Gromov Alexey

Born in 1988 in St.Petersburg.

Multidisciplinary artist exploring the crisis of technology. Studied at Berlin's Weizensee Hochschule für Kunst (KHB), took personal master classes with Fabio Viale (Italy) and Sarah Esser (Germany). Participant of international exhibitions. His works are kept in private collections in the USA and Europe. Currently lives and works in Moscow.

EDUCATION:

2006 - 2012 - St. Petersburg Academy of Art and Industry
2011 - 2012 - Berlin Higher School of Art Weizensee (KHB)
2003 - 2006 - St. Petersburg Art Academic Lyceum

SOLO PROJECTS:

2021 - Ammo/tool, Private Space Gallery, Moscow
2015 - Lithe, Erarta Museum of Modern Art, St. Petersburg
2013 - Blindfolded, Erarta Museum of Modern Art, St. Petersburg, Russia

SELECTED GROUP EXHIBITIONS:

2023 - Ivory Tower III, Radio House, St. Petersburg
2023 - Collector's track, Noodome, Moscow
2022 - At the Fingertips, Inart Gallery, Moscow
2019 - Plastic Mask, Russian Museum, St. Petersburg
2015 - Game Changes, Erarta Gallery, Hong Kong
2014 - Spuren, Pavilon am Michov, Berlin
2014 - Contemporary Russian Art, Erarta Gallery, London
2011 - Alle, Kunsthalle am Hamburger Platz, Berlin
2011 - Ich Haise, Kunsthalle am Hamburger Platz, Berlin

In his work, the artist aims to move away from romanticising technology and to put this attitude under critical analysis. The author asks whether it is possible to overcome the idealised image of technology through its deconstruction and to what extent technology can transform and define our lives. The artist reflects on the boundary between the virtual and the real, which is increasingly being blurred. The impossibility of complete control over the flows of generated information is also one of the themes the author deals with.

The artist creates objects using a combination of advanced digital printing technologies and traditional sculpture techniques. The author combines recognisable elements of industrial aesthetics as well as materials that are not typical of high-tech approaches, such as plaster, steel, concrete and nitro-enamel. Through the formal breakdowns and shifts thus manifested, a critique of stereotypes about the refined and perfect image of new technologies is made. Polemising with the ideological myth of their dominance, the author resorts to the deconstruction of industrial artefacts, disrupting their function and diverting them from associations with the direct purpose of the object.