This work takes it starting point in the so-called Zone Rouge in France. The “Red Zone” as it translates from French, is a collection of areas where some of the heaviest battles of the World War One were fought. The battles fought over a century ago have made their lasting impacts both in the physical and the mental landscape. After the War certain areas had to be closed off for public, as they contained tonnes of unexploded shells and toxins from the weapons used.
In the present day, Zone Rouge is filled with a seemingly wild forest, but the toxic memory of the events long gone is still alive within it’s landscape. They’re embedded in the landscape in the form of chemicals and craters left from explosions. Groubnov’s project attempts to trace the embodied memory of that area through physical interactions and sensory experience.
Groubnov’s recent projects deal with inaccessible places, with a particular focus on soil. Using “traces” in the soil (through sensors or data), he recreates a virtual world as a representation of places that are “lost.
His graduation project for example, revolved around the environment in Belarus where he grew up, but that he cannot return to because of the war. Using soil measurements from the location where he grew up and virtual environments created by a game engine, he reconstructed the memories of his home.
Groubnov works together with the NewMediaCentre of TU Delft for the realization of this work. The NewMedia Centre (NMC) of TU Delft Library is a dynamic multimedia hub for media production, experimentation, research, education, live performance, and learning. The NMC strives to use new media technologies and create media experiences that enable people to get their message across successfully and to help teachers, students, researchers and all employees of TU Delft with their media needs.
About Filipp Groubnov
Filipp Groubnov is an interdisciplinary artist. He was born in Belarus in 1995, where he lived until moving to the Netherlands in 2015 to pursue a career of an artist. Filipp's work is informed by his background in science (having studied in the physics faculty of Belarussian State University), his fascination of the biological systems and their relation to the human symbolism.
“The roots of my practice start in my upbringing in Belarus. The complex interactions between human religious practices and non-human life that I witnessed in the village of my grandparents, the ghostly presence of soviet ideology that left behind numerous material and mental artefacts and the insight into science that I inherited from my parents. The biographical elements from my past appear as anchors for the future works.
My practice is based on creating temporal ‘situations’ which shift and evolve throughout the exhibition. Such situations combine sculptural elements, data-flows and various living and non-living agents. I see my practice as a process of mapping, where the connections and interactions take the main focus. My goal is not in creating fixed knowledge, but rather a space of constant negotiation.
Central to my research is the conviction that the physical realm of the natural sciences and the ethereal realm of communication, cognition and consciousness are part of the same living ‘fabric’. Not as a singular topic in itself, rather I see that conviction as a framework which guides my practice.
Analysing, mapping and exploring different points of interaction between agency and matter. My work becomes a sort of a map where the material landscape is entangled with the ever-changing pool of human psyche and it’s physical manifestations. Through it I investigate the relationship between the nostalgic fictional ‘nature’, speculative beliefs and utopian narratives that deposit as physical sediments in the environment. “