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Yulia Ivashkina’s new solo project, Feel the breath of the new architecture, rethinks architectural discourse that is often juxtaposed with the language of contemporary art. In her works, Ivashkina deals with images of space, which combine art and architecture. Objects on display, which were made specifically for the exhibition, combine materials of very different origin: a hand-engraved stone or a wooden branch in its natural state. The paintings’ series further develop the concept of instability. The artist makes hypertextual pieces, blurring the boundaries between languages of science and painting and between different media— sound, sculpture, and photography.
In her works, Ivashkina emphasises the gap between the concepts of ecological architecture and modern mass accommodation projects. As the artist puts it herself, ‘Today, the technological developments no longer limit the constructors’ imagination and creative effort: mobile houses, tunnels, made of fluxes of luminescent bacteria— dreams of future architecture coming to life. In the 1980s, philosophers thought of future housing more as of mobile nomadic tents rather than of permanent hermetic structures. Mass building sticks to a very different paradigm: forests are cut down to provide enough space for a new micro district with off scale population density and a poorly developed infrastructure, consisting, at best, of a supermarket and a pharmacy. They mostly have a typical appearance— structures of grey concrete that resemble coral reefs of the digital era that interact more with clouds and atmospheric gases than with the surrounding landscapes. Trees have been out of the scope for a while and are not in the background of modern mass building anymore.
Apart from the fact that architecture perceives art object solely as commodity, it creates a sense of scientific harmony better than any other art form. Even though daring messages of contemporary architecture combined with bacterias creating constructional materials seem a bit utopian from today’s point of view, the ideas they are expressing already have an influence on modern practices that weren’t previously related to construction or communal planning. It is not a coincidence that today the term ‘architecture’ is used in a huge variety of areas and its initial meaning gets more and more blurred— from websites’ architecture to architectonics of thinking, from spatial architecture to the architecture of neural cells.’