SPRING 21
Ivan KARPOV / Daniil KORONKEVICH
The project was realized with the support of Frants Art Foundation, Time Techology and Artitec
Text: German Preobrazhensky
“Meanwhile, we, like all life on Earth, are indebted to plants. For the amazing and unique transformation of energy that they carry out (Plants create organic substances from inorganic ones under the influence of sunlight, this process is called photosynthesis). Plants do this exclusively for themselves and do not even suspect that there is a whole world on it, which they will never be able to realize and understand. "
Ivan Karpov
Ivan Karpov (b. 1986) - engaged in progressive crop production, microgreening, plant modeling. Having started the study of plant life from a scientific point of view, he gradually came to the creation of installations that no longer fit into the framework of technical expositions. Hydroponic plants have become mediums in the artistic environment.
Daniil Koronkevich (b. 1991) - sound engineer, sound designer, composer. Daniel provides sound design for theatrical performances, animation and documentaries. He combines his work at Uppsala Circus with musical experimentation. The musical accompaniment that Daniil creates is based on a whole collection of sounds that Daniil collects throughout his career. Soon, new sounds will join her - the sounds of growing plants.
This exhibition presents spring as a self-replicating topic, which is brought by the power of art into the exhibition space of the gallery. The artist himself conceives the construction of this exhibition as a “recipe of spring” woven from sounds, plants, scents and light. The “elementums” from which this eternally awakening canvas is woven are gathered at the exhibition into a single installation sequence. Essentially, an entire laboratory is formed at the exhibition, a series of experiences, and at their measured pace an enchanting renewal of the world is born by the will of the creator
A botanic attraction charms us and draws our attention. The artist, as a consistent didact, teaches us the contemplation of becoming: when the light shifts, like in the world of Plato’s cave, figures of understanding are born – schematics. The beakers throw shades on the wall, or suddenly withdraw into transparency. The symbolic configurations of the laboratory vessels form an allegory of the human body – cavities and streams, connections and dissolution of one into another.
The work of art manifests itself in a certain violation of this synthesis: by dispersing spring into “elementums” like an alchemist, the artist then gathers its fantastic living organism into a whole. The nature of this gathering is firmly connected with the time of the exhibition – the bright sun and awakening nature, and is also connected with the space – the integral floristic assemblies, literally sculptured in the whiteness of the gallery, also transform the place.
It is widely believed that entropy is disorder, but that beauty is connected with regulation. But the very phenomenon of growing, of vegetation and new things, are a manifestation of entropy. In the place where there was a pure gallery space, by the efforts of the artist a work of art emerges, which we undoubtedly see as a positive accretion.
Thus, through the complex taxonomy of rules and combinations, through a search of harmony in a complex, constantly expanding Universe, the author seeks forgiveness as a renewal (apocatastasis) of the once-lost unity with the world. He also gives us the ability to see the light, to become equal with the logic of creation.
