Giverny en voit de toutes les couleurs… (LeFigaro, 25 Juin 2019)
un nouveau festival , Impressions veut faire dialoguer les arts au pays de Monet…
Giverny élagit sa palette. Associé à la ville de Vernon, la cité phare des Impressionistes lance, sous la houlette du pianiste Mikhail Rudy, un nouveau festival, Impressions…
Du 4 au 7 juillet, l’hôte le pluis célèbre des lieux, Claude Monet, aura la tête qui tourne. À tout seigneur toute honneur, le duo d’artistes Arotin & Serghei, revisitera son oeuvre en diffusant sur la Collégiale des reflets de sa peinture en compositions de cellules de lumières, rouges, bleues et vertes. De quoi donner le vertige…
Le créateur des Nymphéas retrouvera, unsiècle après sa disparition, son vieil ami Auguste Renoir. Brigitte Fossey lira des textes des duex artistes et l’on prohettera le film Renoir, de Gilles Bourdos, en présence de son prestigieux interprète, l’immense Michel Bouquet. Emmanuel et Brigitte Macron, grands admirateurs de ce dernier, pourraient, dit-on, être de la partie …
Giverny in all its colors… (LeFigaro, 25 june 2019)
a new festival, Impressions wants to create a dialogue between the Arts in the country of Monet … Giverny is lightening his palette. Associated with the city of Vernon, the Impressionist city launches, under the guidance of pianist Mikhail Rudy, a new festival, Impressions … From July 4th to 7th, the most famous host of the place, Claude Monet, will have his head turning. Honour to all lords…, the artists duo Arotin & Serghei will re-interpret his work by diffusing on the Collégiale church reflections of his painting transformed into compositions of and green light cells. What a vertigo…
The creator of the Nymphéas will find, one century after his disappearance, his old friend Auguste Renoir. Brigitte Fossey will read texts from the artists and the film Renoir, by Gilles Bourdos, will be projected in the presence of its prestigious interpreter, Michel Bouquet. Emmanuel and Brigitte Macron, great admirers of the latter, could, it is said, be part of …
- AROTIN & SERGHEI – Infinite Time Machine 01 (unique digital creation, 6K animation, 6 digital canvases, endless metamorphosis, 220 x 200 cm, 2017, part of Infinite Screen) exhibition by Guerlain for FIAC Paris, Oct > Nov 2018
NEWS – The Essence of Art
Guerlain celebrates 190 years of creation. The opportunity to pay tribute to artists who have inspired the brand since its inception by organizing the exhibition “Futurs antérieurs” in parallel with the FIAC. The theme? A reflection about time, through installations, videos, photos, drawings, paintings … signed by young creators and confirmed artistes. Among them, Christian Boltanski, Fabrice Hybert, Mehdi Meddaci, Arotin & Serghei (above) …
until November 9th, at Maison Guerlain, 68, Champs-Elysées, 75008 Paris.
by Marie-Sophie N’Diaye
photo: AROTIN & SERGHEI (Ininite Time Machine 01, composition on six screens 2017) / S.P: GUERLAIN
#arotinserghei #artcurial #espacemuraille #champselysees #luxe #contemporaryart #innovation #palaisrasumofsky #wienerroitherandkohlbacher #dominiquerenaud #guerlain #infinitetimemachine #infinitescreen #fiac #fiacparis #futursanterieurs #parfum #essence #art #figaro #madame #paris
- AROTIN & SERGHEI – Metamorphosis (intermedial painting cycles) retrospective exhibition by Gallery W & K Vienna-New York at Palais Schönborn Batthyany Vienna Feb > Mai 2018, prolonged at Sammlung Sanziany Collection & Palais Rasumofsky for Vienna Contemporary Sept 2018 > Jan 2019
AROTIN & SERGHEI – METAMORPHOSIS
How do pictures work?
What do we see when we look at them?
What invisible depth is hidden behind the surface?
The Galerie Wienerroither & Kohlbacher invites you to re-evaluate the visuality of our world through the image objects of the artist duo AROTIN & SERGHEI.
This spring, W & K – Wienerroither & Kohlbacher continues the dialogue between cultural heritage and contemporary art in the Schönborn-Batthyány Palace.
With the artist duo AROTIN & SERGHEI, for the first time the gallery presents a position of the “new avant-garde”, as Ivan Fedele placed the duo at the opening of the Biennale Musica 2015 in Venice..
The exhibition title “Metamorphosis” sums up many of the questions that interest the Russian-Austrian artist duo.
With the help of their image objects, they want to dissolve and reassemble our visual world and disclose a deep sense of depth.
Their technique mixes montage, projection and drawing with sound elements, text fragments and performance.
“Our art is based on the knowledge of quantum physics and science of ourdays, that everything in the world consists of a ‘vibration’ of particles, everything looks different only through different points of view and is exposed to infinite processes of movement and transformation,” explain the two artists.
The work “Infinite Time Machine” for example, was developped in cooperation with the inventor of a watch and measuring system, which is based not on a spiral but on vibrations. The artists are concerned with the “uniqueness of every second” and the “elasticity of the moment”. The installation displays time in a elementary moving form over six screens – less as a measurable process than as a infinite time system.
The artworks of AROTIN & SERGHEI always function as “reflection objects” of larger phenomena; Exhibitions become “experimental situations”. Not only problems of the natural sciences are reflected in the work – philosophy, music and mythology are also essential in the thinking of Alexander Arotin and Serghei Victor Dubin. Both are humanists who transcend world models of explanation and historical knowledge. From this point of view, however, an “art of the time” is very important to them. And our time is that of the (digital) flood of images that AROTIN & SERGHEI want to systematize.
These issues are particularly expressed in their major work “Infinite Screen,” a work in progress exploring the idea of transgression of the surface of illusion, and infinity. One phase of this work, took place on the occasion of the 125th anniversary of the Kunsthistorisches Museum Vienna in 2016, as a large-scale projection on the Museums façade. Preliminary works to this and to other projects, which took place at the Ars Electronica 2014 to 2017 and at Fondation Beyeler 2016, will be shown in the Palais. Another central element of the exhibition is the cycle “Life Cells”, drawn forms of light cells, that are constantly changing showing merging and splitting processes of light. An image that is not tangible, difficult to fix on and to document and which must be perceived “live”. In the age of total reproducibility, AROTIN & SERGHEI are also working on the question of “unique digital images” as well on an innovative digital art storage technology. In order to let the viewers participate in their creative processes, the artists invite to special events, talks and performances around the exhibition.
Paula Watzl, PARNASS art magazine, march 2018
- AROTIN & SERGHEI – White Point / Prometheus (intermedial installation, part of Infinite Screen, with performances of Scriabin’s Prometheus on 2 pianos and light piano with Mikhail Rudy and the artists.) commission for the exhibition Kandinsky, Marc, Der Blaue Reiter by Fondation Beyeler Basel 2016 > 2017
- AROTIN & SERGHEI – Infinite Screen / The Babel Tower (intermedial installation, 2 ch sound digital animation) commission Kunsthistorisches Museum Vienna 2016
AROTIN & SERGHEI – METAMORPHOSIS
tl.mag #15 – TREND LIVING INTERNATIONAL
DESIGN ART FASHION LUXURY REATAIL CITY ARCHITECTURE “new territorries” duo design september 2012
Reminescent of Malevitch’s Black Square, but at the other end of the spectrum, WHITE SCREEN is the perfect example of the fictitious nature of white as a colour. When all the red, green and blue cells that create the pixels on an LCD screen are illuminated, our visually stimulated brains perceive a white coulour.
But this white colour is only created from the sum of all the information.
The project WHITE SCREEN was created for Kraftwerk Berlin, a former power station, and one of the largest indoor spaces in Eu- rope that transforms into a Contemporary Art Center. Galerie Flore has extended their focus on this duo until 13 october 2012.
Écho du carré noir de Malevitch, White- screen montre l’absolu de la couleur blanche en tant que fiction.
Quand toutes les cellules roues bleues et vertes qui forment les pixels d’un écran LCD s’allument, nous percevons dans notre cerveau une couleur blanche. Mais cette couleur blanche se crée uniquement dans notre esprit telle la somme de toutes les informations.
Créé pour le Kraftwerk Berlin, centrale énergétique et l’un des plus grands espaces interieurs, qui se transforme en centre d’art contemporain. La Galerie Flore à Bruxelles prolonge un focus sur leur travail jusqu’au 13 octobre 2012.
AD may 2012 (french edition)
ARCHITECTURAL DIGEST. ARCHITECTURE, DECORATION, ARTS , DESIGN
Art Scene PARIS, LONDON, NEW YORK, BRUSSELS
Our choice of exhibitions, art fairs and auctions.
Arotin & Serghei: WHITE SCREEN composition 5 (red) liquid cristal painting mixed technique montage in light box 2010-2012
LUXURY CULTURE – ARTS PORTFOLIO
selection of best exhibitions worldwide may 2012
> selection of 16 exhibitions Photographs by NANCY COSTE and Installations by
AROTIN & SERGHEI, Brussels
DAMIEN HIRST, London
HELMUT NEWTON, Paris
HERB RITTS: L.A. Style, Los Angeles …
AROTIN & SERGHEI collective exhibition at Galerie FLORE Brussels 2012:
… they create singular works in multiple media, using archi- tectural elements, musical compositions, scientific meas- ures, videos and texts.
Color, light and symbol appear as pure substances in their work.
At Galerie Flore, they reduce sound to a simple line on paper and focalize light in such a way that it is compressed into
a succession of primary and enchanting colors.
The spectators perception will change from one work to another…
COLLECT mai 2012 ARTS ANTIQUES AUCTIONS
> UP TO ART GALLERIES
…the galerie shows the recent creations of Arotin & Serghei.
… light installations inspired by architectonic elements, screens, light sources and texts…
The duo , formed in 1995 created as well an interactive installation called Space Screen System:
a giant screen that allows the human body to confront directly with the “hermetic surface of illusion”.
…a dematerialisation process in contemporary continua- tion and translation of the work of Malevitch, Rothko, and Turell.
Arotin & Serghei: WHITE SCREEN composition 6 (green) liquid cristal paintingmixed technique montage in light box 2010-2012
The European Fine Arts Fair Maastricht 2012
CATALOGUE Galerie Flore
AROTIN SERGHEI – MUTESPACE 1 intermedial painting BLACKLIGHT ink on paper
“AROTIN & SERGHEI
…always in search of light, of color, of music…”
EXTRACTS FROM CATALOGUE
JPeople MAGAZINE n° 16 september 2012 TRUTH, STYLE & IMAGINATION
AVARDS: BEST COVER DESIGN 2004 BEST AVANTGARDE MAGAZINE 2007-2009
“ I’m painting what I desire, not what exists ”
Arotin & Serghei – Artist duo, living in Berlin – interview by Eve La Lune – JPEOPLE MAGAZINE 16 extracts of the interview about ART, ILLUSION & DESIRE.
Serghei: Our work is about the illusion and the way one perceives it. Life can be seen as an illusion like a dream that appears to be real.
Arotin: The surface of illusion. The skin of a computer monitor. We are interested in the phenomenon of the skin, that separates you from this illusion and the virtual communication behind it.
In the series WHITESCREEN the viewer is confronted with an image where it cannot be determined where does the image begin nor where it ends. A strange perspective is created, there is an ambivalence present and the viewer experiences images changing with his own movement. This work is realized in a classical portrait format that is in the opposition to the usual perception of screens in horizontal landscapes format: The image shows a light cell that has the size of the human body. The viewers perception of a possible absurd portrait. You are invited to enter it, like through the window or a door to another world or dimension.
Serghei: It is like transgressing the limits, the usual scheme, where you are entering this light, the new space that has been created after this frontier. I see all the things as an illusion, as a reflection of the light itself. That is what interests me the most, the invisible phenomenon’s, that never has the same reflection. Once you switch off the light you cannot see but you can touch the things around you. The same thing is with the elements that your eye cannot perceive but those elements still exist, like vibrations. They could be interpreted and transferred into an abstract form of lines for example.
Arotin: Lines, distorted, neverending, vertical, horizontal…
Lines are an anti text, offering to the spectator the possibility to create his own interpretations.
In our paintings BLACKLIGHT we are creating ambiguous situa- tions, a movement between the two points, so the lines are in this context the basic structure that can be seen as line of life, a potential for the development.
When two lines meet and intersect, this section becomes a zero point, as in life where everything is meeting between different dynamics and dimensions.
The perception and the creation process are always simultaneous in our work.
So our creations are like starting points for new discoveries and developments. We need to develop constantly our inner view. “Senseless” pictures are in certain way free in this world of publicity and falsification, as a FREE SPACE rather than a clear signification or limitation. It is about the dreams, like an oniric state of life. Something that we desire to see brings optimism and energy. I ‘m painting what I desire, not what exists. Forms and colors, stimulating signs.
Serghei: I create something new and beautiful. Something very light. I’m looking at new possibilities, new perspectives and new exits from all closed situations. The desire, I have to create and to transfer this type of energy into colors and light, this is a way forward. A positive emotion as a guidance.
Arotin: Desire is necessity. Otherwise I cannot exist. I do not wish to accept the world as it is, I feel the need to change something, although knowing cannot be changed, but I can stimulate and transmit impulses to the people, signals that can awoke certain positive reactions and emotions. For me this stimulation is the sense of all artistic activities.
space screen – installation and performance “Waiting for Godot” by Samuel Beckett
…the fascination of absolute nothingness…
Arotin succeeded in making visible for the spectator the “non-lieu”, orchestrated by Beckett.
die Presse, Vienna
…overwhelming astonishing sceneries and images of Alexander Arotin…
a tension that sweeps you away from the first to the last word.
Impossible to visualize better Samuel Beckett Kärntner Tageszeitung
“… It depends, how one does nothing” says Beckett
in his play – Well done, how “nothing” was performed here!
… Alexander Arotin’s captivating spaces and lights
with a completely tilted platform…
der Standard, Vienna
In the cosmos of the absurdity
… an exciting panorama which catches the attention
from the very first moment.
Through the image of a road in a continuous motion
one enters the illusion as if it was the whole life which
rushes through, while mankind is waiting senseless and motionless on the outside.
Kleine Zeitung, Vienna
One should see how Alexander Arotin manages to create an exciting evening on the basis of notingness.
Intelligently he cleverly prolongs the total questioning
and refusal of the usual practices and theatrical conventions initiated by Beckett.
Kleine Zeitung, Vienna