28.05.2021 – 04.07.2021
Triumph Gallery, Moscow
Inconspicuously, the objects by Kirill Alexandrov store the data on all transformations made to them by the artist. It is as if their physical form had committed to memory the entire process of its own existence, workshop to display. The same could, of course, be argued almost any work of art, but the objects in this exhibition stand out because they problematise their own movement in space. Their mere existence is sufficient to achieve this end.
The chaotic mobility communicated by Kirill Alexandrov’s sculptures relies on their asymmetries. This technique of composition, present in most of the exhibits, has informed also the exhibition title.
A special mention is in order for the broad range of materials skilfully employed by Kirill, some more pliable and others much less friendly. This is cardboard used for mock-ups, plaster, wood, concrete, bronze, and others. Kirill is remarkably capable of taking traditional processing technologies from one material and effectively translating them to others. One example is stone punching, which he uses in wood objects riddled with holes.
The breadth of materials was a factor in making this exhibition a retrospective, allowing us to cover different periods in Kirill Alexandrov’s art and see the complex and often contentious relations between the degrees of abstraction and formalism in the artist’s work. His meticulous attention to object size and physical properties is thus seen as a feature of the artist’s signature approach to work.