Konstantin Khudyakov. "The art of deep immersion"

Konstantin Khudyakov presents at the Moscow Architectural Institute the exhibition project "The Art of Deep Immersion"

Konstantin Vasilyevich Khudyakov, a graduate of the Moscow Architectural Institute, presents the exhibition project “The Art of Deep Immersion” at alma mater. The exhibition was organized with the assistance of the Russian Academy of Arts, the Volga branch of the Russian Academy of Arts and the Creative Union of Russian Artists and will be held from February 8 to March 4, 2016 in the White Hall of the Moscow Architectural Institute (State Academy) at 11 Rozhdestvenka.

The Art of Deep Immersion is a project whose purpose is to show some digital technologies in contemporary art. Stereo light panels, multi-touch art and high-resolution digital paintings introduce and immerse the viewer into the world of new virtuality.

In the domestic art community of authors working with digital projections, sound art, using multi-touch monitors and preserving the plastic value of the works, there are not so many. In this situation, Konstantin Khudyakov seems to be the undisputed leader of the Russian high-tech art - inexhaustible in the search for the latest technical solutions, sparing no effort in mastering the most advanced programs and equipment to date. With each next project, he reveals previously unexplored opportunities for creating artistic images of the era of network intelligence, while remaining the principal follower of art, professing an academic school equally as a necessary foundation, plastic virtues, innovation and relevance.

The exposition of the exhibition at the Moscow Architectural Institute presents the work of Konstantin Khudyakov, created between 2005 and 2015. These are works from different cycles: “The Anticipation / Deisis”, “Eye of the Angel”, “The New Russian Font”, the large cycle “Hotel Russia”, conceived by the author as an artistic double of the world in which we live: its essence, flesh and spirit, dramatic stories and no less dramatic reality. Projects that arose at the crossroads of two millennia continue to this day: the artist prefers not to stop, adding, concretizing and generalizing what he, as a person and artist, reflects in the world around him. The works combined his architectural experience, painting and digital technologies, keen interest in socially acute and historiosophical topics.

For Khudyakov, the possibility of designing from the particular to the general, from the textures and meanings of individual objects and objects to a specific human fate and a global understanding of the country’s time and history events is fundamentally important. It is no accident that his main projects are implemented in the parameters of architectural thinking, which also implies the identification of systemic connections between events and phenomena, between different types of art at the turn of the 20th and 21st centuries, striving for syncretic unity. In Khudyakov, an architect and a positioner, photographer and painter are inextricably linked. The interspecific boundaries of art have no meaning for him; the “new imagery” realized by the multivariate language of digital art comes to the fore.

As part of the exhibition project, digital paintings on canvas and stereo-light panels are presented. The artist considers the use of stereo-light technology as a truly innovative media in visual art, which allows to give compositions (created in 3-DMax, Cinema-4-D, etc.) fundamentally new expressive qualities: spatial, light, dynamic and volume effects that are not comparable in their effect to any other means. Technically, Khudyakov’s stereo mirror consists of a light panel, a unique package with an image synthesized from 220 files, a translucent mirror (MirrorView Glass) and a vertically-lens plastic. (Stereo technologist Alexei Goryaev).

The interactive installation “Chess Apocalypse” is a unique fragment from the multi-level project Art Multitouch, created jointly with the VITAMIN group from Perm. The idea of an art game is based on the unpredictability of modern history in general and each subsequent day of mankind, in particular. Here, the algorithm and logic of the traditional intellectual duel are destroyed. Making a move, a chess piece is randomly transformed and changes its hypostasis. With each new move, the situation on the board changes dramatically, and players lose control of the game every minute, becoming hostages of the cosmos of numbers. Chess Apocalypse is a metaphor for the relationship between a person and history, reality and virtuality: a virtual world entirely constructed from numbers.

In addition, the exhibition presents numerous animated fragments from Art Multitouch and a film about the artist’s work on the large-scale project “DEISIS / Anticipation”, which was once shown at the State Tretyakov Gallery.

Konstantin Khudyakov

He graduated from the Moscow Architectural Institute in 1971. By distribution, MARCHI worked as the main artist in the Central Museum of V.I. Lenin in Moscow.

By the end of the 1990s, he completely switched to digital art. Today, Konstantin Vasilyevich Khudyakov is a full member and member of the Presidium of the Russian Academy of Arts, head of the Volga branch of the Russian Academy of Arts, president of the Creative Union of Artists, professor of Moscow State Art Academy named after S. G. Stroganova, Honored Artist of Russia, working in the genre of digital art technology.

Khudyakov is a leader in the Russian art of high technology, an artist who is in search of the latest technical trends, mastering the most advanced programs and equipment. Member of the Moscow and Venice Biennale of Contemporary Art, as well as numerous museum exhibitions in Russia and abroad. His works are stored in many famous museums of the world, including the State Tretyakov Gallery, the State Russian Museum, the Moscow Museum of Modern Art, the State Center for Contemporary Art, the Center for Contemporary Art M’ARS, as well as in the art museums of Pskov, Perm, Ivanovo, Tula, Kaliningrad, Ulyanovsk, Ufa, Kostroma, Saratov, Tolyatti, museums of modern art of Vienna and Bratislava.