Although Anfim Khanykov creates fairly traditional sculptures, they serve to make viewers lose their sense of time and their idea of the present moment. His works stem from an anonymous archaic space and the territory of sacral sculpture—from a moment before the beginning of history, including the history of European art. The work exhibited at the Triennial plays with fairytale images: a hand squeezing moonshine out of a brick and letting it drip into the mouth of an anthropomorphic being that lives in a barrel (a gnome? a troll? a small Diogenes stuck in an old barrel?). Khanykov’s fairytale is not taken from books but invented on the spot using everyday mysticism that is accessible to anyone who is willing to perceive it and brave enough to suffer its consequences.
Anfim Khanykov (b. 1977, Izhevsk, Russia) lives and works in Izhevsk. He graduated from Udmurt State University, Izhevsk in 2000. He was a member of the art groups Archaeopteryx, Artistic Dacha, All-Russian Society of Saints, and IZHcarus. He curated and participated in the festivals and public art projects Contemporary Urban Sculpture, Izhevsk, Speaking Monuments, Perm, Package, Izhevsk, Ulyanovsk, Amsterdam, and Square Art, Perm (2008–2012). Group exhibitions include: Nadezhda: The Hope Principle, Tryokhgornaya Manufaktura, Moscow (2015); Big Ural, Ural Vision Gallery, Yekaterinburg (2015); Contemporary Art in Izhevsk, Cultural Alliance Gallery, Moscow (2012–2013); Icons, Erarta Museum of Contemporary Art, St. Petersburg (2012); Arkhstoyanie, Nikola-Lenivets Art Park, Kaluga Region (2010); and Instrumenta: The Art of Usefulness, New Manege, Moscow, (2003).