Another key to the artist's complex and, one might say, obsessive attitude towards the material is a pseudoscientific myth, an alternative history of science. This line originates in the family history of the artist, who unexpectedly discovered in his family an eccentric experimental researcher obsessed with electricity, the creator of the first insulated conductor factory in Petrograd... Alchemy, electrolysis, mysterious currents of inexplicable nature, scientific experiments and visionaries, minerals and dreams of eternity, the glass surface as a symbol of the infinitely fragile earth's shell, the marble foundation of scientific foundations as cosmic dust on the scale of the universe... In the world of frozen hypermaterial things, history turns into a game of illusions, a kaleidoscope of mutations, randomly formed glass balls of alternative worlds scattered across the surface of the picture of our ideas about reality. In the historical garden of Benoit, Konstantin von Riben presents six sculptures, objects that transform the garden space into a kind of laboratory of time. The artist explores how the material (granite, marble, glass) helps to capture the collision of eternal and fleeting. Each work is an experiment in turning ordinary things into monuments that reveal our relationship with time, history, and culture. The exhibition develops the ideas of the Fuzzy Sets project (2024), showing how everyday objects made in timeless materials force us to rethink our era.
Lisa Tsikarishvili
