DIESELPUNK

Valentin Tkach’s first painting project was about the viewer’s gaze, it was called "Vertigo", and this cinematic reference softened the persuasiveness of the impossible, which art invents to explain reality. What Tkach used to seek reconciliation with —the collapse of the empire, the end of history, the death of modernism, blah blah blah — in his new series "Dieselpunk" simply dissolves into the post-apocalypse. The weaver is no longer hiding anything, although the name adds little to the actual painting. As a basic model of completion discourses, the post-apocalypse connects disparate aspects of modernity into a single representation, and the picture with its single position of looking at the world authoritatively gathers disparate fragments of reality into a convincing puzzle.

The space in his paintings becomes impossible and works solely on the failure of our imagination, it distorts the scale, relationships and horizon. Animals also behave strangely — a mammoth, for example, fits under a boy’s armpit. Animals and space change, but not man, because the perfect cannot change — the surgeon continues to operate, the viewer watches, the boy plays and hooligans, the boxer boxes, etc. — An anthropological tautology is imputed to the world as a deadly virus, and the world is dying. The immutability of human nature becomes a place of absurdity, a place where the world continues beyond time, on the ruins of civilization, among piles of garbage and abandoned buildings. This is our real invisible modernity.