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Andrey Andreev
Three Points of Support

26 January — 07 April 2022

Andrey Andreev
Three Points of Support

The space InArt Gallery by Ksenia Podoynitsyna presents a solo exhibition of artist Andrey Andreev Three points of support. The exposition includes paintings and graphic works of the artist, created within the period fr om 2015 to 2021.

To tie something into three supporting points is almost the same as taking out the trash from a triangle. There are always problems with this at the level of a failure in focusing the flickering internal dissociative subject, always tripling, because there are seven fingers, and the number three is better seen and remembered than the number forty-nine. Raising itself above a lost position (three-point knockout), sublimating into the hesitation of the climber's three legs, the force itself reforms and splits off from the subject in the meat. Old, new and lunar, as well as all the alphabets of glasses, wh ere “now I feel even more freedom” is shuffled with “drowned black” of its shades, its stains, unbent and dispersed to an absurd defilement of emptiness by the mouths of “sincerely ours”, but also “fake” insects strung on Witzraor's nuts in his flute calls, always begin with a soft trinity of legs, or, as you like, any “Other” about three points, and always end behind his back, like a cloud of mercury, which has taken the form of an animal that awaits payment Places.

“When moving along a dangerous slope, you must have three points of support at any given time” – a climber's rule. When moving around the ring during a fight, from time to time there is a moment of hovering on three points of a horizontal surface. Refusal from three points means either refusal to surrender to two points, or sticking to the place of refusal forever or for a while. The space bends down and, as it were, is erased into waves of distortions, when three or more spaces act as a counterweight behind it and with it. Likewise, three legs or handles are necessary for stability, whether it be an altar or a stretcher.

Text: Vadim Bannikov