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News
MAY '2018
Dalai-Lama doesn't believe in the "pill of compassion" and in artificial intelligence
The Foundation acts as a partner in the annual conference between Dalai-Lama and Russian scientists on the topic of studying consciousness.
MAR '2018
DMITRY VOLKOV ON ARTIFICIAL INTELLIGENCE
Dmitry Volkov and Tatiana Chernigovskaya gave a lecture on interaction of environment, human intelligence and artificial intelligence.
FEB '2018
On the Wall: businessman Dmitry Volkov and a painting by Viktor Pivovarov
Dmitry Volkov showed OilyOil his latest valuable purchase and said a few things about it.
Collection
LENIN WITH LETATLIN`S WINGS
Lenin with Letatlin`s wings
The art object was exhibited at the «Unforgettable meetings» to Leonid Sokov at the Tretyakov Gallery in Moscow
2010. Ready-made, metal, bronze patina, brass. 104 x 50,8 x 20 cm.
Painter: LEONID SOKOV
WHAT? WHERE? WHEN?
“What? Where? When?”, created in 1994, is one of Sokov’s most significant pieces. It can be seen as a witty artistic interpretation of the formal and ideological subject of the “painting as an object”, introduced by the representatives of early American pop art. However, Sokov, having experienced life in Soviet society, ironically contrasts the icons of the Western mass culture and materialistic consumerism with the symbols of the local cultural mass market.
Painter: LEONID SOKOV
ARMED AND DANGEROUS
Here we have a giant electromechanical, mercury-powered zombie-monster with many arms and faces. It was constructed with the following set of materials: radio cabinets, pool table legs, table tops, coffee pots, pipe elbows, scoops, truck horns, thread spindles, slide projectors, truck wheel hubs, a shoe stretcher, a serving tray, chair and lamp elements, a mercury switch, water valve handles, motors, LEDs, aluminium scrap, and mechanical linkages, etc.
Painter: NEMO GOULD
THE GIRL WITH WATERMELON FROM SERIOUS "FEARS OF A WHITE MAN"
«A criminal from Kiev once asked me to shoot a portrait of his wife. The girl was extremely sexy but I could not openly express that. I was not allowed to show anything but her hands and face. We dressed the girl in a red wedding dress and stockings and couldn't even show her bare legs. «Is she allowed to eat watermelon? She is». After this shoot they broke up, because she posted this photo on some dating website and got contacted by a Japanese millionaire. This girl is now married to that oligarch.»
Painter: OLEG KULIK
12 MONKEYS
Stuffed monkeys displayed in the Zoological Museum of Moscow led Oleg Kulik to the discovery of the fundamental law of man’s relationship with the surrounding world: kill everything and display it beautifully. The monkeys look alive in the photos, despite the apparent signs of the taxidermist’s work: stiches, glassy eyes. And so, it becomes obvious that art contradicts and is even hostile towards life. The piece vividly and sharply highlights the Shakespearean tragedy of a man’s existence in the world. But the tragedy not for a man, but for the world. Each facial expression of the stuffed monkey reads as “You lose this world and yourselves above all else”.
Painter: OLEG KULIK
SKIRMISH MUSKETEERS OF KING LOUIS XV WITH CRYSTALS GROUP H-14
According to the artist, "the tension of a Russian classical picture is between the canvas and its name. Which, of course, can be regarded as one of the powerful masterminds and sources of all activities of Moscow conceptualism. " The name "Skirmish musketeers of King Louis XV with crystals Group H-14" in itself contains the intrigue of the absurd. On the canvas, the viewer sees the figures of armed horsemen who rush towards flying crystals. Characters in this picture look as if they were taken from different worlds - the musketeers of the XVIII century, contrast with the futuristic lightning lump-meteors, which came from the sci-fi blockbuster of interplanetary wars. Everything that happens is depicted like black ink on white paper - thin figures of horsemen are like brush marks that appear on the colorless surface and corners and edges of "crystal" clear cut sharply into the snowy background. Blurred gray smears of the troublesome sky complement the fantastic landscape where the action unwraps, which can be called the triumph of the absurd, a combination of incongruous, and because of that creates some unique psychedelic voltages other than the artist's style.
Painter: PAVEL PEPPERSHTEIN
