MODERN KINETIC ART "CROSSING SPACE"

April 14, 2021 — January 31, 2022
Triumph Gallery and Tsarskaya Tower Gallery

On April 14, a group exhibition "Crossing Space" opened in the Tsarskaya Tower gallery of Kazan Railway Station, reflecting on the key ideas of kineticism through the metaphor of the path.

On April 14, a group exhibition "Crossing Space" opened in the Tsarskaya Tower gallery of Kazan Railway Station, reflecting on the key ideas of kineticism through the metaphor of the path. She will continue a series of institutional projects on kinetic art, prepared with the participation of the Triumph Gallery.

Earlier, the Tretyakov Gallery, with the participation of the Triumph Gallery, opened the exhibition "Laboratory of the Future. Kinetic Art in Russia", representing the whole variety of forms and genres of kineticism — about 400 exhibits in total. The project has become a significant event in the cultural life of Moscow and enjoys well-deserved popularity among a wide variety of audiences. The upcoming exhibition at the Tsarskaya Tower can be considered as a continuation of it, or more precisely, a spin-off: almost all the same artists participate in it, and its curator Alisa Prokhorova was previously an assistant to the chief curator at kinetic exhibitions at the Manege Central Exhibition Hall (St. Petersburg) and the Tretyakov Gallery. However, the exhibition opening at the Tsarskaya Tower is certainly an independent and distinctive product.

Permanence
2017
Wood, metal, paper
60 × 80 cm

On April 14, a group exhibition "Crossing Space" opened in the Tsarskaya Tower gallery of Kazan Railway Station, reflecting on the key ideas of kineticism through the metaphor of the path. She will continue a series of institutional projects on kinetic art, prepared with the participation of the Triumph Gallery.

Earlier, the Tretyakov Gallery, with the participation of the Triumph Gallery, opened the exhibition "Laboratory of the Future. Kinetic Art in Russia", representing the whole variety of forms and genres of kineticism — about 400 exhibits in total. The project has become a significant event in the cultural life of Moscow and enjoys well-deserved popularity among a wide variety of audiences. The upcoming exhibition at the Tsarskaya Tower can be considered as a continuation of it, or more precisely, a spin-off: almost all the same artists participate in it, and its curator Alisa Prokhorova was previously an assistant to the chief curator at kinetic exhibitions at the Manege Central Exhibition Hall (St. Petersburg) and the Tretyakov Gallery. However, the exhibition opening at the Tsarskaya Tower is certainly an independent and distinctive product.

Kineticism, as one of the most striking trends in modern art, has simultaneously become a manifestation of interest in movement, an attempt to inspire reflections on the category of time in visual art, an exploration of the limits of sensory perception, and a creative response to a breakthrough in science and technology. Kinetic artists have overcome the previously impenetrable barrier between science and art, crossed the boundaries separating painting, sculpture and architecture, and embraced a range of experimental techniques, including multimedia and electronics. New aesthetics and forms are reflected in design, urban planning and ways of organizing space.

Composition
1971
Gouache on paper
61 × 86 cm

Kineticism, as one of the most striking trends in modern art, has simultaneously become a manifestation of interest in movement, an attempt to inspire reflections on the category of time in visual art, an exploration of the limits of sensory perception, and a creative response to a breakthrough in science and technology. Kinetic artists have overcome the previously impenetrable barrier between science and art, crossed the boundaries separating painting, sculpture and architecture, and embraced a range of experimental techniques, including multimedia and electronics. New aesthetics and forms are reflected in design, urban planning and ways of organizing space.

Visual poetry acts as a guide within the framework of the exhibition, demonstrating new approaches to the interpretation of works both within the exposition and in an unstable environment. The proposed link is not accidental: visual poets expand the range of possibilities by overcoming the linear limitations of the page. The result is a "kinetic text" that draws the reader-viewer's attention to the visual and semantic aspects of the work. Emphasizing the conceptual similarity of kinetic art and visual poetry, poetess Rya Nikonova writes: "Current art is made for observers of us <…> this is the way to create life as such, where it will merge with science."

Rotator — 4
2019
Sound installation

Visual poetry acts as a guide within the framework of the exhibition, demonstrating new approaches to the interpretation of works both within the exposition and in an unstable environment. The proposed link is not accidental: visual poets expand the range of possibilities by overcoming the linear limitations of the page. The result is a "kinetic text" that draws the reader-viewer's attention to the visual and semantic aspects of the work. Emphasizing the conceptual similarity of kinetic art and visual poetry, poetess Rya Nikonova writes: "Current art is made for observers of us <…> this is the way to create life as such, where it will merge with science."

The curatorial solution of the project illustrates the connection between two arts: Natalia Azarova’s poetry turns out to be visually consonant with Vyacheslav Koleychuk’s five-meter self-stressed spiral; Vladimir Martirosov’s kinetic constructions turn into peculiar "timelines" next to images from Velimir Khlebnikov’s poem; the works of Vasily Shchetinin, Roman Sakin and Maxim Ksuta are complemented by Gennady Aiga’s "minimal" text.

Due to the dual nature of kinetic art and visual poetry — the former is located at the intersection of art and science, the latter combines verbal and visual — it is almost impossible to classify them and limit them to one area of knowledge and comprehension. Thus, the two subjects of the exhibition "Crossing Space" were placed outside the brackets of history, arousing only sporadic interest among niche audiences and a relatively small number of researchers. This project aims to correct this and return the forms that challenge the aesthetic and expressive canons of their time to their deserved historical significance and place in the field of humanities.

The Flow
2017
Installation

The curatorial solution of the project illustrates the connection between two arts: Natalia Azarova’s poetry turns out to be visually consonant with Vyacheslav Koleychuk’s five-meter self-stressed spiral; Vladimir Martirosov’s kinetic constructions turn into peculiar "timelines" next to images from Velimir Khlebnikov’s poem; the works of Vasily Shchetinin, Roman Sakin and Maxim Ksuta are complemented by Gennady Aiga’s "minimal" text.

Due to the dual nature of kinetic art and visual poetry — the former is located at the intersection of art and science, the latter combines verbal and visual — it is almost impossible to classify them and limit them to one area of knowledge and comprehension. Thus, the two subjects of the exhibition "Crossing Space" were placed outside the brackets of history, arousing only sporadic interest among niche audiences and a relatively small number of researchers. This project aims to correct this and return the forms that challenge the aesthetic and expressive canons of their time to their deserved historical significance and place in the field of humanities.

Each of the sections of the exhibition — "Movement", "Space" and "Infinity" — addresses topical issues of conceptual searches of contemporary artists. The exhibition offers a new perspective on the primacy of space over time, which is ingrained in Russian culture — it is time, "chronos", that is primary here and is considered as an independent category.

The exhibition "Crossing Space" is multi-layered and becomes something that the viewer is ready to accept and interpret, whether it is entertainment or an opportunity to immerse himself in the big questions of the universe.

Untitled
From the "Ideograms" project
2015

Each of the sections of the exhibition — "Movement", "Space" and "Infinity" — addresses topical issues of conceptual searches of contemporary artists. The exhibition offers a new perspective on the primacy of space over time, which is ingrained in Russian culture — it is time, "chronos", that is primary here and is considered as an independent category.

The exhibition "Crossing Space" is multi-layered and becomes something that the viewer is ready to accept and interpret, whether it is entertainment or an opportunity to immerse himself in the big questions of the universe.