Museum of Post-Apocalyptic Archeology
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The exhibition takes the viewer to the distant future when the world begins to recover from the catastrophic past events that occurred at the height of the industrial revolution.
Each of the artefacts of the Post-Apocalyptic Museum collection narrates its own story about the essence of human nature and the world as a whole, revealing the influence of civilisation on the history of the future.
Modes of life, traditions, religion, rituals, monuments, idols, architecture, art, etc. reflect the cyclical nature of the stages of development of civilisation, and repeatedly lead to the origins after global wars and natural disasters, rolling us back to try again.
It tells us that regardless of any danger or drastic changes in the world around, the human essence remains unchanged and stays bifaceted: aggressively destructive and cultural and ethical, giving rise to numerous cognitive dissonances.
Today we find ourselves in a moment when everything might be erased and started anew.
What trace will we leave behind?
What image of us will descendants form, collecting ruins?
To start building a new world, humanity needs to rake up the ashes of the previous one and assemble a carcass from historical fragments to take a step forward.
Cultural artefacts make it possible to imagine who a man was, but this information cannot be reliable.
Coins, ceremonial masks, trophies and monuments convey exaggerated and sublime images, they depict only one side of human nature, by which he will be remembered.
But people, like life, are inherently multifaceted, so artefacts range between the sublime and the earthly.
The question remains: what will we choose in this range?
Curator: Marina Khodko
Each of the artefacts of the Post-Apocalyptic Museum collection narrates its own story about the essence of human nature and the world as a whole, revealing the influence of civilisation on the history of the future.
Modes of life, traditions, religion, rituals, monuments, idols, architecture, art, etc. reflect the cyclical nature of the stages of development of civilisation, and repeatedly lead to the origins after global wars and natural disasters, rolling us back to try again.
It tells us that regardless of any danger or drastic changes in the world around, the human essence remains unchanged and stays bifaceted: aggressively destructive and cultural and ethical, giving rise to numerous cognitive dissonances.
Today we find ourselves in a moment when everything might be erased and started anew.
What trace will we leave behind?
What image of us will descendants form, collecting ruins?
To start building a new world, humanity needs to rake up the ashes of the previous one and assemble a carcass from historical fragments to take a step forward.
Cultural artefacts make it possible to imagine who a man was, but this information cannot be reliable.
Coins, ceremonial masks, trophies and monuments convey exaggerated and sublime images, they depict only one side of human nature, by which he will be remembered.
But people, like life, are inherently multifaceted, so artefacts range between the sublime and the earthly.
The question remains: what will we choose in this range?
Curator: Marina Khodko
It Could Be Beautiful Here
The ruins of buildings, adorned with projections of ancient architectural elements in the form of graffiti created by an unknown street artist, represent an act of protest. This seemingly introduces an incompatible architectural ideology from the past into the present, leaving behind only a statement and a vision of beauty found in simplicity.
This sensation continuously arises within me, especially in rural areas. Against all odds—the ruins of Greece, Italy, and other countries appear. These remnants are the echoes of a once-mighty civilization. It is evident how these people valued beauty and aesthetics, and what kind of world, society, culture, and spirit they created around themselves. They spared neither time, nor effort, nor resources in erecting monumental columns, temples, palaces, amphitheaters, and much more. They never set themselves simple tasks.
However, the ideology of greatness and beauty fades under the conditions of industrialization and the simplification of standards. At what point do these values turn upside down? These questions remain open, inviting further reflection on our perception of art and architecture in the modern world.
The object is located in the Yel'niki village, Republic of Mordovia, Russia.
Wall height: 4+ meters
Year: 2023
This sensation continuously arises within me, especially in rural areas. Against all odds—the ruins of Greece, Italy, and other countries appear. These remnants are the echoes of a once-mighty civilization. It is evident how these people valued beauty and aesthetics, and what kind of world, society, culture, and spirit they created around themselves. They spared neither time, nor effort, nor resources in erecting monumental columns, temples, palaces, amphitheaters, and much more. They never set themselves simple tasks.
However, the ideology of greatness and beauty fades under the conditions of industrialization and the simplification of standards. At what point do these values turn upside down? These questions remain open, inviting further reflection on our perception of art and architecture in the modern world.
The object is located in the Yel'niki village, Republic of Mordovia, Russia.
Wall height: 4+ meters
Year: 2023
Digitized Memories
Our memories are very fragile. Over time, they weaken, dissolve, and leave behind only images, sounds, scents, moments, and emotions. In this context, I chose foam as the medium for my project. Its pure eight-bit structure, when broken, creates the sensation of a digital object with pixelated distortion or white noise—something we have grown accustomed to seeing but not touching. It is lightweight yet resilient, much like emotions, which can make the images in our minds heavy and difficult to perceive. Foam also crumbles over time, becoming less tangible or even disintegrating into particles that can never be fully reassembled.
All the information in our memory, akin to digital objects, is loaded from a server—sometimes slowly, sometimes quickly. We catch ourselves thinking that data is lost. Perhaps not irretrievably, but over time, we may glean fragments, latch onto them, and attempt to construct a chronology from the pieces.
These reflections immerse us in a state reminiscent of where we once were—our past. It can accompany us throughout our lives or vanish abruptly. However, there is never a guarantee that memories won’t resurface, even after a long time.
The exhibition objects, like a digital projection, create a space where viewers can engage with the material and fragile world of memories. Together with the visual sculptures and installations, they serve as reminders of moments we might forget. Nostalgia allows us to see how memories become part of our identity.
All the information in our memory, akin to digital objects, is loaded from a server—sometimes slowly, sometimes quickly. We catch ourselves thinking that data is lost. Perhaps not irretrievably, but over time, we may glean fragments, latch onto them, and attempt to construct a chronology from the pieces.
These reflections immerse us in a state reminiscent of where we once were—our past. It can accompany us throughout our lives or vanish abruptly. However, there is never a guarantee that memories won’t resurface, even after a long time.
The exhibition objects, like a digital projection, create a space where viewers can engage with the material and fragile world of memories. Together with the visual sculptures and installations, they serve as reminders of moments we might forget. Nostalgia allows us to see how memories become part of our identity.
Who Hide in the Folds
My research explores fabric as a means of expressing abstract forms and emotional states, drawing upon the traditions of the 20th century, where artists like Picasso and Dalí used fabric to create new visual and symbolic meanings, departing from realistic representation. In this context, porcelain emerges as the ideal medium, not only reflecting the lightness and fragility of fabrics but also emphasizing their ability to reveal internal experiences.
The draperies and silhouettes in my work represent the physical envelope of human emotions and experiences. Each fold becomes a symbol of changes in mood, memories, and personal identity. They remind us that despite outward expressions, we often hide our true feelings and thoughts, creating protective barriers around ourselves. This underscores the liminal states between various forms of existence—from the physical to the spiritual.
Metaphorical images may hide beneath the fabrics or, conversely, be exposed. They attempt to conceal their existence or dissolve into a parallel dimension, residing on the threshold between presence and absence. This uncertain status raises the question: is this really what we see? The images leave questions open-ended, prompting reflection on our perception and how it interprets the visible and invisible within our own experiences.
Each drapery initiates a dialogue between material and emotion, physical and immaterial, revealing the intricate nature of our existence and self-expression. It becomes not only a visual but also an emotional exploration, where porcelain and fabric converge to create a new space for contemplation about how we perceive the world around us and our place within it.
The draperies and silhouettes in my work represent the physical envelope of human emotions and experiences. Each fold becomes a symbol of changes in mood, memories, and personal identity. They remind us that despite outward expressions, we often hide our true feelings and thoughts, creating protective barriers around ourselves. This underscores the liminal states between various forms of existence—from the physical to the spiritual.
Metaphorical images may hide beneath the fabrics or, conversely, be exposed. They attempt to conceal their existence or dissolve into a parallel dimension, residing on the threshold between presence and absence. This uncertain status raises the question: is this really what we see? The images leave questions open-ended, prompting reflection on our perception and how it interprets the visible and invisible within our own experiences.
Each drapery initiates a dialogue between material and emotion, physical and immaterial, revealing the intricate nature of our existence and self-expression. It becomes not only a visual but also an emotional exploration, where porcelain and fabric converge to create a new space for contemplation about how we perceive the world around us and our place within it.
Коллаборации
