Fine art, sculpture & photography in the heart of Kyiv since 1988
SATISFACTION SYNDROME| ANDREY TSOY
03.05 - 04.06.2018
SATISFACTION (from Latin satis “enough” + facere “to make, do, perform) – the fulfilment of one’s wishes, expectations, desires – and the pleasure derived from this; the payment of a debt or fulfilment of an obligation or claim; a public apology. Historically, the term has signified the opportunity to defend one’s honour in a duel. In general public international law, the term ‘satisfaction’ describes a particular form of reparation in the law of State responsibility.
«Satisfaction Syndrome» | «SS» throws down the gauntlet to contemporary Society, its morals and its humaneness; to Religion, as a way of renouncing old Heroes; to the Informational cannibalism and to fake news, to Virtual consciousness…
Andrey Tsoy’s «Satisfaction Syndrome» is expressed through two stories: Carlo Collodi’s world-renowned fairytale novel The Adventures of Pinocchio (and its Soviet cover version The Adventures of Buratino) and the religious myth of the life and martyrdom of St Sebastian. The characters of the first narrative are children that confront “adult” themes. In the second, St Sebastian is stripped of his original attributes and symbols, of his age, until he becomes a fatalistic psychedelic image of an infant, both child-like and mature through his martyrdom.
«SS» is the bilateral movement that makes it possible to transform reality through putting on hold the external and the internal intermittently.
Andrey Tsoy (b. 1971 in Murmansk, Russia) is a renowned Kyivite contemporary artist and an academic at the National Academy of Fine Arts and Architecture (NAOMA). Graduate of the NAOMA, Kyiv, Ukraine (1997 and 2001), the University of Granada, Spain (1993-1994), the Dnipropetrovsk Y. Vuchetich Art College, Dnipro, Ukraine (1990). His monumental works are part of museum and private collections in over 10 countries around the world. The artist’s creative mission is to give visual expression to the subconscious reality that underpins the visible reality. The semantics that imbue his works are expressive of the disassociation that defines the times we live in. The artist’s unusual technique – and its characteristic use of gold estampe – underpins the symbolist aspirations of the works.