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Eight Songs
Slava Nesterov
October 14 — November 6, 2022
Triumph Gallery
Triumph Gallery
The project is grounded in Vladimir Bibikhin’s philosophy of hyle, in which matter is understood as a forest, and the forest as a shared element.
Triumph Gallery presents Eight Songs, an exhibition by Slava Nesterov featuring works from his new eponymous series.
The project is grounded in the philosophy of Vladimir Bibikhin and his concept of hyle, in which matter is understood as a forest, and the forest as a shared element. Nesterov turns to the image of the forest as a territory of dark fairy tales, creating a world that draws on Ural, Slavic, and Scandinavian legendariums. At the same time, the forest is considered by the artist as a metaphor for a network structure that shapes our perception of the world.
The project is grounded in the philosophy of Vladimir Bibikhin and his concept of hyle, in which matter is understood as a forest, and the forest as a shared element. Nesterov turns to the image of the forest as a territory of dark fairy tales, creating a world that draws on Ural, Slavic, and Scandinavian legendariums. At the same time, the forest is considered by the artist as a metaphor for a network structure that shapes our perception of the world.
Triumph Gallery presents Eight Songs, an exhibition by Slava Nesterov featuring works from his new eponymous series.
The project is grounded in the philosophy of Vladimir Bibikhin and his concept of hyle, in which matter is understood as a forest, and the forest as a shared element. Nesterov turns to the image of the forest as a territory of dark fairy tales, creating a world that draws on Ural, Slavic, and Scandinavian legendariums. At the same time, the forest is considered by the artist as a metaphor for a network structure that shapes our perception of the world.
The project is grounded in the philosophy of Vladimir Bibikhin and his concept of hyle, in which matter is understood as a forest, and the forest as a shared element. Nesterov turns to the image of the forest as a territory of dark fairy tales, creating a world that draws on Ural, Slavic, and Scandinavian legendariums. At the same time, the forest is considered by the artist as a metaphor for a network structure that shapes our perception of the world.
Nesterov was born in Perm, and the visual language of his new works draws on elements of the Perm Animal Style and local wooden temple architecture. However, their protagonists are not biblical figures or ancient bestial patrons of the Urals, but others. Wood, in turn, embodies the idea of the hidden flow of history, concealed motives, and conspiratorial thinking.
Nesterov’s wooden objects are logically symmetrical. The depicted figures establish a rhythm and symbolize an eternal cycle, a constant transition of entities from one state or quality to another. This idea is reflected even in ant circles—for the artist, this phenomenon has become one of the key images of the project, representing the force of fate. Yet despite the apparent darkness, in the world constructed by Slava Nesterov there is room for hope, and finding a way out of the forest’s labyrinth seems possible.
Nesterov’s wooden objects are logically symmetrical. The depicted figures establish a rhythm and symbolize an eternal cycle, a constant transition of entities from one state or quality to another. This idea is reflected even in ant circles—for the artist, this phenomenon has become one of the key images of the project, representing the force of fate. Yet despite the apparent darkness, in the world constructed by Slava Nesterov there is room for hope, and finding a way out of the forest’s labyrinth seems possible.
Nesterov was born in Perm, and the visual language of his new works draws on elements of the Perm Animal Style and local wooden temple architecture. However, their protagonists are not biblical figures or ancient bestial patrons of the Urals, but others. Wood, in turn, embodies the idea of the hidden flow of history, concealed motives, and conspiratorial thinking.
Nesterov’s wooden objects are logically symmetrical. The depicted figures establish a rhythm and symbolize an eternal cycle, a constant transition of entities from one state or quality to another. This idea is reflected even in ant circles—for the artist, this phenomenon has become one of the key images of the project, representing the force of fate. Yet despite the apparent darkness, in the world constructed by Slava Nesterov there is room for hope, and finding a way out of the forest’s labyrinth seems possible.
Nesterov’s wooden objects are logically symmetrical. The depicted figures establish a rhythm and symbolize an eternal cycle, a constant transition of entities from one state or quality to another. This idea is reflected even in ant circles—for the artist, this phenomenon has become one of the key images of the project, representing the force of fate. Yet despite the apparent darkness, in the world constructed by Slava Nesterov there is room for hope, and finding a way out of the forest’s labyrinth seems possible.
Born in Perm in 1989. Nesterov’s work explores the relationships between materiality, information flows, economics, and technology. He graduated from Perm State National Research University with a degree in Contemporary Theories of Human Capital, and later from the Institute of Contemporary Art. A regular participant in group and solo exhibitions. Lives and works in Moscow.
Curator: Marina Bobyleva
Curator: Marina Bobyleva
Born in Perm in 1989. Nesterov’s work explores the relationships between materiality, information flows, economics, and technology. He graduated from Perm State National Research University with a degree in Contemporary Theories of Human Capital, and later from the Institute of Contemporary Art. A regular participant in group and solo exhibitions. Lives and works in Moscow.
Curator: Marina Bobyleva
Curator: Marina Bobyleva
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