By adopting a digital interface as an intermediary between the manufacturer and the consumer, Maksimov uses ‘transmedia storytelling’, a type of narrative that exists across a range of formats, from film to installations to smartphone apps. Maksimov believes that, as computer games are modelled on reality, animation and interactive graphics can be used to change reality itself.
Alongside mysticism, theosophy and pop culture, Maksimov's interests include gravity, railroad transport, and forensics. The underlying message of his video works carefully details the most complex traffic systems and infrastructures. Simultaneously, this subtext acts as a metaphorical description of the logic behind political machinations, cycles of human life, and entire thought ecosystems. His interest in such issues derives from an intensive exploration and examination of the world around, ‘It is fascinating to make these pressed shots, concentrates of life, so to speak, and turn them this way and that, study them from different angles’.
- 2021: Continuous Response – solo exhibition, the Vadim Sidur Museum, Moscow, Russia;
- 2018: Humanity Extraction – solo exhibition, CCI Fabrika, Moscow, Russia;
- 2014: Barriers – an interactive installation combining video and digital animation with three-dimensional sculpture, the Burning News group exhibition, Hayward Gallery, London.
Mikhail Maksimov is the winner of the Ultra Short Film Festival (ESF, 2012); winner of the Kansk Video Festival (2015,) in the Best Russian Short category; recipient of the Gold Taiga prize, the Spirit of Fire International Debut Film Festival (2018). Has participated in the Manifesta 10, the 71th Locarno Film Festival (Switzerland, 2018), the 35th Hamburg Short Film Festival (Germany, 2019), Riga Biennale of Contemporary Art (Latvia, 2020), Venice Biennale of Architecture (2021). His works can be found in the collections of the NCCA and Multimedia Art Museum, Moscow as well as private collections.
In the course of his residency at Golubitskoe, Mikhail will be working on projecting public structures on wine production.
‘The cultures and civilisations that replaced one another on the Taman Peninsula, fervently and tragically erasing all references to the past, can be compared to the caduceus, the medieval symbol of alchemy and trade that originated in ancient culture, which left its mark on the history of the region. My work intertwines them with winemaking technologies, blurring the line between the tools and the purpose, matrix and content, the past and the future so that we could critically assess and reconsider the progressive chain, the project of modernism itself, where without the present is impossible without what came before.’
To find out more about Mikhail Maksimov’s projects, please visit http://dying.fun/