AES+F. Predictions and Revelations

16.07.2019

AES+F. Predictions and Revelations

AES+F. Inverso Mundus, Still #1-02. 2015

Manege Central Exhibition Hall and Triumph gallery present a major project by Russia’s finest, internationally acclaimed artists of the AES+F collective (Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky, Vladimir Fridkes). Working at the intersection of photography, video and digital technology, AES+F regularly draw from classical media, with a focus on sculpture as well as painting, drawing and architecture. The project is supported by Multimedia Art Museum (Moscow).

The exhibition is open from July 19 till September 22. Free admittance with St. Petersburg Card.
Location: Manege exhibition centre, 1, Isaakievskaya sq. 

This exhibition spans more than two decades of work by the collective: from the Islamic Project, which began as early as 1996, to broadcast recordings of a Turandot restaging, which premiered this January at Massimo Theater in Palermo, Italy. On display also are signature projects by AES+F, including the grand trilogy—The Last Riot (2005–2007, first exhibited at the Venice Biennale in 2007), The Feast of Trimalchio (2009–2010, first exhibited at the Venice Biennale in 2009), Allegoria Sacra (2011)—and Inverso Mundus, first exhibited at the Venice Biennale in 2015. The exposition features three sculpture series, Action Half-Life (2005–2006), The Last Riot (2007), and Angels-Demons (2009–2012).

AES+F. Predictions and Revelations totals over 70 works from 8 projects across different years: video installations, sculptures, carpets, digital collages.

Vast mystical worlds built by AES+F are informed by a deep understanding of the iconography, allegories and fine-art narratives. These inputs are shaped into an ultramodern social and cultural package that welcomes anyone who is beckoned by the hypnotic interplay of meanings. True visionaries as they are, AES+F go beyond simply shedding light on the global situation in its current state and make predictions for tomorrow too. The artists use a rich visual vocabulary, combining the aesthetics of the Baroque and Mannerism styles, to put together arrays of bright supercharged images (to which anyone can relate provided they are capable of at least some irony). Surrealistic phantasmagorias hypnotize the viewer and transplant them into a meta-space where our default binaries of good and evil, beauty and ugliness, wealth and poverty, vice and virtue are not so certain anymore.

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