Sergey Shekhovtsov is still trying to answer the key question in his art: "If the pathos of old sculpture is now questioned, then which mode (way of being) accords with contemporaneity?" Once again, sentimentality goes hand in hand with satire, and enthusiasm and sublimity are halted by the haughtiness and arrogance of the Big City. The porosity of his favourite material does not make the images intimate and accessible.
The exhibition "Moscow Land" is a montage of its citizens' views and a mixture of various subjects. Our eye catches the head of an angel, the logo of a large bank, a neon sign beaded with pigeons, in which only one letter "M" is alight. In Shekhovtsov's city everything is under control, everyone is under surveillance. Portraits of people are hidden away in metal cans. Sergey Shekhovtsov, perhaps, is one of the few artists capable of empathising with ordinary people – both the old inhabitants and "recent arrivals" – and of understanding their aspirations.