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News
AUG '2018
Why Science art?
"As far as I'm concerned, science art is one of the best ways to express the spirit and the heart of the age", Dmitry Volkov talks about his understanding of technology art, which is getting more and more popular.
AUG '2018
The Greenland Conference "Problems of Consciousness and Freedom of Will in Analytiс Philosophy"
June, 2014. The Greenland Conference was organized in a new format of a scientific discussion. During the week its participants were on a philosophical expedition to the shores of Greenland on board of s/v Rembrandt van Rijn.
JUL '2018
Dmitry Volkov: Should we give philosophy its soul back
Philosopher and businessman Dmitry Volkov on how science looks for eternity in a person.
Collection
THE GREETING
This piece presents the issue of interaction between modern and classical mythology. Bright red colours that fill the background of the painting come out from Pokémon’s burning tail. More pixels fly from the top of the painting – they are a symbol of continuation of modern mankind, whereas the baroque angel does not have continuation as it belongs in the past. This is how the artist accentuates the meeting of two worlds: analog and digital. Here the baroque infant accepts the imminence of the new digital epoch and passes the baton to the Millennial Generation.
Painter: ANASTASIA RUSSA
DMITRY GUTOV
Exhibition “Portraits of composers”. This art object was created in 2010 from metal (welding). It represents not only a portrait, but a recreation of some author notation pieces. “Very expressive eyes, mimics, chevelure – with light touches of notes. Maestro obviously listens to himself.
Painter: DMITRIY GUTOV
CORE # 4
The work CORE № 4 is part of the series combining three sculptures named «paleomorphological cores». In the heart of the series is the intention to dissect the human and cultural evolutions and present the result as a mined formation sourced from the earth. This dissected fossil illustrates the chronological development of the modern society, turning from amorphous yet structural layers of industrial humus and alternating hollows that are gradually absorbing the human figurines. The visual realisation of the origins and nature of civilisation in Kawarga's art stems from metaphysical philosophy, at the same time it takes on defined shapes provoked by chemical reactions.
Painter: DMITRIY KAVARGA
BIT-COIN SILK
The installation is tracking the real time changes in the market activities related to cryptocurrencies Bitcoin and Litecoin – independent and uncontrolled by any state peer-to-peer payment systems. Constantly changing currency rate of of Bitcoin against major world currencies is influencing the strain of strings in installation and the way the picks are hitting them. The robotic system of the artwork is directed by a computer algorithm: influenced by dynamic changes of data, the installation sounds like a complex sound instrument. Technically, the installation consists of two poles of 2 meters height. Each stand sprouts 5 diagonal strings which correspond to 5 currencies (US dollar, Yuan, Euro, Canadian dollar and Russian ruble). These strings are pulled on special automatic tuners moved by stepper motors directed by computer algorithm. Each motor features high precision of movement, which allows very precise tuning of string even with quite insignificant changes of parameters.
Painter: DMITRIY MOROZOV
WINTER FROM THE SERIES ‘SEASONS OF THE YEAR’
Dubosarskiy and Vinogradov demonstrate the age-old confrontation of Russia and USA in a twisted and playful manner using a Russian bear and an American doll. On one hand, such a scene represents activities enjoyed by adults while showing aspects of life that are usually hidden from children. On the other hand, children’s toys can touch upon the territory of ideological conflict and geopolitical problems, matters that one usually takes very seriously. In the end, everything turns out to be just a game.
Painter: DUBOSSARSKY AND VINOGRADOV
HAIRCUT FOR A FRIEND
The artist’s painting, ironically entitled “Haircut for a friend”, was created in 2008, and is one of his most ambitious large-scale early works. The composition puzzles the audience with its phantasmagoric plot: two young men dressed in loose streetwear are clipping a blue griffon. It is impossible not to notice the graffiti-style inscription «ТРУДЪ» (“LABOUR”) shaved into the side of the fairytale animal by the skillful hands of the freestyle-hairdressers. Koshelev strives to demonstrate the significance of the everyday life, similar to the artists of the “Severe style” in the 1950-1960s. However, in front of us is the everyday reality of the dawn of the third Millennium, as transformed by the screenwriters and directors of incredible blockbusters.
Painter: EGOR KOSHELEV
