Dmitry Vrubel and Victoria Timofeeva have their own media avatar, visual icon, which capaciously expresses the main theme of their projects, and even denotes the artists Vrubel and Timofeeva themselves. The representation of the strong male kiss of Brezhnev and Honeсker, drawn on the fallen Berlin wall, became the most famous symbol of the epoch at the moment of its culminating transformation, and the included inscription "God! Help me survive amongst this mortal love" became the referent of the eternal for Art in the general understanding of the correlation of "internal" and "external" worlds.
With the exhibition "2007" Dmitry Vrubel in his co-authorship with Victoria Timofeeva has returned to the conventional, gallery space of contemporary art, simultaneously referring to the main and long standing theme of his projects.
Today's "2007" is the instant shot of the chaos in the head of Vrubel-Timofeeva, which is influenced by the external world, which became frozen in topical forms, provided easily and rapidly by today's internet-communities, by blogs and the news Media.
The continuity of news' events and media personalities, who represent them become the manifestation of the external. In this excessive flow, the main aim of which, it seems, is to forget that which is old ever faster, Vrubel and Timofeeva try to find that single image, which in its chance form allows one to unexpectedly resonate with one of the perpetual internal expressions, to become an illustration of artistic, social and psychological archetypes. And the deliberate actuality of media images even more paradoxically reveals their belonging to unchanging meanings.
At the same time Vrubel's "words about himself" always disarm by the admission, in all possible manifestations, of personal fears and diffidence, right down to the expectation of displeasure by the characters in the picture itself, in which they are placed. The fundamental horror of violence, death and one's own inadequacy expresses the conditions, which witness the approach of the border of collision with reality.
It is possible, that the impenetrable barrier made from the media portrayed masses of "2007" conceals, or even protects one from that non-existent image of reality, which is permitted suddenly to express itself at the moment of the striking of the spark between the exaggerated mass and the intimate.
Lasting from 1998, the period of conditional "unconventionality" of the creativity of Vrubel and Timofeeva was expressed not only in the realisation of their art using means then inappropriate and in the odious spaces of the Duma or the TSUM Ц on the background of changes in the relation of today's system of art to the authorities and to capital Vrubel and Timofeeva become simply curious explorers. However, the conservative affirmation of personal sincerity, directness of expression and the absence of personage-making, unfashionable at the time of the development of the beginnings of post-Modernism, became their most distinguishing feature.
This very difference allows them simultaneously to be present in the spheres of the powerful associative gravitation of the significant bodies of Sots-art and Pop-art, and at the same time inevitably to exclude themselves from them. Finding oneself everywhere is finding merely one's own place.
"2007" was made by Dmitry Vrubel and Victoria Timofeeva as an experimental stage of a new project, the more questions it brings up, the more vital it is. This chaos, as at the time of tuning orchestral instruments, is the precursor to the appearance of the Big picture long awaited by them. In it there will appear a new part Ц fragments of sacred writing, which believers for thousands of years read on each relevant day, by this repetition linking the meaning of time, generations and cultures. This complex, Ц also in virtue of the relationships of the Church and Art, Ц construction will require special well-judged solutions, allowing one to portray the invisible linkage of current, personal and meta-histories.