'The myth of modernity enhances the obsession

of commercialization as a sign of wellness. Therefore,

the archive I work with becomes a vanishing point

for the spectators, especially the Russians,

who either would unconsciously or consciously

go to the extreme by abandoning their

cultural Soviet heritage.'

Daria Setevinets, born 1996, RU

The field of my research is outlined by the constructs on the basis of the consumer society. For the last few years, I’ve been collecting the photographic data from the most famous website globally shipping goods from China. These photographs became the focus of my attention. Representing subjects through objects, the imagery remains as a gesture of elimination of personal responsibility in acts of exposition.

 

Thus, collecting not only the images but also these referents, I transform the pictures into signs in order

not to lose the original thread connecting us. Subject-object relationship creates the tension between the products people buy and give feedback on and human shapes - the physicality of the actors/buyers. Echoing Debordian notion of the Spectacle, the sum of personal photographs as well as the rest of pictures on the site appear as an isolated but simultaneously united social relationship net mediated by images.

The myth of modernity enhances the obsession of commercialization as a sign of wellness. Therefore,

the archive I work with becomes a vanishing point for

the spectators, especially the Russians, who either would unconsciously or consciously go to the extreme by abandoning their cultural Soviet heritage.

The situation becomes rather absurd, as the will to be seen by someone expands the ironical enjoyment of the human comforts. From the existing contradiction between public and private arises the restrained usage

of the medium dictated by the visual representation

of connotations within the imagery network. For me,

this network seems as pure and abstract shapes of desire embodied into compositions of color and forms making the context disturbing.

 

In my practice, I try to represent the content from

the archive as a metaphor of a common compulsion.

The medium I work with helps me to highlight the connotation of the subjects’ Soviet past. As a result,

a critique of the subject of classical painting emerges. Social Realistic settings and social doxas resemble themselves as formal elements through the process of interpretation and vary from contemporary colour palette to the methods of displaying artworks in Russian state galleries and museums. The celebration of the human body releases its potential through the methods of displaying and visual interpretation.

Education:

 

2019, British Higher School of Art and Design, BA (Hons) Fine Art, First Class Diploma

2016, British Higher School of Art and Design, Foundation Art and Design

 

Exhibitions:

 

2020, RED, Online-exhibition, The Colours Of Humanity Gallery

2020, Shoverbrunch Contemporary, curated by Andrey Dalakashvili, brunch-exhibition, ShaverLover, Moscow, Russia

2020, V.P.O.E.C.E.R.U.I., Pisos Collaborative Project, film screening, ShaverLover, Moscow, Russia

2019-2020, Happy Merry-Go-Round 2, ZDES na Taganke Gallery, Moscow, Russia

2019, V.P.O.E.C.E.R.U.I., Pisos Collaborative Project, film screening,

CC ZIL, Moscow, Russia

2019, Soup exhibition, Parallel Program of the 8th Moscow International

Biennale of Contemporary Art, CC ZIL, Moscow, Russia

2019, TemperatYRA! 2.0, YRA! Group, Moscow Microbiennale of the Horizontal

Initiatives, Moscow, Russia 

2019, Surprise X, The Project Gallery, Athens, Greece
2019, Art, Arts Lab Fort Collins, Fort Collins, CO, USA

2019, Praxis, Graduation Exhibition at British Higher School of Art and Design,

Moscow, Russia  

2019, Art and Muffin, Performance, British Higher School of Art and Design, Moscow, Russia  

2019, Infinite Need, or the Need for Infinity, YRA! Group, 118 Library, Moscow, Russia

2019, Open Art Festival, Moscow, Russia

2019, Swap-Show, StudioHall, Moscow, Russia

2019, …peep…, British Higher School of Art and Design, Moscow, Russia

2019, ARTLINE PROJECT, Underline space at MEGA Teplyi Stan, Moscow, Russia

2018, BYOB, Proun Gallery, Moscow, Russia

2017, Signs and Symbols, Stimul Palace of Culture, Moscow, Russia

2017, Chairs, Moscow Drama Theatre Chelovek, Moscow, Russia

2017, V.P.O.E.C.E.R.U.I., Pisos Collaborative Project, film screening,

Artplay Design Centre, Moscow, Russia

2016, Parasite Sculptures, Artplay Design Centre, Moscow, Russia

2016, Faced Out, Crystal Factory, Moscow, Russia

2016, FMP Exhibition, British Higher School of Art and Design, Moscow, Russia

 

Curatorial Projects:

 

2019, …peep…, British Higher School of Art and Design, Moscow, Russia

2018, Contrast | Construct, MOST Student Initiative, MARS Centre of Contemporary Art,

Moscow, Russia

2017, Chairs, Moscow Drama Theatre Chelovek, Moscow, Russia

 

Publications:  

 

‘Daria Setevinets’, florencecontemporary.com, Online Catalogue: https://issuu.com/florencecontemporarygallery/docs/catalogo_20201

‘Students and Projects: Daria Setevinets’, britishdesign.ru, Online:
https://britishdesign.ru/works-gallery/142734/

‘Queer Moscow: Dispatches from the Front Lines of Russia’s LGBT Creative Revolution’, The Calvert Journal, 31 July 2019, Online: https://www.calvertjournal.com/features/show/11285/queer-moscow-o-zinelgbtq-revolution  
‘Daria Setevinets. Bought Happiness’, WOTISART? Magazine (UK) vol.24, March 2019 
‘Daria Setevinets. Oh, You! Series’, A5 Magazine (UK) vol.25, April 2019