Искусство это? — artistic thinking in the age of AI

Artem Filatov is well-known today both in Nizhny Novgorod and beyond. His path to success is a series of very important projects related to the local urban environment: the organization of exhibitions, festivals and workshops for artists, cooperation with local communities and individual townspeople. His achievements are grants, bonuses, residences. Behind this kaleidoscope of different events, important both in the art environment and in the field of city-wide culture, many forget that Artem was and remains primarily an artist. For clearly verified, logical and justified actions, he has a complex process of interaction with the surrounding reality through sight, touch, through bizarre associative series and unobvious cultural associations. In this interaction projects are born, participants or viewers of which we then become. In the film Art.Is.Artem you can see how the works of Artem of the past years - early painting, urban installations - so work that is in the process of creation or exist only at the level of common ideas and concepts.

Text: Alisa Savitskaya, art expert

A modern artist who uses different materials, but works in one of the most recognizable techniques - pixel art or in other words famous characters drawn in squares.
Ivan is inspired by symbols for every Russian person, such as: Lenin, Cheburashka, a policeman and so on.
This art balances on the verge between a bright and funny image with
a frivolous anecdotal presentation, and often selected heroes with an ambiguous trace in world history.
This may seem strange, but Ivan is a very Petersburg artist.
Leningrad is the city of his childhood, the city is full of both direct portrayals of Lenin, and ironic readings of this figure as one of the key characters in Ivan Tuzov's work. But much in his works and from St. Petersburg. Such as the finest graphics in one of the new projects "Copy without copying" exhibited in KunstVitrina (St. Petersburg).
Undoubtedly his work is very profound. For seeming at first glance, seriousness is laid down in a lot of emotional work.

Text: Mary Sokol, artist

Konstantin Grebnev graduated from the British Higher School of Design in Moscow in 2012, the photography faculty of Mikhail Rozanov's studio; studied in 2016-2017 in the "Free Workshops" of the MMSI.
The first motive for the creativity of the photo-artist was travel to different parts of the world. Often carried out in solitude and in extreme conditions - these trips are on the verge between the creative expedition and the existential search, and self-knowledge is their goal in no less degree than cognition of the terrain. The preferred destination of travel are large natural objects and spaces - deserts, valleys, oceans and mountains.Minimalistic photographs of Constantine convey not so much the anxious feeling of the sublime, as much as sterility, emptiness and estrangement. Deserted spaces attract the author with their lack of information, and are comfortable compared to the urban space, overwhelming the person with an excess of information. In the new project Constantine continues to work with the topic of information. Using the camera and the program for 3D scanning of objects and their subsequent serial reproduction, the artist models his imaginative vision of the work of our perception and memory.When processing panoramic shooting, the program is fixed only on the selected object for scanning, recognizing the surrounding space only in the form of separate pieces of reality, separated by white lacunas - instead of those parts of the panorama in which the program could not read any information. This natural drawback of the program allows the artist to visualize metaphorically the principle of the work of memory, capable of reconstructing only those objects that proved to be valuable for perception - in a vacuum of white voids hypothetical information that remained unrecognized.
Text: Zlata Adashevskaya

"Space rocket" Natalia Fedorova, with her presence of interwoven whirlwinds in her space, is perhaps the most well-known media poet in Russia. Ultimate sensitivity to the text, living in the Word as such, the ability to constantly shift the language line - all this helps Fedorova tell the viewer very beautiful and very personal stories. Performances Fedorova - the constant calibration of the interaction between it (more broadly - a man in general) and "the machine to which you need to give a voice." It always seeks to create a kind of synthetic creation, combining sound, video, body, text. In her works Natalia Fedorova constructs a new era and crosses the border, behind which tomorrow is hiding.
Text: Olga Remneva, art expert

Ilya Fedotov-Fedorov is a very subtle and attentive artist – towards himself and his art, and towards the world around him. Ilya's works are fundamentally non-technological and apolitical: they are about the other fragments of the world in which we live. His medium is comprised of elements that are taken from nature, and thanks to artistic reinterpretation, transformed into ordinary objects: strange entities living in a world of loneliness-as-isolation as purely aesthetic natural abstractions, and demiurgically (the will of the artist) organized living systems crowded with ants. But this is a world Fedotov-Fedorov is entirely removed from: his artistic traces are clearly discernible, but the artist seems to be intentionally absent from what he creates. The video above, which is the first in a series titled "Art.Is. ___", takes an intimate look into Fedotov-Fedorov's methods and philosophy.
Text: Olga Remneva, art expert

Marina Rudenko either as a joke, or seriously declares that she is an infantilist artist. The borderline between laughter and seriousness is in general about Marina. She is a trickster, which throws a funny picture into the viewer. The audience laughs, and only after a while understands that something is wrong. What is more complicated, more ambiguous, sometimes even frankly sad. The principle "we all come from childhood" in the work of Rudenko is hyperbolized and distorted to the principle of "... remembering something that never happened," as the slogan of her personal exhibition of 2017 Blow Up Illusions says. Behind the image of Marina Rudenko's mallet, a good artist grows untiringly, able to speak with his generation in the language of this generation.
Text: Olga Remneva, art expert