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