Within the framework of the «Abstraction Classics» project
IV International project
«Abstract Art in Modern Russia»
The exhibition «The Space of the Ideal»
Participants from 16 countries: France, Israel, Bulgaria, Italy, USA, South Korea, Spain, Canada, Romania, Turkey, Germany, Mexico, Japan, Venezuela, Syria, Russia.
Artists are always leading the way.
They are our eyes.
They teach us to be.
They have created a visible man-made world.
"The fact that you have eyes does not mean that you are able to see."
"The fact that you have the vocal cords, tongue and palate, does not mean that you can say."
Vision should be to teach and learn.
Similarly, how to learn to speak.
Peter Greenaway
The IV International project «Abstract Art in Modern Russia» is a project destined to identify the art’s place
in contemporary culture, to represent a greater variety of points of view with participation of foreign abstract
artists. In this process abstraction is aimed at development of the concept of «the ideal» which requires
support and development of culture, as well as a critical dialogue. That will materialize through a
multi-plane process within «The Space of the Ideal» format. Abstract artists will take part in this dialogue,
presenting their projects and acting as a team united by the common interest in development of the concept
of «the Ideal»
The project provides simultaneous installation, where the dialogue between an artist and an audience is
quite possible.
The ability of abstract thinking is one of the human peculiarities, which probably arose along with language
skills and thanks to language. Abstraction in its highest forms is a result of the essential properties and
phenomena discovery through its connections and relations. Mathematics has the most advanced system of
abstraction. The abstraction degree of a discussed definition called the level of abstraction. Depending on
purposes and tasks we can discourse upon the same object at different levels of abstraction. It sounds amazing
and incredible, but it’s true: the origins of physics are abstract. The modern science uses not exact real
image but abstract assumptions as a model. Expressive symbolism in visual art is capable to influence the
viewer’s self-consciousness, to make persons having antipodal views closer with regard to a work of art.
That happens because symbols and feelings are universal for all people.
Watching the latest trends in science and life in general, one can conclude that there’s practically nothing
impossible for modern man. He can change his appearance beyond recognition. He can already model his
body and the space around him. The question now arises as to what will remain as the core, the backbone
connecting us with people of the past and future generations. What will guide our consciousness and our
doings? The symbols of faith and words will remain forever. Names may change but graphic images-symbols
will remain, and through them the reference knowledge will continue to flow.
A symbol is not only a silhouette, it is also a color, a texture, a smell and a sound. In total, it is a means of
intelligible and comprehensive conveyance of information to an addressee. It is a message of feelings and
sensations, an image of internal, spiritual life, from one creature to another, enriching each other inwardly,
bringing new colors to the present. The current scientific progress leads to higher-quality, super-sensitive
means of communication. But what can be compared with human feelings and ability to empathize? The
most important task is to develop this ability, and the most efficient method for that is to participate in a
creative process by emotional comprehension of artists’ works, to build an indissoluble structure of spiritual
interconnection.
The world we are living is just the collective visualization.
Actually this is the only thing one generation hands down to other.
Whatever forms were written by the past,
the truth is that everybody sees
only the reflection of himself.
David Ru