The grid is the foundation of any design. It's a form that can be endlessly altered, and any meaning can be embedded into it. This Thursday, at the exhibition opening, visitors will become acquainted with various embodiments of the grid by young Russian artists Alexey Dubinsky and Yulia Popova, graphic artist Alexey Kio, St. Petersburg artist Andrey Lyublinsky, tattoo artist Herman Devyashin ( Herman Ix ), the street art team Vitae Viazi, and designer Andrey Adno. Unique installations will also be presented by Vova Nootk and Sense, while Fluks will create an interactive 3D platform. The exhibition is curated by the widely known Moscow monumental artist and graphic designer Artem Stefanov ( STFNV ).
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Сетка – основа любого дизайна. Форма, которую можно бесконечно менять. В нее можно вложить любой смысл. Уже в этот четверг на открытии выставки посетители познакомятся с разными воплощениями сетки авторства молодых российских художников Aлексей Dубинский и Юля Попова, художника-графика Алексея Kio, петербургского художника Андрея Люблинского, татуировщика Германа Девяшина ( Herman Ix ), стрит-арт команды Vitae Viazi и дизайнера Андрея Adno. Уникальные инсталляции также представят Вова Nootk и Sense, а Fluks создаст интерактивную 3D-площадку. Куратором выставки выступит широко известный московской публике монументалист и графический дизайнер Артем Стефанов ( STFNV ).
ANDREY ADNO / GR#D
“GR#D” is devoted to reflections on the dual nature of the grid. On the one hand, the grid can serve as the basis for a coordinate system, as a point of reference that is designed to reveal the creative potential of each individual. On the other hand, the grid can become сhains, entangling and holding the person down. According to the artist, the grid is simultaneously the thing-in-itself (Ding an sich) and a space, where every person through interaction with it can find an incredible number of alternatives equal to the number of nodes in an infinite network.
ALEXEY DUBINSKY / LOOSE PARTICLES
The rigidity of the social relations system, its stagnancy and rigidity becomes the starting point of the “Loose Particles”. According to the artist, the modern world appears to us as an airtight system — and in order to integrate into it, you must become a kind of a module that operates according to previously agreed and predetermined laws. Dubinsky suggests to perceive this situation in retrospect — and refers to the first moments on the dawn of the Universe when there were no system at all, and individual energy particles, moving freely in space, collided with each other, creating new worlds, stars and galaxies.
The rigidity of the social relations system, its stagnancy and rigidity becomes the starting point of the “Loose Particles”. According to the artist, the modern world appears to us as an airtight system — and in order to integrate into it, you must become a kind of a module that operates according to previously agreed and predetermined laws. Dubinsky suggests to perceive this situation in retrospect — and refers to the first moments on the dawn of the Universe when there were no system at all, and individual energy particles, moving freely in space, collided with each other, creating new worlds, stars and galaxies.
АNDREY LUBLINSKY / BLUE RABBIT
In his new work of “Cubism” series the author continues experiments on the verge of contemporary art and design that develop key for Lublin's idea of art-designing and transferring the game form to public space. The ironic name of the project affirms the game and naive cubism, which, unlike the Picasso and Braque cubism, does not complicate, but simplifies the form. The plastic language, reminiscent of the Russian avant-garde, refers the viewer to the digital nature of modern visuality, where figures and objects are conditional, as if in an 8-bit game.
In his new work of “Cubism” series the author continues experiments on the verge of contemporary art and design that develop key for Lublin's idea of art-designing and transferring the game form to public space. The ironic name of the project affirms the game and naive cubism, which, unlike the Picasso and Braque cubism, does not complicate, but simplifies the form. The plastic language, reminiscent of the Russian avant-garde, refers the viewer to the digital nature of modern visuality, where figures and objects are conditional, as if in an 8-bit game.
VITAE VIAZI / UNION
In the center of the “Union” lies the understanding of communication — the mutual enrichment of two individuals through confrontation and conflict, which is a necessity for the birth of the new. To VITAE VIAZI, each person is a structure of different lines, symbolising experience, life concepts and aspirations. Usually they are parallel and do not contradict to each other, however, when several microcosms come together, multidirectional vectors begin to move, transforming into a new ordered structure. Just as minor forms are considered as minor only in contrast to major ones, our own coordinate system is fixed in space only through interaction with other vectors. The result of this process is a grid — a pure and logically harmonious metaphor for a true union.
In the center of the “Union” lies the understanding of communication — the mutual enrichment of two individuals through confrontation and conflict, which is a necessity for the birth of the new. To VITAE VIAZI, each person is a structure of different lines, symbolising experience, life concepts and aspirations. Usually they are parallel and do not contradict to each other, however, when several microcosms come together, multidirectional vectors begin to move, transforming into a new ordered structure. Just as minor forms are considered as minor only in contrast to major ones, our own coordinate system is fixed in space only through interaction with other vectors. The result of this process is a grid — a pure and logically harmonious metaphor for a true union.
ALEXEY KIO / MAZE OF SHADOW WALLS
"Maze of Shadow Walls"
"Custom-made Ono-Sendai Cyberspace 7"
"Black Ice. Too many stories. Don’t think about it."
The triptych of Alexey Kio, an artist with a street-art background, working in the style of structural geometric abstraction, is a homage to the early works of William Gibson. American science fiction writer and the founder of cyberpunk Gibson was the first author to describe the concepts of virtual reality and cyberspace in contemporary literature. This artwork is a visualization of reflections on the communication system and at the same time the fragments of its abstract model in the fictional Gibson world, which finds echoes in our reality with increasing frequency every day.
"Maze of Shadow Walls"
"Custom-made Ono-Sendai Cyberspace 7"
"Black Ice. Too many stories. Don’t think about it."
The triptych of Alexey Kio, an artist with a street-art background, working in the style of structural geometric abstraction, is a homage to the early works of William Gibson. American science fiction writer and the founder of cyberpunk Gibson was the first author to describe the concepts of virtual reality and cyberspace in contemporary literature. This artwork is a visualization of reflections on the communication system and at the same time the fragments of its abstract model in the fictional Gibson world, which finds echoes in our reality with increasing frequency every day.
FLUKS / MENTAL RAV
The artwork by FLUKS comprehends the predetermination of reality, its universal purpose. In the artists' coordinate system, reality is nothing more than a simulation and product of a computer program; the world itself is only a grid with a certain predetermined step or polygon that becomes the minimal surface for visualizing reality. Polygons form physical objects, the material world as we know it. Looking at them, the viewer can find mistakes — some glitches in the universal calculations system, through which we can recognize our own being in a predetermined system.
The artwork by FLUKS comprehends the predetermination of reality, its universal purpose. In the artists' coordinate system, reality is nothing more than a simulation and product of a computer program; the world itself is only a grid with a certain predetermined step or polygon that becomes the minimal surface for visualizing reality. Polygons form physical objects, the material world as we know it. Looking at them, the viewer can find mistakes — some glitches in the universal calculations system, through which we can recognize our own being in a predetermined system.
HERMAN IX / JINX
An artwork by Herman IX is an allegorical dedication to the temptations of a big city, full of symbols, meanings and textures. Bright neon signs beckoning with vicious light become a rhythmic counterpoint for the main image of the composition — a black spider luring people into its web. The ordered web, painted on the wall with aerosol paint, referring to the usual street symbol, here is executed in a strict and verified manner. Another web, formed out of the guides of this artwork, converges in the very center of the composition — and shines through the cold of the iron sheet, like drops of morning dew.
An artwork by Herman IX is an allegorical dedication to the temptations of a big city, full of symbols, meanings and textures. Bright neon signs beckoning with vicious light become a rhythmic counterpoint for the main image of the composition — a black spider luring people into its web. The ordered web, painted on the wall with aerosol paint, referring to the usual street symbol, here is executed in a strict and verified manner. Another web, formed out of the guides of this artwork, converges in the very center of the composition — and shines through the cold of the iron sheet, like drops of morning dew.
VOVA NOOTK / GRID RUNNER
In his new work Nootk, inspired by Deerupt's design features, transferred the grid to each element of the artwork. The landscapes of the block, the measured rhythm of the brick wall, the basketball and the Grid Runner character himself, as well as his garments, all merge into a single net pattern that creates a uniform and dynamic structure of this free sketch devoted to the life of streets.
SENSE / POINT
The large-scale installation of the Sense team is the embodiment of the idea of another reality and an attempt to transfer the viewer to a new environment. Mirrors here act as a metaphor for infinity: by looking into one of them, the viewer gets the opportunity to see an endless row of soaring squares — a live interpretation of the network.
JULIA POPOVA / DO NOT TOUCH THE GRID
A series of three abstract digital artworks refer the viewer to the aesthetics of Dada. For Dadaists, the collage was the main tool for reading reality; the same approach is adopted by Julia Popova, which shows what a Dadaistic collage could be if it were introduced into a modern cultural context and created using modern technologies and a grid, the main tool for constructing an imaginary space.
