The future has changed and is becoming closer than before. What seemed to be fantasy just yesterday is already reality today. The scale and speed of these changes is making a world religion out of science, building new technologies in reality. The evolution of art in the light of current changes is not as obvious: Will art follow the path of resistance to a radical analog state or will it dissolve into digitized and alienated information flows?
The „New Artifacts” of Ivan Egelskii offers a view not just of contemporary art, where a miraculous image from a mystical concept is transformed without our noticing into a concept of the ordinary and trite, but rather it is a view from the future into our own civilization.
The number of copies of sacred scriptures, for example the Bible, in binary code indeed exceeds the publication of physical copies of the most popular books on the planet. However, it is enough to interrupt the transmission of the „locks” and „keys” of the information century to one generation, and the entire huge digital system will be converted into pieces of useless rectangular glass on which it is convenient to scribble, into smashing monitors on which it will no longer be possible to display anything, and into the binary codes that no one will be able to decipher, so the moral-ethical regulators will also no longer be able to function, leaving humanity in the loneliness of an illusory world.
Ivan Egelskii, in his work on canvas, is shifting the accent from the result of a work of art to the process itself of creating the work of art, where the deceptive miraculousness of technology is becoming more important than the nature of what has been created. The new laws of formation are becoming more sure by the indicators of the Digital Revolution that is reigning in the 21st century, which, in falsifying reality, is simplifying access to the illusion, erasing the boundary between what is desired and what is possible.
The tablet, as a node of our civilization, is a voluntary entrance into the Matrix, an object of desire and a meaningful tool of modern humanity, is proving to be only a „magic mirror” whose surface is so easy to shatter. The disaster of the ordinary modern person is turning into a time shift—colored cracks in the monitor draw the eye to its picturesque beauty, while in actuality they are the absolute dominant technology.
The collision and the displacement of the divine and the technical into indistinguishability is that boundary beyond which there remains room only for the myths of future generations. Indeed, what kinds of artifacts of our time will the people of the future see? Will they recognize them? Or time will screen out the context and functional logic, and only the pure esthetics of our time will remain to the viewer.