In Pakhom’s work, punk aesthetics is the main one: using vulgar techniques of popular culture and deliberately expressive theatricality, he defines the Russian tradition as strictly anti-commercial, pointing to its inclusion in an even greater absurdity.

The Immortal Pakhom
2013
Video
13'

In Pakhom’s work, punk aesthetics is the main one: using vulgar techniques of popular culture and deliberately expressive theatricality, he defines the Russian tradition as strictly anti-commercial, pointing to its inclusion in an even greater absurdity.

Pakhom’s multi-part paintings, made on wooden plaques, refer to icons, and thanks to the use of text and images, they also look like political banners. For the exhibition, the HEAVENLY CHANCELLERY, Pakhom encrypted instructions for the person who died — for each type of newcomer, where, according to the artist, a tunnel from car chambers would serve as a passage from one world to another.

Instead of the preface to the exhibition, Pakhom adds a quote from Akutagawa Ryunosuke’s short story "Horse Legs": "First of all, he didn’t even think he was dead. He was just amazed that he suddenly found himself in an office where he had never been before.""I am an employee of the Japanese Mitsubishi company Osino Handzaburo," he said."How! Are you Japanese?" the Chinese man asked almost fearfully, finally looking up. The second elderly Chinese man, who had started to write something down in a ledger, stopped and also looked at Hanzaburo with a puzzled expression."What should we do? They got mixed up!""That's the trouble! That’s really the trouble! This has never happened since the revolution."