Mike Rodionov (°2000, Yaroslavl) makes conceptual artworks, photos and drawings. By investigating language on a meta-level, Rodionov tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
His conceptual artworks are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By applying a wide variety of contemporary strategies, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of conceptual art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By examining the ambiguity and origination via retakes and variations, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. With a subtle minimalistic approach, he plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality.
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