As part of the exhibition Architecture of the World, the Russian artist and architect Sergey Kuznetsov presents a new series of large-format works created in charcoal on cardboard. The main protagonists of his pieces are well-known architectural structures located in various parts of the world.

Kuznetsov does not strive for meticulous accuracy in reproducing architectural details. His method can be described using the musical term "improvisation." Taking existing architecture as a foundation, the artist subtly transforms and augments it according to his own vision—so delicately that these changes are almost imperceptible to the viewer.

Entrance to Gorky Park, Moscow
2022
Cardboard, charcoal, whitewash
200×300 cm

As part of the exhibition Architecture of the World, the Russian artist and architect Sergey Kuznetsov presents a new series of large-format works created in charcoal on cardboard. The main protagonists of his pieces are well-known architectural structures located in various parts of the world.

Kuznetsov does not strive for meticulous accuracy in reproducing architectural details. His method can be described using the musical term "improvisation." Taking existing architecture as a foundation, the artist subtly transforms and augments it according to his own vision—so delicately that these changes are almost imperceptible to the viewer.

Using a minimal range of materials—charcoal, white pigment, and a few color accents—Sergey Kuznetsov achieves striking spatial depth in his works, constructing volume solely through light. Architectural drawing is traditionally considered an academic practice, one that rarely aligns with contemporary art. In Kuznetsov’s work, however, scale becomes a tool for establishing a dialogue with well-known architectural landmarks. The large format of his pieces, on the one hand, allows for greater dynamism, spontaneity, and freedom of execution.

On the other hand, despite their impressive scale, the works remain intimate, conveying a sense of lightness and weightlessness. Retaining the qualities of sketch-like immediacy through bold, sweeping lines and expressive hatching, the compositions nonetheless appear as fully realized pieces.

The cardboard works are united within an installation by a large-scale architectural structure, creating the effect of individual frames extracted from a strip of film. Through the use of directional, frame-like lighting in the darkened exhibition space, and seemingly light, weightless metal constructions, the works—positioned on different planes—appear to levitate in the air.

Through architectural imagery, Kuznetsov turns to reflections on enduring values—those often overlooked in everyday life and in moments of doubt. In the artist’s view, it is precisely these values that can serve as a kind of mental anchor in an era of paradigm shifts unfolding across the world.

The exhibition features 24 large-scale cardboard works measuring 300×200 cm. They depict architectural structures from Saint Petersburg, Vladimir Oblast, Novosibirsk, Moscow, Venice, Rome, Florence, Delhi, Istanbul, Bukhara, and Baku.

Specifically for the exhibition, the Russian composer and electronic musician Andrey Antonets (OID) created a series of original sound compositions—sonic landscapes that complement the exhibition space and evoke the atmosphere of the cities depicted. These works are not intended to interpret the artworks directly, but rather to enter into dialogue with them, enhancing and expanding the viewer’s perception.

Curator: Polina Mogilina

Palazzo Malipiero-Trevisan, Venice
2022
Cardboard, charcoal, white paint, acrylic
200×300 cmII

Through architectural imagery, Kuznetsov turns to reflections on enduring values—those often overlooked in everyday life and in moments of doubt. In the artist’s view, it is precisely these values that can serve as a kind of mental anchor in an era of paradigm shifts unfolding across the world.

The exhibition features 24 large-scale cardboard works measuring 300×200 cm. They depict architectural structures from Saint Petersburg, Vladimir Oblast, Novosibirsk, Moscow, Venice, Rome, Florence, Delhi, Istanbul, Bukhara, and Baku.

Specifically for the exhibition, the Russian composer and electronic musician Andrey Antonets (OID) created a series of original sound compositions—sonic landscapes that complement the exhibition space and evoke the atmosphere of the cities depicted. These works are not intended to interpret the artworks directly, but rather to enter into dialogue with them, enhancing and expanding the viewer’s perception.

Curator: Polina Mogilina