Konstantin Batynkov, who was born in Soviet Sevastopol in the family of polar pilot, was genetically perceived, and for many years he reproduces a special reality, the reality of endless spaces of continuous action of the builders of the light ... past.

The past is not articulated by the author and does not correspond with physical time. It migrates in the substantial plans of his works, being a kind of metaphor, rooted in memory and reproducing almost natural landscapes of distant eternal childhood.

The images of children in this case are virtually absent or flicker somewhere on the periphery. But it is fr om there, fr om this perspective, fr om the speculative childhood, that Batynkov's multi-complex compositions acquire what unconsciously attracts the viewer. The phenomenon of children's worldview is analogous to the "twenty-fifth frame", which is ontologically present in most of his works. It is a special form of narrative, a special vision and understanding of reality, wh ere everything is possible. Flying cows, for example.

Batynkov refers to a large format that liberates the horizon, allowing the eye to capture almost everything that moves in an endless stream of formation and decay and is closed in the endless diorama of observed daily life. 

Ironically, the art of Konstantin Batynkov, a polar pilot born in Soviet Sevastopol in the family, speaks of everyday life without knowing either pathos or hero. To become Bruegel with his "hunters", with his "Icarus", with his attitude to reality, disavowing heroics, dissolved in acid of the shimmering vanity of "this world", Batynkov works with the staff, giving it a special meaning-containing artery.

Motivation of the majority of what Batynkov does is connected not with mechanical creation of fantasy worlds and intricate mythologies, but with special, very individual look and attitude to reality, special perception of what exists around, but hides in landscapes of endless garages, industrial zones, power lines, smelling of electric trains. In this prose of days, in these zones of alienation, something happens that does not seem to be supposed to happen, but life goes on here too - people live, give birth, dream, climb somewhere, get sick, die.

Life is everywhere, and Batynkov just draws it, almost without any relation to what is happening. He does not place accents, he looks around, panoramas, and the focus of his interest is unpredictable, how unpredictable is the existence of atomized characters in his works. Batynkov is not an artist-preacher, he is an observer: "what he sees, he sings". And this predetermines a great deal in his art, in the repertoire of his contents.

"Life is everywhere" is a series of new black and white large-formats, wh ere Batynkov, with his characteristic Russian irony bordering on the "Onegin" spline, paints the native country he observes either from the side of the roadside of civilization, or from space, or from the window of a trolleybus on the Korovinskoye highway. The exhibition "All Life" is part of the "Games with Context" project.

The Games with Context project is a replica of the personal exhibitions of Konstantin Batynkov, Olga Gorokhova and Vladimir Anzelma organized by the Krokin Gallery on its site and in the halls of Moscow museums.

The expositions are based on large-format paintings and graphic works created recently by three authors representing three directions of search, three autonomous statements in the space of what is called contemporary art in its qualitative version.  

With the undoubted difference between the stylistics and artistic program of these authors, the general is the fullness of artistic expression. In this case, there are iconic and, in some cases, familiar works shown in a different substantive context, in a different exposition space.

All of them declared themselves at the very beginning of the 90s, and today, devoid of formalities to be presented, correspond to the nomination - the textbook of the Moscow art of transition, the art of changing social paradigms, art as such, what it should be and how it should be seen, and who is able to possess it.

They talk about their own and in their own way, do it clearly, structuring the space with a special visual intonation. They do not lim it themselves to once found and appreciated by the public, continuing to actively increase the importance of their art with a new form, meaning and motivation.