The images shown here are depicting the changing nature of the sun in a multitude of diverse universes. How can we compare historic paintings to Photoshop generated abstract art that relies totally on algorithms? It is the feelings that are generated when we watch a worm burrow into the freshly tilled earth.

Result #1

And we cannot escape the images of the sun itself, which are perhaps even more unsettling. The image of the sun, of course, is not a reflection on the viewer, but on the sun itself. But as a kind of spiritual object, the sun is also a reflection on the viewer.The pictures that were shown here are not the result of an intellectual process, however, but the expression of an emotional response to the images and their titles. They are not pictures of the world as it is seen. They are images of the world as it is experienced. They are not pictures of a thing in the world, as it is experienced. They are not pictures of the world as it is perceived. They are not pictures of the world as it is understood by man, as it is experienced. These are not pictures of a world that is outside the world, but of a world that is experienced as it is perceived.The abstract paintings are paintings that show us how we experience the world as it is. They are pictures that show us how we perceive the world. They are paintings that show us how we see. We are not presented with the world as it is perceived, but with the world as it is experienced. We are presented with the world as we perceive it. We are not presented with the world as it is seen, but with the world as it is experienced. We are presented with a world that is not a reflection on the viewer, but on the viewer. We are presented with a world that is not a reflection on us, but on us. And we cannot escape the images of the sun. We can only escape the world as it is experienced. In this world, which is like an image in a mirror, the world is seen as it is experienced.

Result #2

In a second room, a text-based video of a geodesic dome and a drone-like video of a geodesic dome (one of the three works in this exhibition) appeared in the shape of the dome. The video, created by the artist, is a sort of surrealist reenactment of the final battle of the Civil War. It was shot in the United States but was translated into Spanish, and then translated again. In Spanish, the words of the original are translated into English, and in English they are translated again, so that the geodesic dome becomes the symbol of the republic of Mexico. The other works in the show were made with the same tools and techniques that have been used in the production of the videos and the other works. They too were made in collaboration with the artist, and they were created with the same objective: to show the interdependency of the art of all countries. We are, in a sense, all participants in this exhibition.

Result #3

The images shown here are depicting the changing nature of the sun in a multitude of diverse universes. How can we compare historic paintings to Photoshop generated abstract art that relies totally on algorithms? It is the feelings that are generated when we watch a worm burrow into the freshly tilled earth. Or a star twinkling in a black hole. Or a galaxy made of millions of star maps, a galaxy that appears to be as big as our own. Or a supernova that, in a few years, will disappear in a blink of an eye. In other words, the artist plays with the idea of the alien, which is also a part of our experience of the world.The video was produced in collaboration with artist Adrian Grigorescu and with the help of a group of friends, including the artist, the poet, the artist Nikolai Khlebnikov, and the director of a cultural archive, Valentina Zhdvava. The video was shot in the Chariot Square in Moscow, the site of a Soviet army parade held in honor of the victory over the Red Army in October 1941. The parade was a landmark event that left a lasting impression on the country. In this respect, the video, which was produced by the artists and by the Russians as well as by the Soviet military, demonstrates that the past is a haunted memory. It is a memory of violence and war, of violence and a lack of respect for human dignity. We are reminded that our own history is also haunted, but with a freshness and a freshness that is almost mysterious. The video is also a tribute to the hundreds of thousands of Soviet citizens who were deported to Siberia during the early twentieth century, many of them to the cities of Königsberg and St. Petersburg. The footage that was used in the video was taken from the films of Sergei Eisenstein and Alexander von Bruenchenhein. It was shot in Moscow in 2014 and in St. Petersburg in 2016, when Eisenstein was a prisoner of the Soviet Union. The Soviet regime used the film as a propaganda tool, reminding the world of the brutality that still prevails in the world today.

Result #4

The artist has painted the imagery in a style that is reminiscent of the romantic paintings of the 20s and 30s, but with the playful and whimsical elements of a childrens book. The result is a thrilling and disturbing experience, one that invites us to look at the world anew.

Result #5

In this respect, they resonate with those of the artists who created them. The powerful feeling of loss and isolation that this work evokes is echoed by the sense of isolation that comes from seeing the earth as a beautiful and fertile place. These works are also a critique of our current obsession with technological progress and a call for a renewed sense of the divine in the face of our inability to communicate with it. We are, after all, only able to feel the beauty of the earth and the light that burns on it.