Shadow area
EXPENSES TENI Nikolai Buyko, Lena Karatun, Anastasia Kargapoltsev, Aram Carsi, Masha Lapina, Milaghrelia, Veronica Silčanov, Anastasia Samilowa, Nick Svetlov Curator-Vladislav Efimov Work have been established at the Centre for Art Production «Svods» as part of the programme «Students in the Books»
The exhibition «The Shadow Area» is devoted to reflections on the nature of light and the properties of its inseparable dark component. Everyone knows that without light, there’s no contrast, there’s no shadow. The simple and ancient reasoning about contrast, the boundaries of shadow and light has helped the philosophy to understand the structure of the real world, to divide it into a «impartially» existing and elusive part. The material component of the real world is a super-integral, precise mechanism that binds everyone into one physical, universeal body. The universe can be divided into parts, each part heated to unimaginable temperatures, evaporated, and turned into light. In the long run, experiments to explore individual elements of creation will cause the whole to go missing, to fly away in an unknown direction. Only primary light will remain, the light of the world’s birth, and everything will return, as always.
Illusional area, shadow area, closer to art. It hides, wraps up all «precise» things in the dark diaper, diving them into the cave of our much-needed artistic arbitrariness. It is difficult to put experiments on things in the darkness and to calculate them rationally, and they cannot be turned into disembracing figures. They’re resistant to extinction, thanks to their twilight, subtle form. A rational resistance to such a «rational» approach may hide in the shadows of a hunter willing to attack a defenceless, frightened victim. In our case, the hunt isn’t evil, it’s kind. The bait is a mysterious area of the shadow, as a weapon — an artistic method, an irrational and sophisticated one. The hunter, however, is the artist himself, he is in the dream of everlasting life in this world, and he has little purpose. All you have to do is look at the shadow as the eye is focused and no longer sees the sight. So the important thing is not to look close and carefully, or you may be visited by unnecessary, practical thoughts that have no place in the photo hunt.
Let’s ask ourselves, then where is the joy of possessing the artifact produced, the clarity of its devices, the progress in its relationship with it? And none of that makes any sense in joy, in sadness, in art, in life, in love, and in death. The mind cannot understand the world, the boundaries of the unknown extend, the shadow cast by knowledge is great and great.
Veronica Silence is gonna be very scary if I take the doorknob and it bursts in my hand? If I wake up in a puddle of bed instead of myself? I suspect things in a hidden illegal life, in the unreceptiveness of the universe.
Aram Carsey N Speculation Series, which considers possible strategies for visualization outside the entity and consciousness. Fantasy of the dark room space (unthinkable and (not) possible.
Samilov’s anastasia from the light in the house
Milagraly KNOPCA
Nikolai Buyo MATERIAL ABSTRACTION The Naturemore series is printed on paper from the same trash, the naturmort is printed on its own, the life cycle of the recycling is over, paper is presented as an artwork, material and medium of the work. The topic of debris is of interest to artists, but in the domestic sphere, the waste of life is an area of shadow and something with which it is not customary to interact. In this project, I turn to paper trash and to structures organized from it as a source of beauty and inspiration. Paper debris is also processed, which is of interest to me in terms of changing the function of objects and converting them to new quality. A cardboard box can become a patsy, a bag, a school notebook, a fuel briquette, a toilet roll, a daily newspaper, and many other things, living a million lives and performing completely different functions. Taking paper debris out of the area of the household and taking its application away from it, I give it a conceptual meaning and put it in the artistic plane.
The Anastasia of Kargapoltseva, from me to YOU, the Shadow comes from the immediate presence of the other and is expressed by a visible silhouette. Masha Lapina without a name
