GRAPHICS. "ABOUT SPACES" "LIFESTYLE". 2020

Many events that seemed important and even significant, marking a milestone in history, actually turned out to be completely insignificant. Moreover, they had absolutely no consequences, except for the birth of legends. Such is, for example, aeronautics. Airship construction. With the rapidly developing aircraft industry at the same time, airships turned out to be completely in demand neither by the military industry nor by civil aviation. Or the pathos of conquering the moon still remains unclear. Numerous victims have tested the limits of human capabilities. This made up the meaning of human lives, completely filled the existence of generations with pathos. In the bottom line, we often have only an artistic reflection of these events. Legends, rumors, heroic images, and often nothing at all. That is, it is not about fixing the heroic, not about documenting events, but simply about creating myths, stories and legends. This is how a lifestyle is created. We'll never know the details. A premonition of danger. Documentary filming, chronicling the loser is impossible. The chronicle is always about the winner, it is only for this reason that it took place, the shots that we see are exclusively shots of the winner, the survivor, otherwise we will never see them, as they are destroyed. Thus, every documentary is the truth of only one side, but we will never see the chronicle of the victim. And the lifestyle is always heroic. 

Kirill Chelushkin

GRAPHICS. 2011–2023

The language of art grows with edges, is renewed by the germination of sown marginalia. Chelushkin's proto-novel bases the anthropological, technocratic, and corporeal using memorable optics. Such an optical tuning system brings sharpness to the most decanonized and therefore free images, motifs and mise-en-scenes, replenishing the world of the author's depository. The poetics of non–recognition changes the inertia of our gaze, knocks down value polarization, and cancels the hierarchy of meaningful-accidental. To sharpen an object that the draftsman needs means to master the mechanism of the viewer's attention, such a function in the film process is performed by a focus puller, or magician. Based on the point at which the focus was focused and mentally finding the source of focus, we discover the artist's position. The intentionality of such a search sets the direction of the unpainted painting, pushes towards unrecognized spaces behind the white fields of existing drawings, which turned out to be accessible to the viewer and therefore were designated the main objects of attention. But they are also marginal in relation to the invisible meaning lying in the blind spot. Kirill Chelushkin is so consistently and reliably building up the map of our world at the edges that its center is already noticeably shifting.


Anton Ouspensky