Zarmina Kuropatovacurated byKonstantin Adjer
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Personal exhibition «God from the Machine»
Longread translated automatically
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Human brains tend to constantly search for hidden design, but often prefer literal interpretation, which may run counter to allegorical interpretation. It is in this contradiction that I see the true nature of «the God of the machine», a phenomenon that exceeds the athem. To be clear, this is not about theological design, but about the very mechanism of perception faced with absolute — what exists outside human categories.
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Absolute exists in different deposits, and one of them is the superposition, the multi-staffity of objects. Mirror surfaces become a real attempt to catch the truth behind the tail. These items were subordinated to man, but were abandoned in pursuit of the desired new trophy. A world where everything is lying to you, trying to hide, but doesn’t stop showing up and whispering about something. But we can’t measure the volume of the human «What?» with a whispering answer that’s just drifting away. That’s when you realize the prison and your stabbing. I’m just knocking on the walls of my room and hearing an empty voice, but I don’t know if it’s a plaster, whether it’s a secret room, whether it’s a world behind it. All of this is the sadness of the soul, asking for life about its secret. And in our search for the fifth corner, we have a question: who is the observer and where is his instrument?
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POWER/TROPHY/PURPOSE TO BE EXPENDED TO PANEL/FOREST MAJOR
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1/ «Truffle» horns, 6 mirrors from 0.4 m to 1.3 m 2/ «Engine», wide print 2.75 m x 3.59 m.
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Final materials / monochrome camouflage, oil size / 1mx1.5 m
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TOPIC
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«Tupik», mixed machinery: oil (red layer), glass, wood. Temporarily
VIDEOINSTALLATION
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It’s a 3-minute video installation.
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GOD FROM MACHINE
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It’s a five-minute video installation.
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— Why don’t you dance? — Line
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«Why don’t you dance? — Round of canvas, butter, wood. Size: 159 cm x 125 cm.
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EVALUATION
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Curator text includes explanations for each work, forming the whole rationale for the exhibit. Cross-references are available, as is the case within the work. Each part comes into order, claiming the attention of the audience. This style is explicative, but without the numbering of the work, it’s sort of out of line, but it’s still in the same position.
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