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Exhibitions

Vangranda
Mickey knows where to find you

13 April — 20 April 2021
24 BIS ART GALLERY

Vangranda
Mickey knows where to find you

16+

On April 13 BIS ART GALLERY opens its new exhibition "Mickey Knows Where to Find You". The main plot takes the viewer into an alternate universe described by the artist herself as the "Mouse Ghetto. It's a world where there are fights without rules and where mouse crack is sold between neighborhoods. A world where the eternal confrontation between good and evil is transformed into a ring, where everything most unusual, harsh and dangerous is realized, but at the same time familiar to every adept in this dimension. 

Certain symbols and images are persistently repeated in Vangranda's works: McDonalds, Pepsi, the sacred cow and other animals, cartoon characters, traffic cones and the sign of toxicity. Digital space is expressed as a smiley face that wanders fr om job to job, the zoomorphic characters suffer fr om an overdose of information, but are displayed with the seventh chakra awakened. Duck syrup serves as a euphemism for potent drugs, and Ace is a symbol of the apogee of reality, the lockdown into which each of us finds ourselves, reflecting confinement to somewhere deeper than just a private domestic space. The viewer, along with the author, finds himself perpendicular to reality, as if falling out of it. Vangranda shows the disintegration of the familiar world in which, she says, the truth is contained. 

In the paintings it is as if we are observing reality from the outside, through the prism of pure, unprocessed images. The early works are more personal, depicting conventionally through symbols the artist's environment and her questions about the world. Later works, in turn, express a more "generalized" view of life, detached from the personality of the author. 

In Vangranda's distinctive work there is always a seriality and rehearsal of images. She notes the great influence of meditative practices on her changing perception of the world, and in the course of her immersion in Eastern spiritual practices, her art undergoes parallel changes. One could say that each work is also a record of her personal changes. A retrospective of the artist's work demonstrates some of the visual techniques associated with her way of knowing herself, the world around her and her inner state. The early works have a densely saturated background, but a less abundant presence of characters, and a clear structure of reflection on one particular theme. It was a period of spiritual enlightenment, hence the presence of a stream of images in the head and a mass of information, which mixed together and represented a jumble of colors rather than symbols.Then came the stage of liberation: fresh flowers and visually unfilled canvases with empty areas. Vangranda gets rid of the fixation on his own ego and dissolves into the external flow of information. Logomania, obsessing over cartoon and video game characters serve already as a reflection on collective life, on the social rather than the personal.

The characters in the pictures are all familiar images of the pop culture of childhood of the Millennial generation and Generation Z, whose representative is Vangranda. In particular, they are characters from cartoons and video games, or objects of everyday life. These pop culture images and objects of everyday life are so deeply rooted in our lives and come into our eyes with such frequency and mass occurrence that they have already depersonalized and lost their original meaning. As a result, the author builds his own system of symbols and his own language. One can see the influence of the ideas of Jean Baudrillard on the artist's perception of the world.

The symbols are gathered together on the canvases and intertwined in a wild whirlpool of visual filler of alternative reality created by Vangranda. Everything exists here, all at once, because it is a MUSIC RING, wh ere the metamorphosis of reality takes place. They understand that life is a game, and they "play" it bypassing reality. The leitmotif of the chessboard is a visual embodiment of this thought.

Who is Mickey? Why does he know wh ere to look for us? Vangranda answers:

"Here reality already moves into a state of confusion and escapism. Who controls space is something that is simultaneously in everyone's heart and nowhere, because there is such a NOTHING and it doesn't exist at the same time... The NOTHING itself is now in disintegration. Mickey knows this. Why does Mickey know this? Because he's in our heads."