Young guys (both are not yet thirty) are not chasing a clever and intellectual concept packed into many letters. They are storming museums, biennales and galleries with the help of unique technology and vivid expressiveness. Rubber, plastic, nets and other industrial materials that have flooded our planet are transformed into kinetic or monumental objects with the help of clever devices and mechanisms, which is equally pleasing to both viewers and gallery owners. All of the above does not mean that their work does not have a cultural connotation, which is so necessary in the world of modern art. But they are not based on the philosophical texts of Guy Debord or the now fashionable Giorgio Agamben, but on the eternal themes of art history, multiplied by the images of new heroes — a garbage can instead of a sarcophagus, a business meeting instead of the "Last Supper", symbols of social networks in place of cuneiform Sumerian seals. In addition, "cultural" banter perfectly reflects modern cultural trends.

I want to be a part of the moment
2013
Polyurethane, casting, wood (podium)
100 × 46 × 40 cm

Young guys (both are not yet thirty) are not chasing a clever and intellectual concept packed into many letters. They are storming museums, biennales and galleries with the help of unique technology and vivid expressiveness. Rubber, plastic, nets and other industrial materials that have flooded our planet are transformed into kinetic or monumental objects with the help of clever devices and mechanisms, which is equally pleasing to both viewers and gallery owners. All of the above does not mean that their work does not have a cultural connotation, which is so necessary in the world of modern art. But they are not based on the philosophical texts of Guy Debord or the now fashionable Giorgio Agamben, but on the eternal themes of art history, multiplied by the images of new heroes — a garbage can instead of a sarcophagus, a business meeting instead of the "Last Supper", symbols of social networks in place of cuneiform Sumerian seals. In addition, "cultural" banter perfectly reflects modern cultural trends.

The arrogant, clearly articulated desire of artists to take a place in modern history is nothing more than a quote from Bender’s robot phrase "I want to be a part of the moment," as well as a reference to Andy Warhol’s "15 minutes of fame." It turns out that for the machine from the future, Bender, as well as for the artist of the past, Warhol, and for our contemporaries, Recycle, there is no history, there is only a "moment". The sensual comprehension of an object (in our case, art) is possible only here and now — and this is fundamental. Therefore, the postmodern blurring of boundaries and the demonstrative mixing of "high" and, as it were, "low" were brought by artists to such a level that they ceased to be ridiculous, but became "acceptable".

In the crazy world of the Recycle project, the viewer no longer feels uncomfortable, but feels like in a zoo, where instead of a monkey, a mirror, a timely sample and the habitat of a new millennium human are shown behind bars. And anyone who thinks that this is not the case can, as Bender said, "bite my metal ass."