∆ Triangle Gallery is pleased to announce the first solo exhibiton by Alexey Mandych (born 1973, lives and works in Moscow). Until January 20.
The creative method of Alexey Mandych is difficult to place under a concise and simplified typology, since he does not seek to define himself within a particular tradition, school, group idea or the migrating states in the art world. Mandych's original arsenal is built on the neverending search for new definitions, philosophical and essential meanings, but not those that are suggested by the mainstream art, but those that are scattered on the surface of our own modernity. His work is not always in the pure form of poetry and at the same time it is not necessarily a search for an original solution for any kind of a sculptural question, but rather delicate and therefore minimal and pure in their approaches - trials and attempts to suggest, to touch upon the query or to disturb some resonating, but not too obvious plot.
Mandych's latest project "This, which is vast" already carries a space for thought variation in its name and is a hint of a wide horizon of possibilities, options, interpretations and understanding. The name of the project, as it may seem at first glance, is an interpretation of a certain concept. This is indicated by its semantic and philosophical dimensions. And indeed it is. A number of African peoples had two capitals at the same time: a political and a spiritual one. The most notable example is the city-ancestral home of the multimillion ethnos of the Yoruba Ile-Ife, who once exerted a colossal influence on the development of the peoples of West Africa. It was he who was the spiritual capital of the Yoruba, who called it 'This, which is vast'. In this city, or more precisely, in the very concept of such a capital, the artist sees 'the capital of meanings', the highest point of discussion about life and soul searching.
Today, humanity has lost its 'capital of meaning', it dissolved within the infinitely multiplying and fragmenting information sources, each of which is editing the messages in one way or another, and processing it in a specific way for the addressee. The project is dedicated to the broken communication, the search for an addressee, longing for order and meaning. Three of its inextricably connected parts are the correlates, examples or tools of communication: male / female, unsynchronized; recorded dialogue and scattered alphabet on the floor. At a closer look, one can see references to Orwell's 1984, the novel not only remaining relevant in our time, but also giving food for thought to our contemporaries. Mandych, in turn, as an artist, attempts to see meaning and ways of existence in these twists and turns, when it isn't frightening to step into the unknown and troubling future.
The exhibition will consist of 3 (actually 4) works.
The first one is a two-channel video projected onto two adjacent walls of the gallery. The rest of the space will be darkened. The video is out of sync, so the replicas of the characters periodically coincide and make sense, but most often they miss, creating sound and semantic patterns - like a kaleidoscope. The second is the whole dialogue, spoken by the heroes, carved from a five-millimeter black steel, piled on the floor. It hinders viewers, is motionless and uncomfortable. The letters are not polished, some have sharp edges, burrs. The third is the portraits of the main characters opposing each other, behind broken glass. They seem to have frozen at some point in the dialogue, as well as the dialogue itself. In addition to desync - the environment itself prevents it (the dialogue) from taking place and achieving understanding. (Fourth) - The Artist allocated letters that match and are understandable both to the Russian speaking and English speaking readers (although the sound and meaning of the letters may differ). There are 13. Mandych has made those letters with bases, as if they stuck in concrete. Again as visualization of resistance of the environment and medium resistance.