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Tremor of the Earth
Anton Kushaev
October 14 — November 6, 2022
Triumph Gallery
Triumph Gallery
In his projects and works, the artist explores the visual codes of art history and the internal logic of images.
Triumph Gallery presents Tremor of the Earth, a solo exhibition by Anton Kushaev. In his projects and works, the artist explores the visual codes of art history and the internal logic of images. Kushaev’s works seek to demystify the everyday while simultaneously generating a new mythology.
At the core of Anton’s approach is the formation of a symbol or a constellation of signs. Figures are combined into multi-part constructions that recall elements of architectural décor or Soviet monumental art, yet appear unstable and precarious. The recognizable images perplex the viewer, seeming vague and at odds with first impressions.
At the core of Anton’s approach is the formation of a symbol or a constellation of signs. Figures are combined into multi-part constructions that recall elements of architectural décor or Soviet monumental art, yet appear unstable and precarious. The recognizable images perplex the viewer, seeming vague and at odds with first impressions.
Triumph Gallery presents Tremor of the Earth, a solo exhibition by Anton Kushaev. In his projects and works, the artist explores the visual codes of art history and the internal logic of images. Kushaev’s works seek to demystify the everyday while simultaneously generating a new mythology.
At the core of Anton’s approach is the formation of a symbol or a constellation of signs. Figures are combined into multi-part constructions that recall elements of architectural décor or Soviet monumental art, yet appear unstable and precarious. The recognizable images perplex the viewer, seeming vague and at odds with first impressions.
At the core of Anton’s approach is the formation of a symbol or a constellation of signs. Figures are combined into multi-part constructions that recall elements of architectural décor or Soviet monumental art, yet appear unstable and precarious. The recognizable images perplex the viewer, seeming vague and at odds with first impressions.
In the Tremor of the Earth series, Anton uses found or specially acquired fabrics as traces of a particular material culture. Some are presented intact, while in others seams emerge, forming a kind of layering or fracture. Through the texture of the fabric and the visible traces of stitching, the works acquire a sculptural quality and generate a tension that calibrates the viewer’s perception.
Red becomes one of the key elements of the new project: according to the artist, it corresponds to the color of a "heated state of reality" and conveys a sense of anxiety and instability. When the earth trembles, buildings collapse, while the surviving ruins—monuments to a bygone time—continue to exert an influence on the present.
Red becomes one of the key elements of the new project: according to the artist, it corresponds to the color of a "heated state of reality" and conveys a sense of anxiety and instability. When the earth trembles, buildings collapse, while the surviving ruins—monuments to a bygone time—continue to exert an influence on the present.
In the Tremor of the Earth series, Anton uses found or specially acquired fabrics as traces of a particular material culture. Some are presented intact, while in others seams emerge, forming a kind of layering or fracture. Through the texture of the fabric and the visible traces of stitching, the works acquire a sculptural quality and generate a tension that calibrates the viewer’s perception.
Red becomes one of the key elements of the new project: according to the artist, it corresponds to the color of a "heated state of reality" and conveys a sense of anxiety and instability. When the earth trembles, buildings collapse, while the surviving ruins—monuments to a bygone time—continue to exert an influence on the present.
Red becomes one of the key elements of the new project: according to the artist, it corresponds to the color of a "heated state of reality" and conveys a sense of anxiety and instability. When the earth trembles, buildings collapse, while the surviving ruins—monuments to a bygone time—continue to exert an influence on the present.
Born in 1983. He studied at the Moscow College of Applied Arts (formerly named after Kalinin), the Icon Painting School at the Moscow Theological Academy, and later at the BAZA Institute. He is a participant in the Start and Open Studios programs at the Winzavod Center for Contemporary Art and a resident of the workshops at Garage Museum of Contemporary Art. He has taken part in numerous group and solo exhibitions.
Curator: Marina Bobyleva
Curator: Marina Bobyleva
Born in 1983. He studied at the Moscow College of Applied Arts (formerly named after Kalinin), the Icon Painting School at the Moscow Theological Academy, and later at the BAZA Institute. He is a participant in the Start and Open Studios programs at the Winzavod Center for Contemporary Art and a resident of the workshops at Garage Museum of Contemporary Art. He has taken part in numerous group and solo exhibitions.
Curator: Marina Bobyleva
Curator: Marina Bobyleva
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