#selskiyinternet

NEW NATURE A human exists in an environment filled with many design elements associated with modern technology, web environment, smartphones’ space, large LED screens, neon signs, flickering lights on every corner. Humans have always been part of nature, and now we are witnessing the distortion of the space around them, and the formation of a new Digital Nature, a new human habitat in the 21st century. It is gradually becoming obvious that we cannot hide from it even deep in the woods, aggressive design elements and digital interfaces have created our new visual landscape.

NEW PORTRAIT Face search algorithms in modern cameras no longer surprise anyone, the process of creating a portrait is automated and simplified. A series of works from neon, metal, based on masterpieces of painting, namely portraits. What a portrait means to a modern human is a selfie. Human place themselves in the frame, placing their face inside a special frame, then place themselves in the exterior space - this is how the composition of the portrait is built. Algorithms in modern cameras and smartphone cameras recognize every human and place them in the same frame. And what would the masterpieces of painting created by one algorithm look like, devoid of the artist’s personal style, subordinated only to the algorithm of searching for a face in space? More and more the pictorial traditions of portraiture, or even the traditions of portrait photography, are moving away from us, and only a frame remains to put your head in. Machines help make our life easier, all actions should become easier, and a human should have more time for creativity and self-knowledge. At the same time, we ourselves begin to obey the same algorithms that we put into machines.

POKEMON GO GO GO

PokemonGo was a revolution in the gaming industry, it transformed the PC segment by combining the world of gaming with the world of smartphone users and social networks. In the original game, the player is required to constantly "catch" Pokémon, changing their location in real life in order to quickly react to the "pocket monsters" appearing in the landscape. This game scenario can be interpreted as a continuation of the same actions that users do in social networks: make a check-in, "like" or leave a comment. It's all a sign of the acceleration of life in today's society, entangled in social media, where we have to react to everything and instantly.

In Grisha Selskiy’s installation POKEMON GO GO GO the viewer also find themselves in a space similar to the space of the game, only now the characters of the PokemonGo game can move freely through the landscape abandoned by users, either invented consciously or never existed.

The viewer in this position can experience a certain dysfunctional gap between what he is used to seeing and feeling every day while looking at his smartphone screen, and the feelings arising from being in the installation.

Video Installation 2017 Kaliningrad, NCCA Kaliningrad

Liberty 2017

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