This project, which has been specially created for Manege by the artist Andrei Lyublinsky, features a modern-day interpretation of the Dioscuri which stand at the facade of the exhibition hall. A minimalist style – akin to a pictogram – pervades the depiction of the equine statues, while the striking colour scheme contrasts with the artwork’s classical surroundings. Nevertheless, there remains a clear degree of conventionality – the proportions of the horses are preserved, and the size of the pieces allow them to organically blend into the space.

Lyublinsky employs a visual language which leaves his work open to interpretations which transcend national boundaries. And while reminiscent of the Russian avant-garde, his work is also a nod to the digital nature of modern-day visuality. The artist also explores ideas of the possible replication of objects, of democratism, and of his own approach to design. He has developed a modular system, which enables him to create various recognisable objects. This theme, which can be categorised as art construction, is key to Lyublinsky’s work. In sculpture, a module appears as a kind of pixel. However, these are not so much images as forms.

Lyublinsky works at the intersection of art and design. His compositions are analytical pieces which are imbued with the formal language of art. The project pervades its urban surroundings, entering into a dialogue with the Dioscuri standing at the portico of Manege’s main facade. In so doing, it transforms into a topical work of art. His art informs us of a new cultural landscape taking shape, and affirms its ability to change the world. It permeates various subjects, interacting with viewers and residents, while embellishing its surroundings in new ways.