The Contemporary art since Andy Warhol has deliberately devaluated the Idea of Romanticism. In the scheme artist — artwork — gallery — exhibition — art market there is no place anymore for the myth of the artist alone against the whole world, the outsider so beloved by the viewer. The Works of art now have impressive dimentions, the artists have develop new techniques and perfect design . Sergey Lozmanow’s works are a new experience, let’s call it the experience of a detached observer, the escape out of the city, in the abandoned places.
Eight graphic works explore a poetics of the urban space. Sergey with a maniacal diligence draws every brick of someone’s dream which did not come true, the starry sky on the snow background , the abandoned warehouses in the outskirts of big cities. Millions of lines, countless wrist movements along the line : «The desert spaces, the scraps of forest which have not been yet cleared for constructions, the sea, covered with rubble, the buildings abandoned for the lack of use, the „modern ruins“, the ruins of the time, the postmodern glass constructions and the constructivist high buildings. The Sleeping areas where the man goes back to sleep, because he stays always at work, or in the train, and has no time to live.
The Crisis landed everybody. And under your feet there is a pile of bricks of the last fall, covered with moss» (Sergey Lozmanov).
There is no objective observer because any observer is a part of the universe of its physics and mechanics. The mesmerizing glow of the stars is a key element of all his works — it refers to the radiance of the «billion years», causing a longing for that starting point of the «big Bang». While studying the works of Sergei, there is a feeling of the absolute detachment, the loss of contact with reality beyond the boundaries of the objects of observation. Like in the quantum mechanics there is the observer as one of the elements to be analysed together with the object and tools of research. I recall the words of M. Momardashvili — «Genesis is not reduced in reality», but its shadow, captured by the author, turned into eight essays on the contemporary Romanticism