SDG arts & science foundation
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Performance called People against the book under the title Freedom of will. An illusion or a possibility
Dmitry Volkov’s book entitled Freedom of will. An illusion or a possibility was presented in the format of an art-performance.
Dmitry Volkov: Exactly the same like we are. Why are people afraid of humanoids?
According to Japanese scientist Masahiro Mori’s hypothesis “the Uncanny Valley Effect”, at first people have a liking for humanoids and then they start being afraid of them. Philosopher Dmitry Volkov is speculating on the reasons for such fear.
An Artist, a Philosopher and Time
Swiss experts in watch manufacturing Jaquet Droz have created a model with reproduction of “The Philosopher and Artist” painting for brand ambassador Dmitry Volkov
Text in Vova Perkin’s art is an instrument, using which he tells stories to the audience. The stories become as significant as the visual images. This interdependency becomes the basis of the painting, the key to its interpretation. This is how the artist creates the storyline which is further expanded in his new paintings. The protagonist in the piece “Excited tee”- is Nicola Tesla, peacefully conversing with the Electric rays: “Nicola Tesla sat by the pond in his garden explaining to his guests- the rays, the reason for the short circuit failure. “But that’s in theory, Nicola, what about in practice”- asked the rays. “In practice”, he answered, “Keep the excited tee safe away from the plug”.
BARTENEV SAVES THE EARTHMEN
The flag "Bartenev saves the earthmen" was created especially for the art-performance of Dmitry Volkov, venture investor and co-founder of Social Discovery Group and Andrei Bartenev at the 2017 Burning Man festival where they realised the idea of an alien procession to the sounds of an electronic harp. In the desert, they set up a camp called "Aliens? Yes! ", where you could use the grandiose wardrobe of extravagant costumes designed by the artist. This is how Bartenev, directly and naturally, drew the attention of the outside world to the fact that the never-ending conversations about the held alien encounter, turning into somewhat of a myth serviced by numerous ceremonies, сreating a new religion.
The characters from Tinder used in the artist’s pieces are an example of a new mythology. Men are invisible creatures that attract ladies using their various ways and means. They are mysterious and even frightening. The girl practically hides her body from them, at the same time keeping her head turned in order to keep an eye on them. It is in connection with this particular piece that Anastasia Russa recalls the ladies and the unicorns from XV Century tapestries. This piece can be considered a modern interpretation. However there is now more than just one unicorn and they have not changed for the better.
UNTITLED, 2015 (FROM THE ‘PERSIAN MINIATURES’ SERIES)
The topic featured for so many years by Aidan Salakhova in her art lies in the vastness of the East: terror and enchantment, desires and taboos. The ‘Persian Miniatures’ series is minimalistic but, at the same time, filled to the maximum with philosophical and Freudian symbols. The dense black background is diluted by inlays that are white, almost marble, that represent a reflection of the place a woman has in a man’s world. There is a touch of erotica in the series as it represents sensuality, drawn from a book (an image frequently used by the artist) – the symbol of knowledge, striving for selfless devotion to God, and form of an anatomy atlas, that reveals to a woman the mystery of her body.
Painter: AIDAN SALAKHOVA
WITHOUT WORDS #4
According to the author the name "Without words #4 " has a specific meaning. The author does not wish to explain anything. The sculpture is made of marble. A contrast of white and black, fluid shapes and rigid corners, masculine and feminine. Graceful sensuality of seemingly trivial shapes, that is so characteristic of Aidan’s work. Naturally, the audience has to draw their own conclusions.
Painter: AIDAN SALAKHOVA
The object is a normal ladder, standing almost vertically on the ground, as if supported on something, but nothing that you can rely on around there. Striving forward and up the ladder breaks, relying on itself. Imagining the possible development of the frozen motion, opens the drama of the plot. The movement continues until it burst through..
Painter: ALEXANDER POVZNER