In this project we address the theme of abstract forces, which in human culture take the form of cults, religions or paradoxes. We aim to use the methods of contemporary art to create our own visualisations that signify the presence of an abstract "nothingness" on earth. Our "nothingness" does not coincide with any established religious doctrine, but it appropriates its forms so that the human eye and soul will seek meaning behind them. They are trickster objects, convincing simulacra, nameless cults. Our "nothingness" operates by the method of intervention, creates genius loci, dissects landscapes, turning them into portals. Our "nothingness" is a struggle between the organic and the synthetic with the proclamation of the power of the latter. It is about quasi-sacral symbols. It is about meta-religious structures that feed on human's thirst for images.

In 4SPRM, two artists working with different methods visualise four forms of presence of unnamed and indefinable forces. SPRM is a container for meaning, just like future art. It is supreme. It is sperm. It is s-supra, p-post, r-ratio, m-meta. It is any other prefix hinting at the formal approach of the four parts of the project.

This project emerged in 2016 as "paper art" for the IX Shiryaevo Biennale "Cash". We, the artists who were not invited to participate, who did not even apply, made a project of a project, so giant that the budget of the whole biennale would not have been enough. Chinese Fortune Cats, transformed into colossal statues, settled on the tops of the Shiryaevo hills. In Shiryaevo, where holy springs beat and where Ilya Repin painted, a new cult has emerged. Gilded cats wave their giant paws at the small people crowded on the hill. Do they bode good luck and happiness to those who got in the shadow of their paws? Or are they silently saying goodbye?

The project got a second impulse in the summer of 2018, at the same Biennale under the theme of 'Glee'. We blew the dust off our cats and decided to make them - albeit small ones. We were concerned about the possibility of 'localising' a foreign cult in the natural locations of the village - we wanted to make the cats native, neglected and discovered - on a hilltop, in a cave, on the smooth surface of a lake or a tree. These were supposed to be tiny "shrines" with knocking cats. But the complete homogeneity of the shrines seemed false, so we decided to introduce 'glitches'. Some glitches of imagery, that make it impossible to articulate meaning. Indeed, "Glitches" turned out to be as good as cats, and even better.
It is a pure attack on abstraction. It is an intervention into the organic flesh of reality. It is something you didn't call for. It is what we exist for in art. So, the cats themselves became unimportant and another idea came to the fore - the intrusion of inexplicable but concrete forces, their entry into a close combat with reality, inseparable from their embrace. The seizure of the soul in its attempt to appropriate what it sees through the construction of narratives.

Thus, some interventions happened in Shiryaevo: "holy springs" made of mirrored tape, pixelated gnarls with flashes of azure Lego constructor on a lonely tree on a hill, toxic nebulas with cardboard halos in the stone galleries.

Glitches can take millions of forms. SPRM is both a plastic exploration of the possibilities of landscape and a work on deconstructing the meaning of ready-made images. The project is multi-dimensional and will evolve until the abstract forces leave us.