Sergey Dorokhov was born in 1988.

In 2012, he graduated with honors from Moscow State Academic Art Institute Named After V.I. Surikov Of Russian Academy Of Arts. In 2015, he graduated from the creative workshops of the Russian Academy of Arts.

In 2013, he became a member of the Moscow Union of Artists and the Russian Union of Artists.

Since 2019, he has been studying at the BAZ Institute under the guidance of A. Osmolovsky.

Sergey Dorokhov is a regular participant of exhibitions of contemporary art platforms, multiple prize-winner and participant of European exhibitions. His works are in private collections in Russia, Europe and Asia.

He has received awards and medals from the Russian Academy of Arts, the Ministry of Culture of the Russian Federation, the Moscow Union of Artists of Russia and the Government of Moscow, as well as awards from the Embassy of Serbia in Moscow and the Russian Embassy in London.

Participation in a number of projects in the field of contemporary art is also marked by awards and prizes, including awards from ROSIZO.

My work is closely connected with events and phenomena taking place on the political scene of our country and the world. I deeply analyze the events and phenomena of the past, which have the peculiarity of maintaining their relevance in the present and a certain projection into the future. I actively work with the themes of post-memory in the collective consciousness of society. I am inspired by the works of Mark Fischer " Capitalist realism "and Fredric Jamieson"Postmodernism, or the Cultural logic of late capitalism". Also Boris Groys, especially his scientific works and texts about the art of Eastern Europe after the fall of the Berlin wall. In my opinion, these authors most fundamentally reveal the unique collision of two radically different systems of society and the world order, as well as transitional practices and side effects. The greatest interest is caused by these projections in the art format.

In my works, I reflect the problem of interaction between society and the authorities at the expense of a certain artistic language. The combination of black and a certain monochrome in combination with bright marker accents forms the basis of my work. This color aesthetic is not accidental. In my work, I dismantle and handle the events, statements, people, society and their attitude of the moment of reality, vigorena form the past through the overlap of one to another, which expresses the fact that the result or consequence of a situation that occurred in the past, persists to the moment of current reality and can be projected into the future without loss of relevance, in a situation of present and past time. Current situationality is expressed in all forms, both everyday perception and social perception. This is working with the concept of post-memory and archetypes of the past, in the projection of modern digital or analog image defects, in the combination of several compositional systems together.

Also, in my works, I often resort to citation, using fragments of phrases, showing how a word changes its semantic meaning depending on the context in which it is wrapped.

I reflect on the conflicts of our society, returning to the key moment in the formation of people of my generation - the nineties and noughties. Referring to this period, I choose symbols and aesthetics that are understandable to people who lived through this time. A time of great expectations and deep disappointment, the remnants of which still stick in the development of our society. While it's important for me not to take a position, but only to give the audience a chance to wonder what they are flashes of past events left in myself today and ready to carry in the future, maybe in another videofreegay form of perception.
Sergey Dorokhov

SERGEY DOROKHOV. INTERFERENCE OF THE PAST, PRESENT AND FUTURE.

Any moment will betray, and we are just a series of doomed moments.

Victor Pelevin, "Secret views of Mount Fuji"

The 50s, 60s, 70s... the hindrances of the past sweep before us like newsreel footage superimposed on one another…

Commemorative culture, that is, the culture of memory, functions as a glitch: private, specific memories of people are layered on state-approved historiography, forming a peculiar, multi-layered and dense pattern. Imagine that any event or historical fact has a trace that needs to be found under a hundred others. The historian, like a real archaeologist, clears, deconstructs and catalogues thousands of traces layer by layer, composing a linear, consistent narrative. The artist works in a different way — he captures the trodden path of history in all its ornateness and complexity, adding to this his own unique look. Sergey Dorokhov's works are the result of this attempt to talk about the contradictory past and present of our state through common cultural signifiers. And this conversation turns out to be exciting.

In the series "Hindrances of the Past", well-known plots of Russian history are easily read: the death of Stalin, Khrushchev's "corn fever", the famous kiss of Brezhnev and Honecker, the flight of Misha the Bear at the closing of the 1980 Olympics - these images are easily guessed even by someone who was not a real witness of those events. Mixing with interference and white noise, they flicker like a television screen. The "box" from the 80s — an information medium of bygone eras - is timely to the events that it "shows". The same logic is followed by a return to the analog aesthetics of early video games — we immediately understand that over refers to a game called "USSR". However, there is something in these works that turns them into evidence of the present and a prophecy about the future — the same glitch, flicker, shift.

The pink color seems to "glamorize" the things and events shown. Glamour - literally "charm, charm" - the aesthetics of mass consumption, based on hedonism and external brilliance. Originally associated with the spread of aristocratic luxury and erotic freedom, glamour has degenerated into the vulgarity of conspicuous consumption, blatant gender stereotypes and adornment, behind which lies emptiness. So, at the click of your fingers, the pathos of the famous black and pink subculture becomes a posturing game on feelings, and a socialite turns into a political dummy. In fact, glamour melts everything solid into a mess of empty signifiers.

Pink riot police and police dogs, built, as in Space Invaders, into the words "Freedom" and "Power", are also being emptied due, firstly, to pink, and secondly, to their iconic nature. The power, the nation, the state are signs deprived of their denotation and have become symbols of ideological wars, guarded not by some abstract hegemon, but by concrete people - officials in love with glamour. They have made their symbol the solstice of pink oil rigs, sucking quite real barrels of black gold from the bowels of the earth. Dorokhov ironically called it "Infinity". However, this game will end someday. It ends now. And if you pay attention to the messages that the artist leaves, it becomes clear that this is all just white noise for the reality that is dancing its dance for infinity. An army of riot police, pink towers, a government made up of dogs — "it will pass." So let it become important to us what is closer to the skin, and not what claims to be density, whereas it is emptiness.

Text by Anastasia Khaustova

Asterisms Of Sergey Dorokhov

Sergey Dorokhov is the same age as the first Sotheby's auction, where Grisha Bruskin's painting "Fundamental lexicon" left. This event made a revolution in Russian culture by artists quite different terms of art classes. In the thirty-year perspective, Sergey Dorokhov is the result of the Sotheby's event. First, being a professional painter by training from the Surikov Institute, he took up modern art. Secondly, he began to create painting in accordance with Bruskin's semiotic turn, namely as a lexicon. And third, his artistic activity fits into the institutional situation set by the economy of the gallery business, fairs, auctions, that is, modern art capitalism.
Here you can add another point that characterizes the style of Sergey Dorokhov's work – in his paintings, he writes a protest. Thematically, they protest against the liberal political order, in which freedom becomes only a screen for the offensive of reaction on all fronts. But the very style of using pictorial language in them, which has been eroded by illusionist oppression since time immemorial, is also a protest. Sergey Dorokhov lays out painting as it is – not as art, but as a requirement for art, as a result of which it acquires a poster paradoxical statements and graffiti scope of content. This is a struggle with the spectacle, rooted in the awareness of its significance and totality.

Once the artist Andrey Filippov, who belongs to the Sotheby's generation, borrowed the principle of Magritte's " Golconda "and wrote" Rome - Rome " in letters made up of eagles spreading their wings, diagnosing the Imperial ambitions of totalitarianism. Now Sergey Dorokhov writes "Freedom" and "Power" in letters made up of a man from a crowd or dogs from a pack, diagnosing the totality of the modern performance.
Another point of Sergey Dorokhov's pictorial language is its post-Internet sensuality. His paintings seem to "flicker" and "pixel". The protest that he writes has as its constituent order a screen, the construction of which is rooted in the virtual. It is both rigidly structured and in the process of being destroyed, creating a figure of desire that oxidizes the spectral perception of color, which further enhances the sense of information and digital transcendence.

Sergey Dorokhov creates quite a unique lexicon of the digital age, playing in the spirit of social artistry symbols of political, military, and economic power, contrasting them with the freedom of the crowd as a virtualized person without properties. His double-headed eagles, "Kalash", "riot police", oil rigs are not collected on the chessboard of post-Internet paintings, but this is the specificity and value of his art as an artist of the new time, who thinks of the space-time contours of the present not as reinforced by the grid of modernism, but as open to capitalist catastrophe.

Text by Konstantin Bohorov

SELECTED GROUP AND PERSONAL EXHIBITIONS:

• 2021 — "$exhibition = new generation", Treriakov gallery, Moscow
• 2021 — participant of the Moscow Art Prize 
• 2021 — personal exhibition "The Past Long", Antonov Gallery, St. Petersburg
• 2021 — participant of the project "Transfer, Projection, Processing", WINZAVOD OPEN 2021
• 2020 — participant of the "Closed Fish Exhibition", a special project of the program of the VII Moscow International Biennale of Young Art, Moscow
• 2020 — participation of the exposition of the private collection of Inga Legasova "NEW REALITY" under the supervision of INGALLERY, Мoscow
• 2020 — participation of the exposition of the BAZA Institute in CUBE MOSCOW within the framework of the VII Moscow International Bienalle for Young Art, Moscow
• exposition of the BAZA Institute in CUBE MOSCOW, Moscow
• 2020 — participation in a charity auction VOBLAGO, Мoscow
• 2020 — solo show "Asterisms" curated by a-s-t-r-a gallery, CUBE MOSCOW
• 2019 — exposition of the BAZA Institute in the Smirnov and Sorokin Foundation, Moscow
• 2019 — ASTRALAB at Tsvetnoy, Moscow
• 2018 — AIFAC exposition in the tower of Mercury in Moscow City, Moscow
• 2017 — participant of the exhibition in the art space of the Bryusov ship, Moscow
• 2016 — International festival Intermuseum, held in the Moscow Manege under the auspices of ROSIZO, Moscow
• 2016 — participant of the exhibition in the territory of art space design of the Flacon factory, Moscow
• 2015 — participant of the exhibition in the territory of the ARTPLAY space, Moscow
• 2015 — winner of the competition and participant of the exhibition in the business center Moscow City, Moscow
• 2014 — prize-winner and participant of the exhibition at Mosproject, Moscow
• 2013 — All-Russian Exhibition in the Central House of Artists, Moscow
• 2013 — participant of the exhibition at the Russian Academy of Arts, Moscow
• 2013 — participant of the ART Salon of the Central House of Artists, Moscow
• 2013 — personal exhibition in the Central House of Artists, Moscow
• 2012 — participant and winner of the exhibition in the territory of art space, design of the Flacon factory, Moscow
• 2012 — participant of the exhibition at the Russian Embassy in London.
• 2012 — participant of the exhibition at the Embassy of Serbia in Moscow.
• 2011 — participant of a traveling exhibition in the Balkans (Serbia, Belgrade)
• 2011 — prize winner of the exhibition participant in Warsaw
• 2010 — participant of the exhibition at the Russian Academy of Arts, Moscow
• 2010 — an exhibition in the Romanov house-museum.
• 2010 — prize winner and exhibitor in London
• 2010 — All-Russian Exhibition at the Central House of Artists, Moscow
• 2009 — exhibition at the Russian Academy of Arts, Moscow