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TWO DOTS ON A SMOOTH BLACK SURFACE
Sergey Filatov
July 30 — August 30, 2020
Triumph Gallery
Triumph Gallery
It will include the artist’s new sound sculptures and works reimagined for the gallery space.
Admission by registration for sessions and accreditation in advance. Choose a convenient time and day to visit. Please note that the number of sessions is limited. Plan your visit in advance. You can cancel your session by emailing us at info@truimph
Triumph Gallery presents a solo exhibition of paintings and sound art of Sergey Filatov Two Dots on a Smooth Black Surface. It will include the artist’s new sound sculptures and works reimagined for the gallery space.
Triumph Gallery presents a solo exhibition of paintings and sound art of Sergey Filatov Two Dots on a Smooth Black Surface. It will include the artist’s new sound sculptures and works reimagined for the gallery space.
SonoContour
2018
Percussive sound sculpture
Sizes vary
2018
Percussive sound sculpture
Sizes vary
SonoContour
2018
Percussive sound sculpture
Sizes vary
2018
Percussive sound sculpture
Sizes vary
Admission by registration for sessions and accreditation in advance. Choose a convenient time and day to visit. Please note that the number of sessions is limited. Plan your visit in advance. You can cancel your session by emailing us at info@truimph
Triumph Gallery presents a solo exhibition of paintings and sound art of Sergey Filatov Two Dots on a Smooth Black Surface. It will include the artist’s new sound sculptures and works reimagined for the gallery space.
Triumph Gallery presents a solo exhibition of paintings and sound art of Sergey Filatov Two Dots on a Smooth Black Surface. It will include the artist’s new sound sculptures and works reimagined for the gallery space.
The exhibition Two Dots on a Smooth Black Surface offers to the viewers and listeners a field of artistic research of sound presented in nine installations. Filatov creates works that balance between sensuality and technological strategies, materiality and immaterial vibrations, mathematical precision and handmade. The artist is interested in paradoxical interactions that explore the acoustic characteristics of various materials — metal, glass, resins and others. During the lengthy research he opened new principles of sound-producing, revealing the sound potential of various objects and materials.
The key factor in understanding Sergey Filatov’s research of sound is the aesthetics of reception — the attention to not only the structure and sounding of the works, but also the ways to perceive them as viewers and listeners. All presented sound works carry a wide margin for interpretations. These are related to the specifics of different people’s perception in a perspective manner and to the objects' position in space. Therefore, the dynamics and the variability demonstrate ways in which sound artworks can interact with the environment they are situated in.
The key factor in understanding Sergey Filatov’s research of sound is the aesthetics of reception — the attention to not only the structure and sounding of the works, but also the ways to perceive them as viewers and listeners. All presented sound works carry a wide margin for interpretations. These are related to the specifics of different people’s perception in a perspective manner and to the objects' position in space. Therefore, the dynamics and the variability demonstrate ways in which sound artworks can interact with the environment they are situated in.
The exhibition Two Dots on a Smooth Black Surface offers to the viewers and listeners a field of artistic research of sound presented in nine installations. Filatov creates works that balance between sensuality and technological strategies, materiality and immaterial vibrations, mathematical precision and handmade. The artist is interested in paradoxical interactions that explore the acoustic characteristics of various materials — metal, glass, resins and others. During the lengthy research he opened new principles of sound-producing, revealing the sound potential of various objects and materials.
The key factor in understanding Sergey Filatov’s research of sound is the aesthetics of reception — the attention to not only the structure and sounding of the works, but also the ways to perceive them as viewers and listeners. All presented sound works carry a wide margin for interpretations. These are related to the specifics of different people’s perception in a perspective manner and to the objects' position in space. Therefore, the dynamics and the variability demonstrate ways in which sound artworks can interact with the environment they are situated in.
The key factor in understanding Sergey Filatov’s research of sound is the aesthetics of reception — the attention to not only the structure and sounding of the works, but also the ways to perceive them as viewers and listeners. All presented sound works carry a wide margin for interpretations. These are related to the specifics of different people’s perception in a perspective manner and to the objects' position in space. Therefore, the dynamics and the variability demonstrate ways in which sound artworks can interact with the environment they are situated in.
The sounding and the kinetic factor of the SonoContour structure resemble church bells. Melchior semispheres' contact with the moving elements of the installation causes sound vibrations designed to draw one’s attention back to the present moment. These natural and spontaneous movements actually occur according to the algorithm created by the artist. Upstreams of bubbles in the reservoirs of the Upward Flow sculpture create sound texture caused by two elements interacting with each other: the pitch depends on the water level and air speed. Moving microphones sometimes appear above the reservoirs, documenting the delicate sounds and transferring them to a bigger space. The Parallel Touch sound installation is a unique crystal metronome. It sounds periods and trajectories impartially and relentlessly, like drops of water, reflecting the moments of the natural unevenness in its rhythm.
The sounding and the kinetic factor of the SonoContour structure resemble church bells. Melchior semispheres' contact with the moving elements of the installation causes sound vibrations designed to draw one’s attention back to the present moment. These natural and spontaneous movements actually occur according to the algorithm created by the artist. Upstreams of bubbles in the reservoirs of the Upward Flow sculpture create sound texture caused by two elements interacting with each other: the pitch depends on the water level and air speed. Moving microphones sometimes appear above the reservoirs, documenting the delicate sounds and transferring them to a bigger space. The Parallel Touch sound installation is a unique crystal metronome. It sounds periods and trajectories impartially and relentlessly, like drops of water, reflecting the moments of the natural unevenness in its rhythm.
Graphic works from the Signs on the Way series and the Horizon of Eternity series of paintings were included in the exhibition in addition to the sound sculptures. Plain fields of solid colour and the fragments of texture perspectives they show, as well as monochrome prints of abstract and surreal shapes in graphics, reveal layers of signs in the subspace of automatic expression. Plastic decisions made by the artist correlate with the rhythms and harmonies of his sound works.
Both sound and visual artworks presented together demonstrate the cohesion of the artist’s creative methods. Perceiving the works using one’s ears implies, according to the artist, perception on the visual level as well. This manifests itself differently each time in every work, making it possible to hear and to listen to what cannot be noted by usual perception.
Curator: Marina Bobyleva
Both sound and visual artworks presented together demonstrate the cohesion of the artist’s creative methods. Perceiving the works using one’s ears implies, according to the artist, perception on the visual level as well. This manifests itself differently each time in every work, making it possible to hear and to listen to what cannot be noted by usual perception.
Curator: Marina Bobyleva
Graphic works from the Signs on the Way series and the Horizon of Eternity series of paintings were included in the exhibition in addition to the sound sculptures. Plain fields of solid colour and the fragments of texture perspectives they show, as well as monochrome prints of abstract and surreal shapes in graphics, reveal layers of signs in the subspace of automatic expression. Plastic decisions made by the artist correlate with the rhythms and harmonies of his sound works.
Both sound and visual artworks presented together demonstrate the cohesion of the artist’s creative methods. Perceiving the works using one’s ears implies, according to the artist, perception on the visual level as well. This manifests itself differently each time in every work, making it possible to hear and to listen to what cannot be noted by usual perception.
Curator: Marina Bobyleva
Both sound and visual artworks presented together demonstrate the cohesion of the artist’s creative methods. Perceiving the works using one’s ears implies, according to the artist, perception on the visual level as well. This manifests itself differently each time in every work, making it possible to hear and to listen to what cannot be noted by usual perception.
Curator: Marina Bobyleva
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