Inconspicuously, the objects by Kirill Alexandrov store the data on all transformations made to them by the artist. It is as if their physical form had committed to memory the entire process of its own existence, workshop to display. The same could, of course, be argued almost any work of art, but the objects in this exhibition stand out because they problematise their own movement in space. Their mere existence is sufficient to achieve this end.

The chaotic mobility communicated by Kirill Alexandrov’s sculptures relies on their asymmetries. This technique of composition, present in most of the exhibits, has informed also the exhibition title.

Drawing for the sculpture "Surf"
2010
Watercolor, colored pencils on paper
115 × 150 cm

Inconspicuously, the objects by Kirill Alexandrov store the data on all transformations made to them by the artist. It is as if their physical form had committed to memory the entire process of its own existence, workshop to display. The same could, of course, be argued almost any work of art, but the objects in this exhibition stand out because they problematise their own movement in space. Their mere existence is sufficient to achieve this end.

The chaotic mobility communicated by Kirill Alexandrov’s sculptures relies on their asymmetries. This technique of composition, present in most of the exhibits, has informed also the exhibition title.

A special mention is in order for the broad range of materials skilfully employed by Kirill, some more pliable and others much less friendly. This is cardboard used for mock-ups, plaster, wood, concrete, bronze, and others. Kirill is remarkably capable of taking traditional processing technologies from one material and effectively translating them to others. One example is stone punching, which he uses in wood objects riddled with holes.

Drawing for the sculpture "Key"
2010
Watercolor, colored pencils on paper
85 × 120 cm

A special mention is in order for the broad range of materials skilfully employed by Kirill, some more pliable and others much less friendly. This is cardboard used for mock-ups, plaster, wood, concrete, bronze, and others. Kirill is remarkably capable of taking traditional processing technologies from one material and effectively translating them to others. One example is stone punching, which he uses in wood objects riddled with holes.

The breadth of materials was a factor in making this exhibition a retrospective, allowing us to cover different periods in Kirill Alexandrov’s art and see the complex and often contentious relations between the degrees of abstraction and formalism in the artist’s work. His meticulous attention to object size and physical properties is thus seen as a feature of the artist’s signature approach to work.

Сurators: Artur Knyazev, Irina Litvyakova

Well
2011–2020
Mirror plastic, painted hardboard, mechanism
Height: 110 cm
Ø 150 cm

The breadth of materials was a factor in making this exhibition a retrospective, allowing us to cover different periods in Kirill Alexandrov’s art and see the complex and often contentious relations between the degrees of abstraction and formalism in the artist’s work. His meticulous attention to object size and physical properties is thus seen as a feature of the artist’s signature approach to work.

Сurators: Artur Knyazev, Irina Litvyakova

Well 2011–2020 Mirror plastic, painted hardboard, mechanism Height: 110 cm Ø 150 cm

Gears 2008 Bronze, mechanism 17 × 56.5 × 25 cm

Dialogue. Mobile 2019. Mirrored plastic, wood, metal, mechanism 220 x 218 x 60 cm

Untitled 1996 Ceramics, steel 50 × 17 × 70 cm

Triptych "Destruction of the Sphere". Phase 1, 2014, Painted wood, 34 × 34 × 34 cm. Triptych "Destruction of the Sphere". Phase 2, 2014, Painted wood, 65 × 57 × 34 cm. Triptych "Destruction of the Sphere". Phase 3, 2014, Painted wood, 117 × 34 × 34 cm.

Spiral 2002 Wood 110 × 16 × 16 cm Untitled 2002 Painted wood 130 × 10 × 10 cm Double Cone 2002 Wood 110 × 10 × 10 cm

Drawing for the sculpture "Key" 2010 Paper, watercolor, colored pencils 85 × 120 cm

Drawing for the sculpture "Surf" 2010 Paper, watercolor, colored pencils 115 × 150 cm

Confrontation 2019 Wood, steel 192 × 107 × 40 cm

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