The Last Riot was originally created for Venice Biennale in 2007. In reference to Baroque Painting tradition and Chiaroscuro, this video installation imagines a dystopian virtual world where bodies removed from conscience and emotion exist weightlessly in a cyber paradigm. Light, shadow and digital manipulation slate a post-apocalyptic world where young teens enact conflict as ritual. Both heroes and villains here are automatons here, mechanically carrying out unseen commands within this dreamlike simulation. The letters AES+F of the Russian Collective are for its four members, Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky and Vladimir Fridkes. Originally the collective was founded in 1987 with Fridkes joining in 1995, adding his experience as fashion photographer to the mix. Bringing together their individual extensive expertise ranging from conceptual architecture, set design, puppetry, film, photography, graphic design and image making, the group has held over one hundred solo exhibitions, and has showcased their works in Biennials ranging from Venice in 2007 to Gwangju, Helsinki, Istanbul, Lyon & others. Traditional language of painting and sculpture often inform their digital narratives and imagined, simulated worlds.
All Watched Over by Machines of Loving Grace takes its title from a 1967 poem by American writer Richard Brautigan, which describes a utopian future where computers are in harmony with and protective of mankind and nature, performing all the necessary work while we retreat back towards nature...
Central Station, Alignment, and Argument are “situation portraits” that present whimsical characters within distorted and troubling worlds...
The Blue Poisoning series , reveals the outcome of artist Tirdad Hashemi’s weary and depressed days in the winter of 2022, following their second migration from Paris to Berlin...