Viktor Timofeev

Introducing the Vaporents exhibition with a mix for aqnb

30 June 2016

“The transversal experience of negotiating the dynamic gamespaces of post-digital culture demands a user-erotics of speculation, simulation, puzzle-solving, ceaseless intuition of occult algorithms…” Accordingly, the Vaporents exhibition, running from June 25 until July 3 at Glasgow’s VoidoidARCHIVE, presents new commissions by HKE, Rosen, Viktor Timofeev, and video game designer Porpentine Charity Heartscape, navigating “the mannerisms of intimacy that bind and connect us, to the subsequent capacity to dream, design, and enter into projects of collective rationality through digitally altered states.”

Curated by Dane Sutherland, the exhibition is described as “a multi-reality biome; a post-digital swampscape of bacterial gameworlds, ambient trans-architectures, genetic dreampunk fictions, labyrinthine nanobot industrial-complexes, dirty wifi, and interfaces-interfaces-interfaces-interfaces…”. A press release begins with the question: “A dank enlightenment is gaming your bones. What do you do?” The inquiry resembles the beginning of Rosen’s PORTALS project, a transmedia narrative that zigzags between game and literature —the latest instalment of which constitutes part of Vaporents itself.

Here, however, inquisition extends equally over the “dream-music of HKE, the crypto-logics and nanobot anxieties of Viktor Timofeev’s complex gameworlds… and Porpentine Charity Heartscape’s negotiation of private space and intimate encounters revised by liquid-wifi connectivity and internet lossiness”. Collectively, Vaporents deals with “the pathogenic inter-evolution of post-human experience and multi-reality network environments”, exploring the “speculative navigational resources required of digital natives immersed in the hyper contextual virtualities of a post-continuous present”.

In an exclusive mix for aqnb, Sutherland offers a glimpse at “tempestuous techno-environmental conditions and moist media ecologies”, re-oriented and re-calibrated, featuring tracks by Timofeev, Rosen and HKE, alongside associated artists such as Recsund, Magic Fades & Soul Ipsum, チェスマスター, Windows 98の, Cru Servers, Black Zone Myth Chant and DJ Yo-Yo Dieting.**


Viktor Timofeev – Pan Humanna / Nick Land – Meltdown
E▲ ▓F D▓G§ – Imagine Cerberus as a Giant Mermaid
Magic Fades & Soul Ipsum – Dropcrotch Causality
Magic Fades & Soul Ipsum – Circadian Riddim
Black Zone Myth Chant – My Glory Will Be to Sing Eternal Law
DJ Yo-Yo Dieting – Dormant Mirrors II
Arca – Anaesthetic
recsund – STING GOOSE
Rosen – P_OST_Mem
チェスマスター – デメテル
Windows 98の – スレノディ 建物が落ちる
HKE – Spiral **

The Vaporents group exhibition is on at Glasgow’s VoidoidARCHIVE, running June 25 to July 3, 2016.

Header image: Viktor Timofeev, SAZARUS II (2016). Performance view. Photo by Dane Sutherland. Courtesy the artist.

Joey Holder + Viktor Timofeev, Lament of Ur (2015) exhibition photos

14 June 2016

Karst, a contemporary art space in Plymouth, presented a two-person exhibition featuring works by Joey Holder and Viktor Timofeev titled Lament of Ur, which ran from November 18 until December 12, 2015. The two separate practices came together to create a dystopian environment that transforms the white-cube space into a dark organism that caves in on itself. Combining sculpture, prints, video, a mural painting and other appropriations like computer games and industrial fencing, the space becomes an urban territory that meditates on themes of the post-human, entrapment and conspiracy.

Without drawing attention to the artists’ individual practices, the show favours the synergy that happens through collaboration, welcoming a cross-contamination of authorship. The press release focuses on this aspect of the show:

“The complexity of their differences called to question the current assumption that they evolved from a similar point of origin. There was suspicion that something else was at work, which involved a highly specialized and self-assembled alchemy.”

Timofeev’s practice is invested in utopia/dystopia fictional worlds and the blueprints that create them, and Holder explores the natural and biological within digital fields.**

Exhibition photos, top right.

Joey Holder + Viktor Timofeev’s LAMENT OF UR was on at Plymouth’s Karst, running November 13 to December 12, 2015.

Header image: Joey Holder + Viktor Timofeev, ‘Lament of Ur’ (2015). Installation view. Courtesy of Karst Contemporary, Plymouth.




Viktor Timofeev @ Jupiter Woods, May 7- 28

5 May 2016

Viktor Timofeev is presenting SAZARUS I, a solo exhibition at Vienna’s Jupiter Woods, opening May 7 and running to May 28.

The exhibition will be the third at the Austrian-based extension of the artist-run space, first founded in London, and it will comprise two distinct components. In the main gallery space will be Timofeev’s site-specific installation, which —like his earlier Proxyah series of exhibitions —will most likely evolve into different iterations in the future.

Timofeev’s practice spans across vinyls, zines, cassettes, self-published graphic books and has contributed to publications like The Limited Collection and B-Pigs BerlinHe is also currently showing work in the Jupiter Woods-organised Longshore Drift group exhibition in Helsinki that looks at geological processes and sediment transportation, project as a bridge.

In addition to Timofeev’s solo show there will also be a film installation featuring a collaborative video work by Georgie Nettell and Morag Keil showing called ‘The Facism of Everyday Life’.

See the FB event for details. **

Viktor Timofeev, Proxyah v2 (2015) @ Jupiter Woods. Exhibition view. Courtesy the artist.
Viktor Timofeev, Proxyah v2 (2015) @ Jupiter Woods. Exhibition view. Courtesy the artist.

Plural Melts @ Yvonne Lambert, Feb 20 – Mar 5

22 February 2016

The Plural Melts – Dunmore Caves group exhibition is on at Berlin’s Yvonne Lambert, opening February 20 and running March 5.

Organised to run at the gallery throughout 2016, Plural Melts is an intermittent programme of events and performances arranged by artists Zuzanna Ratajczyk and Eoghan Ryan. Dunmore Caves features works by Stephan Backes, Jassem Hindi, Clemence de La Tour du Pin, Andrzej Ratajczyk, Antoine Renard, Daniel Shanken, Andrew Munks & Richard Sides and Viktor Timofeev. 

There is limited information given with Dunmore Caves, apart from a poster that the gallery have posted in the Facebook event, which outlines a conversation between Darth Vader and a canteen worker -as imagined in Eddie Izzard’s mind.

On February 20 at the opening event, Backes and Timofeev performed in the space and this coming Saturday 27, Hindi and Shanken will perform. It will be interesting to see how these artists, not all of whom necessarily have performance-based practices, will be brought together in live pairings and moments across the event.

See the Yvonne Lambert event page for (limited) details**

Zuzanna Ratajczyk, Pureness, performance still (2015). Courtesy Import Projects and the artist
Zuzanna Ratajczyk, Pureness, performance still (2015). Courtesy Import Projects and the artist.

Joey Holder + Viktor Timofeev @ Karst, Nov 13 – Dec 12

12 November 2015

Joey Holder and Viktor Timofeev are showing a collaborative exhibition, LAMENT OF UR, at Plymouth’s Karst Gallery, opening on November 13 and running from November 18, running to December 12.

Questioning the scientific assumptions of our individual and collective beginnings, the duo suggest that there is “no linear travel through space around the surface of a planet”.

Through a range of media this exhibition asks what past and what futures (what timescales) are possible if we question any singular point of origin.

See the FB event page for details.**

2​nd Skin (2015) exhibition photos

13 October 2015

“They said we’d perfected a second skin”, reads the press release written by Dylan Aiello for Emmy Skensved and Grégoire Blunt‘s 2nd Skin exhibition, which ran between June 25 to July 5 at 8eleven in Toronto. Aeillo writes as though taking a shower with a second skin. The steam and the water “bead off”‘ the “‘epidermal envelope” –it is self-cleaning: “self-regenerating” instead. The end of the words comes with a heavenly moment – thoughts in the shower –when the person with the second skin says they ‘never, ever’ expected to react so well to the anti-rejection drugs. Ahh.

The whole room is bright white, its atmosphere “2.22 μg/m³ nicotine and 0.71 μg/m³ caffeine”.

Skvensed and Blunt presented a digital animation work called ‘eStamina’ (2015), related to the February exhibition of the same name, and surrounded by the aforementioned caffeine-infused fog and nicotine. You can barely make people out in the space from 8eleven’s Facebook photos, sat within the atmosphere: a mix that straight away floats into your head as something intensely addictive, although nicotine does also come in antidote form. The video is comprised of different chapters –like “Chapter Y: YAG LASER”–that go with subtitled texts from several writers and artists such as Bixy KnocksAntoine Renard, Emma Siemens-Adolphe and Viktor Timofeev. One moment Knocks’ text describes, “a distant call to revert to a far earlier reptoid state”. The second skin is the skin we have now, and there is no antidote.

French artist, Clemence de La Tour du Pin made a new fragrance of rubber, metal and Red Bull (‘Untitled’, 2015). The little vials were held onto the walls and windows with see-through bath/shower rubber suckers. Visualise->Actualise made a work called ‘2nd Skin eBook’ (2015), a series of silicone and USB packaging pieces that line up along the wall, all their insides vacuum-packed up against their outside. **

Exhibition photos, top right.

Emmy Skensved and Grégoire Blunt’s2​nd Skin exhibition was on at Toronto’s 8eleven gallery, from June 25 to July 5, 2015.

Header: Clémence de La Tour du Pin, ‘Untitled (Redbull, metal, rubber)’ (2015). Install view. Courtesy 8eleven, Toronto.

Joey Holder @ Channel Normal, Jul 10

7 July 2015

Online exhibition space Channel Normal invites another artist to exhibit digitally, this time bringing in UK artist Joey Holder for a solo exhibition titled Proteus, launching on July 10.

Holder, who was a recent finalist for the Converse/Dazed Emerging Artist Award, follows in the footsteps of a series of solo digital exhibitions launched by Channel Normal, including recent ones with Viktor Timofeev, Sterling Crispin, and Lawrence Lek.

With Proteus, Holder is exploring environmental “metagenomics”, or the study of genetic material recovered directly from environmental samples, as well as, according to the exhibition’s press release, “microbiome analysis, ecological remediation, self-monitoring, self-sensing, sense tracking, DNA molecular replacement for silicon microchips”.

See the Channel Normal website on July 10 to view the exhibition. **

Business As Usual @ Turf Projects, Jul 9 – 30

7 July 2015

Turf Projects opens up a massive exhibition exploring how artists network and market themselves with Business As Usual, running at the South London space from July 9 to July 30.

Looking at self-marketing, often thought to be a dirty practice in the art world and one at odds with the romantic vision of the “authentic” impoverished artist, Business As Usual invites one hundred of them to explore this “almost performatory element of their practices” in the second of a series of exhibitions traveling throughout the UK.

The exhibition, organised by Perce Jerrom, includes the works of artists like Gabriel BirchViktor TimofeevMat Jenner, Julia Crabtree & William EvansPierre Clément, and Eloïse Bonneviot, as well as a programme of events, workshops, and talks.

See the exhibition page for details. **

Screen Shot 2015-07-07 at 10.02.29 PM

Viktor Timofeev @ Channel Normal, May 12 – 28

11 May 2015

The final downloadable version of Viktor Timofeev‘s Proxyah game will be ready to be played in your own home, released through the online exhibition space, from May 12 to May 28.

Timofeev’s game was previously installed at Riga’s kim? Contemporary Art Centre while it’s second version was appeared at London’s Jupiter Woods (which we reviewed here). The third and final edition of the game was finalized during Timofeev’s artist residency at Vilnius’s Rupert this April.

This game’s final iteration, built in Unity 4,  contains an original soundtrack composed by recsund, as well as a text by Monika Lipšic, and a complete guide (PDF). 

See the Proxyah page for details. **


Viktor Timofeev’s Proxyah v2 reviewed

11 February 2015

“You are in this three-dimensional room”, says the exhibition sheet of Viktor Timofeev’s Proxyah v2 running at London’s Jupiter Woods from January 9 to February 8. It’s the first line of some rather complicated instructions outlining how its user should navigate the unstable CGI setting of the ‘Proxyah v2’ (2015) video game, screening on the left of a two-channel installation in the far-left corner of the Bermondsey space. The blue darkened room gives off the aura of being underwater, the staircase to the right and the sheet of fabric blocking the back kitchen effects an eerie sense of the parasitic. It’s as though this highly complex contraption shouldn’t be there, but it is and it’s sucking the life out of a building that’s falling away around it.

Viktor Timofeev, Proxyah v2 (2015) @ Jupiter Woods. Exhibition view. Courtesy the artist.
Viktor Timofeev, Proxyah v2 (2015) @ Jupiter Woods. Exhibition view. Courtesy the artist.

The real infrastructure is on the screen, except that it’s a construction that’s equally as precarious. The sense of groundlessness is literal as the computer-generated water-level rises with every step inside the screen, those steps being complicated by the fact they’re being led by a joystick, shaped like an egg and nestled in a square of astroturf. It’s disorienting in the fact that the compass of the onscreen HUD (ie: heads-up display) changes depending on its colour and the alignment of the room. The ‘room’ itself is a thing made of animated walls, floor, a ceiling, that shift and change within a uniquely terraformed landscape generated by the user’s own movements – those movements being determined by the ever-changing space and the focus of its user. The user’s energy expenditure is constantly being counted.

I’m not going to try to explain the rules of ‘Proxyah v2’, but I also don’t think they’re exactly the point. Coded by computer science course drop-out Timofeev and inspired in part by his experience of an insurmountable set of directions determining the movements of Yvonne Rainer’s ‘Diagonal’ (1963), performed at Raven Row last year, I will say that there’s a powerful sense of helplessness that endures. As one tries to navigate their way through the codes, symbols and invisible systems of Proxyah, the multiple speakers scattered across the room and engulfing its user detect and announce your every move with a blast. A second screen shows an unsettlingly smooth (and silent) perspective of an autonomous object as it hovers above an ocean of stock sea water taken from the Unity game engine on which ‘Proxyah v2’ was built.

As a user, you’re likely to have combat flight on the mind, as one of two snakes of the aerial map – resembling a regular default phone setting Snake game – on the interactive screen is called “drone”, as opposed to the randomly moving “rogue”. The drone’s path is predetermined and the user’s ability to control this omniscient viewpoint is non-existent as it scans a sea engulfing the same white orbs of energy integral to the gameplay. The interactive screen of Proxyah feels like chaos in contrast to this vision of peace that sways lightly beside it, except it’s not you, the user, that controls it. **

Exhibition photos, top right.

Viktor Timofeev’s Proxyah was on at London’s Jupiter Woods, running January 9 to February 8, 2015.

Header image: Viktor Timofeev, Proxyah (2015) @ Jupiter Woods. Exhibition view. Courtesy the artist.

Viktor Timofeev @ Jupiter Woods, Jan 9 – Feb 8

5 January 2015

Jupiter Woods is bringing in artist Viktor Timofeev for a solo show titled Proxyah, running at the London art space from January 9 to February 8.

The artist has produced across disciplines over the years, releasing cassettes and vinyl + zine combos like his Palace Of Peace and Reconciliation (2012, 2014), studies in Dantean madness like his self-published graphic book ‘Topophobia‘, a series of contributions for publications and projects like The Limited Collection and B-Pigs Berlin, and, of course, a sprawling list of exhibitions spread across the last five years.

Some of the exhibitions we’ve touched upon before, like one titled after his 2012 cassette, Palace of Peace and Reconciliation at Arcadia Missa, or Jupiter Woods’ Thank You group exhibition in which Timofeev took part.

There’s little info on the upcoming exhibition itsef but perhaps the proxy.AH virus has something to do with it.

See the FB exhibition page for (minimal) details. **

victor 2

Thank You @ Jupiter Woods reviewed

11 August 2014

It might seem strange to call your inaugural show Thank You – after all, Jupiter Woods has only just started. The south London project space, lead by a team of six curators, has taken the notoriously difficult task of the first show – for which the expectation on any new gallery is usually to present a manifesto – and contorted it into an amorphous rolling programme, subject to any sort of change. They’re not being very specific. Throughout August “artists, architects, philosophers – friends” will contribute to the space – we’re not quite sure how yet. However, the first incarnation features four artists, each working from distinct understandings of how structures manifest in networked and social cultures.

Thank You (2014) @ Jupiter Woods exhibition view. Courtesy the gallery.
Thank You (2014) @ Jupiter Woods exhibition view. Courtesy the gallery.

Viktor Timofeev’s ‘N & N’ (2011-2014) greets us on entry, black stencilled sans-serif capital ‘N’s building a structure on the canvas, the weight of the higher capitals weakening those at the base. It’s a buckling architecture formed by a stuck keyboard key, light in precise draftsmanship but heavy in the subtle insinuation of collapse. Eloïse Bonneviot’s ‘Mug Ersatz (performance), The Infernal Design, Phase II’ (2013), part of an ongoing research project into the role of objects in the film Final Destination, is similarly paradoxical. Bottles of different coloured vodka sit on a pale wooden table alongside mugs branded with the 2000 film’s fictional “Mt. Abraham High School”, each of which have been slightly cracked. While the table serves as a hub for conversation and drinking, the compromised cups leak their coloured vodkas out onto the tabletop, staining the wood and marking social trajectories and dynamics through their proximities.

Anne de Boer’s ‘Void Shuffle (int[] array)’ (2014) is an algorithmically-driven video loop. The artist splices a number of found videos – ranging from tutorial videos for programming loop functions to a 3D rendered head – into one minute segments, the play order of which is determined by the shuffle algorithm of the media player. Sæmundur Þór Helgason’s ‘Mediation as such (version 3)’ (2014) is a recursive and self-contained sculpture. A crate filled with laser-cut packing foam serves as the foundation for the construction of the work, as well as the protective enclosure for its transportation. Metal bars protrude from it, creating the stands for a projection screen at one end and a small projector at the other, looping a video representing the construction and purchase of the SD card used to play the video. There’s a sadness in both de Boer and Helgason’s work: a subtle suggestion that hermetic digitality spirals towards recursion. This initial incarnation of Thank You seems to want to dismantle constructions to their component parts so we can better study them. Verging on dissection, the exhibition presents structures at various forms of deconstruction, the suggestion being that once we understand how they function, how they stay alive, and why they collapse, we can start to build something new. There’s an optimism in the context: gratitude is a solid foundation.**

Exhibition photos, top-right.

Thank You is a cumulative project running at London’s Jupiter Woods, throughout August, 2014.

Header image: Eloïse Bonneviot, ‘Mug Ersatz (performance), The Infernal Design, Phase II’ (2013). Install view @ Thank You (2014). Courtesy Jupiter Woods.