Andrey Berger was born in 1986 in Barnaul. He graduated from the Altai State Technical University, faculty "Design of the architectural environment".
In 2011, he moved to Moscow to work and study contemporary art.
For more than 20 years, he has been studying the city as a habitat being the street wave artist. He is engaged in curatorial support of Russian young street wave artists. Founder of the FGA street art platform. Took part in exhibitions in the USA, Germany, Denmark. Organizes street art projects and festivals. Actively cooperates with brands such as Puma, BMW, Absolut, Adidas, Superdry, Xiaomi, Swatch, Hugo Boss and others.
Andrey Berger is an interdisciplinary multimedia artist working at the intersection of art, science and new technologies. In his projects, he experiments with different expressive forms, his style is characterized by a high level of details elaboration, graphicity and conciseness.
Graphics are the starting point of Andrey's creativity. It is seen in many formats and expressive form he uses. He works with sculpture, graphics and installation. Andrey have been actively working with discourses of digitalization of urban space and the post-internet for the last 4 years.
UNCOLLECTIBLE
MANUAL INSTRUCTION
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ARTIST
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ABOUT
"Uncollectible. Manual Instruction" is a clear illustration of how ordinary things can lose their original functionality and become more like a game rather than an object for functionable work with predictable result. To visualise this metamorphosis, artist Andrey Berger used the world known IKEA assembly instructions. With just a very few simple manipulations he downgraded their valuable utility status. The process included the insertion of additional elements to the manual’s graphic symbols and signs. Moreover, it is performed in a such sneaky way so now it is impossible to tell the difference between the original graphics and the ones added by the artist.
Any assembly instruction is not just a text or a set of symbols that comes with a purchase. The instruction is a symbol itself. It’s a symbol of human will to control the world, to build something that would work out of the chaos of the disparate pieces. Any instruction is an essence of meaning. Because everything that might lengthen our road to finding that meaning was vanished from it. In fact, an instruction is the epitome of the human being's initial belief in the control over the world, over the environment, over things and, in a way, over other people. Is such a perspective still up to date? Do we really still believe that we can rule the world?
Any assembly instruction is not just a text or a set of symbols that comes with a purchase. The instruction is a symbol itself. It’s a symbol of human will to control the world, to build something that would work out of the chaos of the disparate pieces. Any instruction is an essence of meaning. Because everything that might lengthen our road to finding that meaning was vanished from it. In fact, an instruction is the epitome of the human being's initial belief in the control over the world, over the environment, over things and, in a way, over other people. Is such a perspective still up to date? Do we really still believe that we can rule the world?
Artists nowadays respond with no hesitation to such questions: NO. No, we cannot be quite sure that we assemble the world in the right way. We can no longer even fully trust the instructions we are given. Generating the truth (on the one hand) and verifying it (on the other) have become tasks that are far too laborious.
That is what Berger strives to point out in his work. By messing up the tracks of the correct assembly, by creating a tortuous path where the algorithm has been calibrated, he shows that today's reality requires new forms of assemblage. These new assembly types might look absurd or even ridiculous, might lead us to unpredictable results or simply give us the experience of assembly as such, shattering our ideas that any activity somehow involves the creation of a physical artifact. An instruction that does not guarantee a successful result becomes, first and foremost, a reference to itself. This is a sort of self-reflective marker of a situation in which a tangled transformation process turns out to be more important than the thing we know.
That is what Berger strives to point out in his work. By messing up the tracks of the correct assembly, by creating a tortuous path where the algorithm has been calibrated, he shows that today's reality requires new forms of assemblage. These new assembly types might look absurd or even ridiculous, might lead us to unpredictable results or simply give us the experience of assembly as such, shattering our ideas that any activity somehow involves the creation of a physical artifact. An instruction that does not guarantee a successful result becomes, first and foremost, a reference to itself. This is a sort of self-reflective marker of a situation in which a tangled transformation process turns out to be more important than the thing we know.
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GALLERY
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