pavel FILONOV
multimedia installation
pavel FILONOV
about project
The multimedia installation "Pavel Filonov" is a media art project in the double-height hall of the Kazan Gallery of Modern Art. This is a tribute to the artist Pavel Filonov from descendants living in the world of modern technology and striving to develop his ideas with new means.
Pavel Filonov is an artist-researcher, one of the leaders of the Russian avant-garde, the founder of analytical art. Its main principle is anti-cubism and following the organic method of nature, in which the action develops from the particular to the general (the picture develops from a point).
We had a task to complement Filonov's exhibition with multimedia content and make the experience of acquaintance with his work as intense as possible. For us it meant using multimedia technologies to show the analytical nature of his paintings. Filonov disassembled the world and reassembled it in his paintings in his own way. We similarly tried to disassemble and assemble his paintings in digital streams in the form of crystals, corpuscles, jets and waves. To enhance the feeling of the fragmentation of Filonov's Universe, we also used the exhibition hall itself – in the center of the space we constructed a multilayer installation of plates.
The narrative of media art is based on the subjects of the artist's paintings themselves. We did not use the text – we wanted to make the experience intuitive and personal. Dramaturgy is revealed with the help of music. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
We had a task to complement Filonov's exhibition with multimedia content and make the experience of acquaintance with his work as intense as possible. For us it meant using multimedia technologies to show the analytical nature of his paintings. Filonov disassembled the world and reassembled it in his paintings in his own way. We similarly tried to disassemble and assemble his paintings in digital streams in the form of crystals, corpuscles, jets and waves. To enhance the feeling of the fragmentation of Filonov's Universe, we also used the exhibition hall itself – in the center of the space we constructed a multilayer installation of plates.
The narrative of media art is based on the subjects of the artist's paintings themselves. We did not use the text – we wanted to make the experience intuitive and personal. Dramaturgy is revealed with the help of music. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
pavel filonov
1883–1941
(self-portrait)
(self-portrait)
Pavel Filonov is an artist-researcher, one of the leaders of the Russian avant-garde, the founder of analytical art. Its main principle is anti-cubism and following the organic method of nature, in which the action develops from the particular to the general (the picture develops from a point).
We had a task to complement Filonov's exhibition with multimedia content and make the experience of acquaintance with his work as intense as possible. For us it meant using multimedia technologies to show the analytical nature of his paintings. Filonov disassembled the world and reassembled it in his paintings in his own way. We similarly tried to disassemble and assemble his paintings in digital streams in the form of crystals, corpuscles, jets and waves. To enhance the feeling of the fragmentation of Filonov's Universe, we also used the exhibition hall itself – in the center of the space we constructed a multilayer installation of plates.
The narrative of media art is based on the subjects of the artist's paintings themselves. We did not use the text – we wanted to make the experience intuitive and personal. Dramaturgy is revealed with the help of music. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
We had a task to complement Filonov's exhibition with multimedia content and make the experience of acquaintance with his work as intense as possible. For us it meant using multimedia technologies to show the analytical nature of his paintings. Filonov disassembled the world and reassembled it in his paintings in his own way. We similarly tried to disassemble and assemble his paintings in digital streams in the form of crystals, corpuscles, jets and waves. To enhance the feeling of the fragmentation of Filonov's Universe, we also used the exhibition hall itself – in the center of the space we constructed a multilayer installation of plates.
The narrative of media art is based on the subjects of the artist's paintings themselves. We did not use the text – we wanted to make the experience intuitive and personal. Dramaturgy is revealed with the help of music. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
At the first glance at analytical art, one might think that it lends itself perfectly to digitalization. It resembles generative art because of its fractional structures and organically developing patterns. And this is logical: after all, both generative and analytical art are created according to the same principle – the reproduction of algorithms. When you get acquainted with Filonov's paintings, you begin to think that he began to “digitize” reality already in the 20th century. There is a feeling from some of his works that they consist of millions of successively applied pixel particles. Some of Filonov's paintings are almost pure popular effect in motion design Glitch.
Filonov invents a new way of visualization of the surrounding world by studying the development of forms in nature. He is not interested in the surface of phenomena, but in their essence, their structure. He depicted the processes taking place, for example, under the skin of a human - the flow of blood, the pulsation of the veins, the work of the brain. Many elements of his paintings grow organically and arise from one another like cell division in a living organism. Each point of his paintings is carefully worked out so that the lines, shape and color produce the necessary emotional impact on the viewer.
Therefore, when we had the task of supplementing Filonov's exhibition with multimedia content, for us it meant using multimedia technologies to show the analytical nature of his paintings.
Filonov invents a new way of visualization of the surrounding world by studying the development of forms in nature. He is not interested in the surface of phenomena, but in their essence, their structure. He depicted the processes taking place, for example, under the skin of a human - the flow of blood, the pulsation of the veins, the work of the brain. Many elements of his paintings grow organically and arise from one another like cell division in a living organism. Each point of his paintings is carefully worked out so that the lines, shape and color produce the necessary emotional impact on the viewer.
Therefore, when we had the task of supplementing Filonov's exhibition with multimedia content, for us it meant using multimedia technologies to show the analytical nature of his paintings.
Filonov's paintings are phantasmagoric whirlwinds. They either condense, then dissipate, then lighten up, then gain color. Triangles, lines, circles, rays cut each other, deform and break up in a changing rhythm. In places, concrete outlines emerge from this stream - human silhouettes, faces, strange buildings, and so on. And these are all static pictures. We singled out the dynamics of the processes depicted in the paintings by showing their movement. For example, it was possible to convey the emotion of controlled chaos from the painting “Formula of the Petrograd Proletariat” using a system of particles that was controlled through formulas. And each particle was given a unique shape used by Filonov.
The elements of the paintings gathered in digital streams are an attempt to discover contrasting compounds in Filonov: organic and inorganic, human and inhuman, dead and alive. The multimedia installation shows the endless variety of particles and the forms they take. Thus, we wanted to make the experience from the perception of Filonov's paintings as intense as possible.
To enhance the effect of structured and atomized paintings, we also used the space of the exhibition hall. For this, a multi-layer suspension installation of 15 plates was assembled. Content was projected onto them. This made it possible to transfer the feeling of the fragmentation of Filonov's world into physical space as well.
The narrative of the entire installation is based on the subjects of Filonov's paintings themselves. We didn't use text because we wanted to make the experience intuitive and personal. Dramaturgy was revealed with the help of music. The composer of the project, Vanya Limb, set the dramatic accents using synthesizers, guitars and plenty of field recordings. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
The elements of the paintings gathered in digital streams are an attempt to discover contrasting compounds in Filonov: organic and inorganic, human and inhuman, dead and alive. The multimedia installation shows the endless variety of particles and the forms they take. Thus, we wanted to make the experience from the perception of Filonov's paintings as intense as possible.
To enhance the effect of structured and atomized paintings, we also used the space of the exhibition hall. For this, a multi-layer suspension installation of 15 plates was assembled. Content was projected onto them. This made it possible to transfer the feeling of the fragmentation of Filonov's world into physical space as well.
The narrative of the entire installation is based on the subjects of Filonov's paintings themselves. We didn't use text because we wanted to make the experience intuitive and personal. Dramaturgy was revealed with the help of music. The composer of the project, Vanya Limb, set the dramatic accents using synthesizers, guitars and plenty of field recordings. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
Curators: Damir Allyamov, Diana Gazimova
Video designers: Marat Latypov, Aidar Shakirov, Anastasia Starikova
Composer: Vanya Limb
Assistant: Gulshat Gabdrakhmanova
Multimedia engineer: Nail Valiulin
Video designers: Marat Latypov, Aidar Shakirov, Anastasia Starikova
Composer: Vanya Limb
Assistant: Gulshat Gabdrakhmanova
Multimedia engineer: Nail Valiulin
task
At the first glance at analytical art, one might think that it lends itself perfectly to digitalization. It resembles generative art because of its fractional structures and organically developing patterns. And this is logical: after all, both generative and analytical art are created according to the same principle – the reproduction of algorithms. When you get acquainted with Filonov's paintings, you begin to think that he began to “digitize” reality already in the 20th century. There is a feeling from some of his works that they consist of millions of successively applied pixel particles. Some of Filonov's paintings are almost pure popular effect in motion design Glitch.
Filonov invents a new way of visualization of the surrounding world by studying the development of forms in nature. He is not interested in the surface of phenomena, but in their essence, their structure. He depicted the processes taking place, for example, under the skin of a human - the flow of blood, the pulsation of the veins, the work of the brain. Many elements of his paintings grow organically and arise from one another like cell division in a living organism. Each point of his paintings is carefully worked out so that the lines, shape and color produce the necessary emotional impact on the viewer.
Therefore, when we had the task of supplementing Filonov's exhibition with multimedia content, for us it meant using multimedia technologies to show the analytical nature of his paintings.
Solution
Filonov's paintings are phantasmagoric whirlwinds. They either condense, then dissipate, then lighten up, then gain color. Triangles, lines, circles, rays cut each other, deform and break up in a changing rhythm. In places, concrete outlines emerge from this stream - human silhouettes, faces, strange buildings, and so on. And these are all static pictures. We singled out the dynamics of the processes depicted in the paintings by showing their movement. For example, it was possible to convey the emotion of controlled chaos from the painting “Formula of the Petrograd Proletariat” using a system of particles that was controlled through formulas. And each particle was given a unique shape used by Filonov.
The elements of the paintings gathered in digital streams are an attempt to discover contrasting compounds in Filonov: organic and inorganic, human and inhuman, dead and alive. The multimedia installation shows the endless variety of particles and the forms they take. Thus, we wanted to make the experience from the perception of Filonov's paintings as intense as possible.
To enhance the effect of structured and atomized paintings, we also used the space of the exhibition hall. For this, a multi-layer suspension installation of 15 plates was assembled. Content was projected onto them. This made it possible to transfer the feeling of the fragmentation of Filonov's world into physical space as well.
The narrative of the entire installation is based on the subjects of Filonov's paintings themselves. We didn't use text because we wanted to make the experience intuitive and personal. Dramaturgy was revealed with the help of music. The composer of the project, Vanya Limb, set the dramatic accents using synthesizers, guitars and plenty of field recordings. So we can say that all acquaintance with Filonov was built on visual and sound perceptions.
team
Curators:
Damir Allyamov, Diana Gazimova
Assistant:
Gulshat Gabdrakhmanova
Damir Allyamov, Diana Gazimova
Assistant:
Gulshat Gabdrakhmanova
Video designers:
Marat Latypov,
Aidar Shakirov,
Anastasia Starikova
Composer:
Vanya Limb
Marat Latypov,
Aidar Shakirov,
Anastasia Starikova
Composer:
Vanya Limb
Multimedia engineer:
Nail Valiulin
Nail Valiulin