepy stasis. But Russia is always on the move, often unnoticed by the eye. In the sun, when it is in the sun, when it is against the sun. In all the archaic power of its dialects and the technocracy of its aspirations, actions, and gestures. With a constantly multiplying Pantheon of deities and heroes.

The transition of parallel lines into perpendicular ones depends on the shifting of focal points. The impact on the world (what's behind the outline) is always spontaneous, asymmetrical, unpredictable and surprising.

We fill the altar niches with figures. Among them are the terms, the penances, the manns, the laras, the effigies, etc. They are the guardians of the inner landscape. And here they find their material embodiment in the form of sculptures, standards of former campaigns, stove subject tiles (when the stove is more than a stove and is an allegorical constant - a matrix).

Staged photographic series, video murals, musical interpretations, and much more on our interdisciplinary Way, add up to a personal format - a slow kaleidoscope of bizarre optics.

The spatial limits of national-historical myths are contingent; they are constantly pulsating and expanding.

Following the tradition of romantic sacral hyperboles, we sometimes recreate them anew.

The truth of Myth is our subjective reality. Conjugation, on the other hand, gives us the freedom to maneuver. The mental map of expanded consciousness implies a sacred geography. An example of which is the metaphor: "the Hellas of the Spirit under the rule of Eternal Rome. We assert the right of inheritance of traditions that do not seem to belong to us directly. All the meanings we admire, wherever they are found - in Egypt, in India, in 18th century Russia, in the Russian Far North - become the building blocks of Secret Russia, decorating one of its many provinces.

While praising Russia's technical breakthroughs in the past and in the present, we nevertheless feel that our country is agrarian - a country of the Earth. It is for us AgroCosmos. Outside its celestial dome, an eternal parade of planets moves majestically. Beneath the dome extend the vast lands of Northern Arcadia: fields, orchards, and plots with endemic crops cultivated by militia villagers (in the sense of aratoris milites, warrior-swords in the field of the spirit); we see their sturdy dwellings with the "Bruce Calendar", that existential Table of the Times, which defines and explains the very generic predestination.

The Palladian spirit of the classics is not scholastic classicism or stylization for us. It is a Dionysian dance rite, pillars, sheaves, columns in fields of agro-cosmic syncretism, a gallery of sumptuous dendro-sculptures and incredible millefleurs.

The foundations and rules of classical architecture from Palladio's books are transformed by passing through the spaces of the anomalous ring of Central Russia, forming our living architectural Order, our field and forest structure, our domestic genome. Thus emerges a metaphysical fantasy in the genre of documentary myth about the inscrutability of layers of secret Russia.

Vilgeny Melnikov

Vilgeny Melnikov

Suspended is not the most comfortable position in the game.

Vilgeny Melnikov is a contemporary Russian sculptor. For 10 years Melnikov searched for his style in the field of forming experimental objects. He experimented with methods of shaping and working of form with space, until he founded his own technique - inflating metal objects (Hydroforming). With this technique, he can control 85-90% of the form, while 10-15% are formed by themselves according to the natural and mechanical laws of the residual deformations of the yield strength of metal. In addition, this technique allows him to create works of art of very large size and in an infinite direction of shapes.

A MANIFESTO FOR A CHANGE OF TRADITION

Suspense is not the most comfortable position in the game. Every change of wind or weather as such affects a new experience of the "song" of stability.
"It's much more comfortable to hang steady," she sings.
"Where it's more comfortable to identify with - that's what" - that's what it's with.
And if fear creeps up quite close, what then?

And all the while the state is still suspended, and what is happening around only rocks this cocoon, woven from 1000 synonyms: anxiety, apprehension, confusion, longing and confusion.
And sometimes: joy, joy, warmth. But that's all until the next gust of wind.

Over time, the "cocoon" takes on a beautiful, whimsical shape, color, tactile sensation, and coziness.
At the same time it continues to hang and wait for something.

Noticing this pattern - it's time to change the rules of the game, to change the tradition.

Gustav Mahler wrote: "Tradition is above all the transmission of fire, not the worship of ashes.

If we shift our attention from adding new layers of "defense against the outside" to moving to meet, so to speak, the wind and fear, we can observe how the position in play begins to transform.
The direction of movement is determined, the fulcrums are always there. They are in the most prominent place.
For example, this is the form that one culture has been imposing on another for, say, 70 years.
By 1,000 to 1,000 repetitions of an almost perfect, reference image.

This form is indeed close to perfect, only it is not at all necessary to continue to admire it.
It is enough to start playing with it by its own rules: deforming its structure, revealing hidden facets, questioning its untouchability.
The tradition of playing with a stable image gives a free runway.
And a headwind (upwind, in thermodynamics) is what's needed to gain altitude and fly steadily.

Elizaveta Plavinskaya

Elizaveta Plavinskaya

My art was born in the era of the "New Foundations," as the '00s are called in the Pa...

Artist, predominantly working with painting, gallery owner, curator, art historian. Worked in the gallery "Street OGI" and then opened her own gallery "Liza Plavinskaya Gallery" on Art-Strelka in Moscow.

She lives and works in Moscow.

MANIFEST

The manner of my painting is gathered from various sources and melted into my style by the will to a vivid, incredibly beautiful, luminous and enchanting statement.
I'll tell you what: art consists of old European and Asian knowledge, of modern American and Russian avant-garde and non-conformist, of the digital revolution and the new morality. But all of these things are very approximate when we "put" them on ourselves-they squeeze, prick, and squirm-while not exposing personality, but hiding individuality. No matter how good they are, they are the art of other people and other eras.

My painting is created from perfect colors and approximate strokes - and it is hypertrophied by the result, like metaphor, which in modern language has long since become clearer and more accessible than direct expression.
My manner is composed of the style of late Michelangelo's pencil drawings and Taoist calligraphy, of Zverev's Tashism, the straightforwardness of Vrubel and Plavinsky, and much more. From the contemplation of the play of light on the neighboring tree.  From the bottomless color of the eyes of the outstanding dancer Albina.   From any other person, when he is inspired by an amazing idea or in love to the point of insanity.

My art was born in the era of the "New Foundations" as they call the 00's in the philosophical school in Paris.

Now I am based on the aesthetics of the Six Hormones, the Six Famous Hormones of Happiness, whose names, like the Seven Sins, no one really remembers.

I spent twenty years looking for a definition for my style of painting, and finally accepted that nobody knew anything about Taoist parables or hormones, simply calling my art expressionism. The word is familiar, European, museum-like, and therefore understandable.

A famous music critic, who agreed to help me analyze my style, called this art co-existence, since it appears in painting precisely so that it can be not only "achieved" through long contemplation, study, feeling and thinking, but can be shared. To give it as a flower, as a word, or as an impression.

 

Salty Air# 1, 2023

Canvas, acrylic, chalk marker 
110 x 60 cm

Maxim Demin / Anna Sinitsa

Maxim Demin / Anna Sinitsa

Each generation of artists, in creating new works, has always analyzed the art of the...

MANIFEST

With the emergence of new forms in contemporary art, artists begin to move further and further away from the usual classical techniques and images, trying to keep up with the times, speaking to the viewer in a language he understands. Using everyday and frequently used objects, forms, programs, and so on, the artists tell the viewer about everyday, social, and political issues of the day. Often, by choosing a picture that is not the most faceable, they thus mock the generally accepted norms in society and point out their imperfections.

This way of speaking is now quite common and prevails over other studies in the context of contemporary art.
While most authors have delved deeper into 21st century culture, identifying its faults, flaws, joys and sorrows, we have begun a different kind of exploration, one that is the exact opposite of what was described above, and brings us closer to the origins of art.

World culture, including painting, has been inseparably linked to people's religious thinking from the very beginning of its creation. The formation of religions, the awareness of the divine presence, the search for truth took place through visual, material forms. Passing through millions of transformations and modifications from cave paintings on the walls to monumental majestic genre paintings, sculptures, architectural forms and objects, art has been able to exist in its most diverse manifestations. And with the advent of the Internet, the computer and various digital programs, there are even more opportunities for development and study.

Each generation of creators, creating new works, has always analyzed the art of the previous centuries. Building on art already known throughout the world, artists have sought and are seeking new branches of development, trying not to repeat themselves at all or, on the contrary, emphasizing that their work is an integral part of the previously created.

Each generation of people has caught monuments in a certain state. Whether it is a brand new, newly painted work or an old, now antique, object that has already gone through fire and water. Passing through different circumstances and time borders a work of art has always changed its appearance and one can only speculate about its original state. With the advent of various digital programs and new research, it became possible to transform a lost or partially preserved object in a virtual format to see its original appearance. Thus further complicating attempts to represent the original state of the object. How does a modern person perceive the surviving monuments of ancient Russian art? How does digitalization affect people's consciousness, thus changing the perception of familiar things?

How much more will we have to learn as modern technology develops and as new facts about the history of our art are discovered?
All of these questions stand apart in the artists' attempts to create a work that equally answers all of the questions posed above.

In this project we proclaim that it is possible to make a work on the basis of classical art, using a digital medium without distorting the essence of the monument. By using different materials and techniques, and by playing on familiar forms, the works present themselves to the viewer in a new guise. New interpretations of Classical Russian monuments and the use of different media show that the impact of the digital age provides the impetus for the creation of new forms of art.

Andrei Kalmykov

Andrei Kalmykov

I declare the arrival of Vesna in Russian contemporary art as a revival of the legacy...

THE MANIFEST OF SPRING

I declare the arrival of Vesna in Russian contemporary art as a revival of the legacy of the avant-garde and the establishment of a new abstract language.

The avant-garde, like an abandoned and unloved child, has been long forgotten and rejected by society, the very new society it was supposed to serve. Recognized as a failed experiment, it abandoned the art scene for a long time, giving way to popular lubok and realism.

It was time for the visionary ideas once created to return to the scene to become, with renewed and fresh vigor, the main symbol and reflection of reality.

The new Russian abstractionism will no longer stare at the cosmos, at the distant stars and the universal absolute. On the contrary, it will look under the feet, to the mundane environment in which we live - the dusty streets, the facades of apartment blocks, and the gloom of doorways!

The new Russian abstractionism soaks up the rough textures of concrete, puts on a multi-layered skin of oil paint, displays an endless string of fences and green garages, bristles with metal mesh like a wild animal, and is covered in a scattering of chipped mosaics!

The main colors will be the colors of fences and street lamps, freshly painted benches and plinths, transformer boxes and entryways. Red-brown, military green, indifferent gray, mechanical blue will make laconic monolithic compositions. Long live the colors of porches, schools and hospitals - faded yellow, stale lettuce and dusty pink! And beneath this simple color scheme will hide the rough texture of the chaos of urban forms and artifacts.

The housing estate, a spontaneous and unrestrained phenomenon that renews our streets every year and forms the basic image of the city, will be the main source of inspiration and metaphor of the Russian space. However, the artist should not blindly copy the wall of a house or a fence repainted for the hundredth time, but like a sensitive cutter work with this wild material as with unprocessed rock.

I declare Vesna a new cultural code for Russian visual art. Vesna will be a reflection of our mentality and environment of existence. Instead of Khokhloma and Gzhel - a red-rusted parapet, instead of kokoshnik and matreshka - a gray fence and a chain of green garages, instead of the bear with balalaika - Rabita wire mesh and broken tiles!

Spring sets the following tasks:

  1. The revival and actualization of abstraction as a universal expressive language
  2. Installation of a new cultural code or style, through the interpretation of the urban environment and its utilitarian elements
  3. Simultaneous application of active relief and color schemes on the same plane, thereby uniting painting and sculpture
  4. Acceptance and aestheticization of "ugly" color
  5. Recognition of the LC phenomenon as an authentic, national phenomenon

Daniel Pirogov

Daniel Pirogov

Connections are fragile and delicate, so they are very valuable. Without people and support, a person survives, no...

Born in 1996, Nizhny Novgorod.

Studied and worked in the field of architecture. Started artistic practice in 2019. Works with the theme of fictional mythology and artifacts, mainly in three mediums: land art, performative practices, creating sculptures from concrete and wire.

MANIFEST

The reality around me often seems confusing and complicated, so I try to find guidance in it through my own myths. My mythology has its origins in my childhood experiences and is complemented by my daily experiences. 

My art is an attempt to capture the dynamic world in statics, to question what is reality and what is myth. 

My artistic method implies the abolition of the linearity of time; I address a reality in which all variations of what is happening exist right now, overlapping each other. In my understanding, the world is a single mythological spatial landscape, continuously shaped by the layering of events and representations of them. I address the notion of an irrelevant artifact - an object that should not exist according to official history. In creating such objects, I offer my own version of what is happening. 

I came to art from architecture and took all the essentials with me: concrete, wire, tracing paper, and the basic principles of working with space. This is how I turn utilitarian materials into objects of art. It is important for me to show the routine process of creating an artifact, to deconstruct the ritual, to deconstruct it into its components. By unpacking myth, I remove the veil of sacredness and mysticism, craftsmanship becomes important again. Sculpture is not born in a momentary burst of revelation, but in a long and consistent process of stirring the concrete. I find a balance between my own impact on the material and the influence of its physical properties. 

I work in the studio, in the woods and outside. I call the totality of the studio objects and practices a bestiary. It is a large layered system in which each creature (or object) is an answer to my long term and current questions. The very first and foremost character of my mythology is the earth bird. It embodies an inner heaviness, a bogging down, an inability to break away, a sense of duty and attachment to a place. The graphics are created on several layers, and all but the last one are hidden from the viewer. The concrete millipede is an instrument of communication, an artifact object responsible for dialogue and search for solutions. The balance of concrete and wire structure makes it possible to determine the characteristic properties of each "class" of artifacts. 

My mythological system is never static; it is constantly renewed and updated with new patterns and characters, or freed from them. When working with context, I combine my own mythology with local mythology by juxtaposing events, characters, and stories. Often I add found local materials and objects to my work, "preserving" them within the concrete sculptures.

Alexey Bevza

Alexey Bevza

Art is the Secret Language of Being.

The artist,...

Alexey Benza was born in 1993. Predominantly works in the technique of traditional painting/graphics. Prefers figurative composition, uses a realistic manner of writing in the space of myth. Lives and works in Moscow. 

MANIFEST

Art is the Secret Language of Being.

The artist, like any other magician, shaman, thaumaturgist, or alchemist, knows that his main job is to capture and channel the outflow of spirit into matter.

By "spirit" here, of course, we mean the subtle fractions of the higher Reality (with a capital letter), which pass a kind of transmutation through the prism of the author's perception and, reflecting from him as from a mirror, cast glare, rays on the material base: canvas, paper and so on, thereby generating a work of art, "materializing" it.

Reality (with a capital letter) is such a space of the supersensible, superhuman, mountainous level, which is invisibly present along with reality (with a small letter), being a metaphysical basis that simultaneously disavows and includes it in itself.

By reality (with a small letter), we mean the world of the palpable, that is, the reality given to us in the senses.

Why, why would an artist channel his spirit into matter?

The artist is a dependent being. His imaginary subjectivity is often overestimated, being only a musical instrument, like a violin or a flute in the skillful hands of the true Author.

"And from somewhere they hear singing..." - artists simply can't keep what they hear within themselves without reproducing it. Like a gravely ill person, condemned to infect everything around him with his disease.

Is it possible to stop this flow, to block all channels of communication and interrupt the retransmission? Perhaps we can, but then how will Reality contact us? If we cut off this possibility, wouldn't we thereby close the auditory window through which communication between the worlds is established?

Thanks to ciphers, codes, and cryptograms, it is possible to send secret messages from there, from the dreamspace of meaning, to our world on the other side as well. Art resorts to all kinds of mythologies, metaphors and allegories for this purpose.

The secret language is, of course, impossible to learn. But it is necessary to wander somnambulously through the "Chinese room," in order to give its own, special meaning to everything we touch in the darkness.

Cognition of the Dark Speeches sent down by God into the world, the birth of a star from the cosmic dance of insights, purification from the stupefaction of modernity - this is the directional expansion in the Land of Great Dreams...

Nikolay Ryndin

Nikolay Ryndin

The Manifesto of Deviantilism*

Nikolay Ryndin is an artist, teacher at the Moscow Central School of Art (MCSH) at the Russian Academy of Arts, and author and host of the "Art Shooting" independent YouTube channel about art.

The Manifesto of Deviantilism*

  • physical destruction of the object / destruction of the object's function
  • documentation of destruction / deformation
  • destruction = creation 
  • destruction = the beginning of a new history
  • restoration = destruction
  • destruction as a cultural code
  • destruction not as an act of affect and mental clouding, but as a deliberate act 

that - what should be relied upon: 

  • the ruins and remains of temples.
  • erased frescoes, barely discernible silhouettes of saints
  • the irrecoverable loss of paint on icon boards
  • half-decayed huts with gray timbers and powdered roofs
  • a crumbling fence that fences off nothing
  • a gate in a field that leads nowhere.
  • a rusty truck with no wheels or windows.
  • black joints on paneled houses.
  • Bare concrete and rebar sticking out of it.
  • old tires and swans made of them.
  • broken jug, jug, and rusty pig-iron.
  • a zigzag bridge with sparse boards

components of the work:

  • inversion
  • paradox
  • contrast
  • duality
  • uncertainty
  • uncertainty
  • randomness

The statues of Buddha destroyed by the Taliban have gained much more significance than before. it is the same with the temple of christ the savior. unfortunately the restoration of the temple negatively affected the image of the previously lost object of history. our Russian architecture, frescos and iconography are valuable along with losses, and losses are taken for granted. it is impossible to imagine Russian culture without losses, just as it is impossible to imagine christ crucified without judas.

the human act of destroying a cultural monument can be compared to natural disasters in nature, be it a tornado or a hurricane. but people are part of this nature. the person destroying is one of the hypostases of a being, be it a person loving, grieving or laughing.

many natural acts of destruction of physical matter are stretched out in time and are natural, but I urge that we be inspired by them in the short span of time of creating an object of art, in the desire to achieve a similar "nerve." just as when we are inspired by the beauty of nature by painting it, in a vain attempt to replicate it, for it is impossible.

Shinra

Shinra

The most simplified form of illustration of the Spirit of Time created by mankind is ...

MANIFEST

The Spirit of Time

Unlike humanity, for which time serves as a system of measurement of its linear existence in space, the Spirit of Time knows neither its beginning nor its end, it is eternal - always was and always will be. It infinitely absorbs into itself what the universe is at each particular point of its existence. The Spirit of Time never changes its essence, unlike the human perception of the world, which seems to people to be changing and evolving. The Spirit of Time and its essence exists unchanging. It is that which is always changing, remaining always unchanged.

Based on the law of conservation of energy - matter changes its form unceasingly, while remaining the same matter in its broadest sense, with the same quantitative and qualitative parameters and properties that remain with it, regardless of its momentary form and external manifestation. 

The most simplified form of illustration of the Spirit of Time created by mankind is a kaleidoscope. It is a complete object, in quantitative and qualitative composition of which nothing changes - the same universe, while the result of observation of the structure of its external manifestation always turns out to be different.
Each person on his own interacts with the Spirit of Time in the likeness of a kaleidoscope, obtaining as a result his own sense, manifestation and vision of Spirit at the particular segment of life in which he now finds himself.

Every form carries with it its natural essence. Any symbol has its own obvious, intuitively perceived, universal meaning, not belonging to any man-made cultural system. At the moment of the visual and semantic connection of inherently different forms, something new emerges. It is in the birth of this new that I see the meaning of my works.

Working in digital space gives me an endless opportunity to operate with form with mathematical precision. In each painting I go from death to life - initially each individual element of the painting is brought into a completely symmetrical state - a state completely inimical to nature and in many ways perceived as "inanimate. And it is only in the very interaction of these perfectly proportional symbols, forms, meanings that life is found. A canvas created from ideal and thus artificial parts comes to life when some new common sense emerges in the connection of all its parts.

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