tags: oleg elagin

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Thursday, April 27th, 2017

Three-dimensional works for one or two players. Thursday’s MATA Festival concert opens with Oleg Elagin’s space age electronic fanfare, The Formation of New Sensual Experience, setting the tone for an evening of evolution and innovation. Samuel Cedillo’s Monólogo III refashions the viola in an incredible tour de force of expression. The consummate Daniel Lippel brings elegance to the shifting guitar figures of Karin Wetzel’s Amorphose II and Basque composer Mikel Urquiza’s dialogues with Dowland, Belarretan. The evening reaches for the heavens with Nikolet Burzyńska’s Cold burning out, played by TIGUE’s Matt Evans, and Liisa Hirsch’s ethereal Cloud Tones for piano “glides” and viola. 

Dan Lippel, guitar; Matt Evans, percussion, Philip White, live electronics;

Thursday, April 27
8PM at the Kitchen, 512 W 19th St, NYC
$25

Tickets available here

Oleg Elagin (Russia): Formation of New Sensual Experience (2016), WP
Liisa Hirsch (Estonia): Cloud Tones (2015), AP
Samuel Cedillo (Mexico): Monólogo III (2009)
Karin Wetzel (Switzerland/Germany): Amorphose II (2012), AP
Mikel Urquiza (Spain/France): Belarretan (2014) AP
Nikolet Burzynska (Poland): Cold Burning Out (2011) AP

Oleg Elagin

Friday, March 3rd, 2017

Oleg Elagin (b. 1982) graduated from the Samara State Communication Academy (2004), Independent School of Contemporary Art (2006).

The main object of attention of media-artist Oleg Elagin is a reflection of absolutely de-humanized art, made by means of digital technologies. He’s from a cohort of artists – “alchimists”, assiduous experimenters with the internal texture, “body” of artwork. In his case it’s an nonmaterial, digital texture of media.

The most attractive themes for Elagin is “mistake”, “malfunction”, “information noise”. Another artist could scarcely contemplating of the screen noise with such sincerity as he does. The system failure has interest for him as a self sufficient and self-valued effect, having it’s own visual potential.

What is the way of constructing reality for such kind of art? What consistent patterns in the viewer’s reception of this art are possible? These are the basic questions, which interests the artist.