Maxim Ksuta

russian artist, contemporary art, sculpture, installation, photography

New exhibition – At the Fringes

At the Fringes

At the Fringes

At the Fringes

At the Fringes is an exhibition organized by the Department of Research Arts, a center for artistic research projects focused on the Russian territory. This new project shows the life at the fringes and in the border territories of Russia, where fringes are not exclusively state borders but also natural boundaries, land areas, divides and limits of space.

Areas that have been historically considered “remote”, “disconnected,” “isolated,” become especially interesting in today’s society as the means of communication have been organically integrated into the human ecosystem and transformed our perception of space. The fringes are closer than ever now but still remain somewhat distant. These can be spaces well within the country’s landmass as well as border territories.

Cohesiveness of space, in Russia and globally, is not uniform which produces modern forms of geographic inequality. The non-uniformity can be observed as some parts of the country are better known while others remain “uncharted territories”; the project takes this disparity as its starting point.

The exhibition opens with documentary projects where each presents an interpretation of archival or documentary records (photographs, official documents, sketches, field notes, video) covering a fringe region.

A stand-alone part of the project is its “permanent exposition.” It comprises painting and photography that recreate the image of a fringe with varying degrees of visual approximation. Complementing it, there is a library section that offers insights into the history of the Russian space and its landmark social, philosophical and artistic concepts.

In the third part of the exposition, the acoustic experience is just as important as the visual. The audience is immersed into the fringe space through installations and objects.

The project is supported by the Presidential Grants Foundation.

Artists
Evgeniya Buravleva
Sofya Gavrilova
Alexander Gronsky
Maria Gruzdeva
Olga Davydova
ZAPOVEDNIK research group
Elizaveta Konovalova
Taisia Korotkova
Alexey Korsi
Maxim Ksuta
Anton Kuznetsov
Alexander Morozov
Ivan Napreenko
Valeri Nistratov
Sergey Novikov
Nikolay Onischenko
Pavel Otdelnov
Alexander Povzner
Egor Plotnikov
Sergei Prokofiev
Igor Samolet
Maria Safronova
Maxim Sher
Natasha Timofeeeva

New project

https://muybridgeseries.wordpress.com

New exhibition. ATTRACTION: MANEGE — TRIUMPH GALLERY (MOSCOW). OTHER SHORES. St. Petersburg

Triumph Gallery (Moscow) will present its key artists at the Other Shores Exhibition in Manege. This project reviews opportunities to keep and pass on experience and knowledge through personal notes, maps and routes. The exhibition is based on the idea of a psychogeographic drifting or studying urban environment through one’s aesthetic and emotional experience (the term was introduced by Guy Debord). In their works, the artists conceptualize the changes in today’s world. The reality they recreate in installations, videos, paintings and sculpture becomes a true mosaic of observations, collective memory fragments and fantasies of a potential future.

The name of the exhibition alludes to a number of cultural narratives. One of them is Vladimir Nabokov’s autobiography that takes us back to certain episodes of his childhood and adolescence, as well as his relocation from one continent to another.

A Memória da Pessoa /O Destino da Sociedade. Rússia

A Memória da Pessoa /O Destino da Sociedade. Rússia

Artistas:
Maxim Ksuta

Nikita Pirogov

Svetlana Pozharskaya

Dmitry Vyshemirsky

Curadora:
Irina Chmyreva
em parceria com PhotoVisa, International Festival of Photography, Russia

Via … … … …

Curator work

Installation is a combination of two objects, one object is the work of the artist – Anna Titova, the second object is a gift.

A new group exhibition at the Kovcheg Gallery-“Fortress”

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Kovcheg Gallery-“Fortress”

New group exhibition -“CONTEXT OF THE MEDIUM” CultProject Gallery 09112017

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CultProject Gallery

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“New work” – 23072017

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New work in the Tretyakov Gallery.
Performance 23072017

New group exhibition -“Structures Fractals” CultProject Gallery 04052017

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http://kultproekt.ru/proekti/66102052017123728963/

The Kultproekt gallery begins a series of new exhibitions – “Environment contexts”.

My new solo exhibition -“THE SEQUENCES OF CONDITIONS” October 20 — November 6, 2016

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While working on The Sequences of Conditions, I was inspired by two works of fundamental research: a book by Martin Gardner entitled Penrose Tiles to Trapdoor Ciphers and Barnett Newman’s manifesto The Plasmic Image.

ELEMENTS
I have always been fascinated by the problems involved in creating a universal artistic element that could be developed endlessly, interacting with different spaces. By way of example, fractal is such an element in mathematics. In my project the fractal medium is a square that has no proportions. Two images constructed from such elements bear an extremely approximate resemblance to the familiar world that we know (“forest”space and “atmosphere” space).

ATMOSPHERE

Atmosphere is a combination of chemical elements. By analogy, the atmosphere of the picture is created thanks to the interaction of minerals bonded by resins, oils and varnishes. In my project I set myself the figurative objective of combining two spaces in one work so smoothly that spectators would not be able to perceive the transition. As is the case, for example, in ambient music popularly termed atmospheric.

SEQUENCES

The sequence of the condition of the work arises thanks to the colour dynamics in its fragments. This approach is closer to a Chinese scroll than a North European still life, which compels us to come closer and closer to the work. And this is how it is disclosed, demonstrating yet another quality — the microcosm of the details. Works on scrolls exceeding 10 metres in length motivate us to look for the great in large-scale works,
which cannot be appropriately viewed in a single glance. In my installation each separate fragment represents a frame of the conditions. The Sequences of Conditions may be developed in different physical directions, unleashing the hidden potential of degrees of freedom of the work, while simultaneously immersed in its own lack of freedom. This growth process in the infinite work can be stopped once I receive answers to most of the questions that I have raised regarding painting, methodology and motivation.

RENUNCIATION OF FIGURATIVE ART

The impact of the work is not attributable to the form, but instead to the elusive magnetism surrounding the space of the work. Such magnetism in Newman’s works was expressed in a series of plasmic paintings. I was enthralled by this idea. I worked on the composition of space, using the technique of consecutive simplification, abstracting as much as possible away from figurative art.

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CHORUS
The audio video installation consists of 12 LCD screens, where one character singsthe vowel sounds, of which there are naturally six in Russian. Each scene and sound isplayed on a separate screen. The screens are specifically not synchronised with each other at the launch of the video, while the sound is intentionally expanded with a reverberator,
thereby acquiring a volumetric and slightly otherworldly sound. In the 1950s Igor Stravinsky started using serial compositional techniques, which involves a specific concept for writing music, namely: a technique of musical composition whereby a series (row) of non-recurrent sounds serve as the pitch. It was introduced into musical practice in the works of Arnold Schoenberg and Аnton Webern. Threni: id est Lamentationes Jeremiae Prophetae from 1958 was the first completely serial composition, where Stravinsky rejected tonality as such. Working on the “chorus”, I adhered to the serial technique and intentionally selected the vowel sounds of the composer’s native language, which can be sung and combined
in a polyphonic structure.

Catalog