Vladimir Tsesler’s work can be characterized as applied art. This is a product of the artist having worked at the interface of art and design for many years of his creative career. In his work, objects of daily life are represented as fragments of reality and the media space, selected and captured by the author. These objects are then reconceptualized and transformed by Tsesler, whereby the artist combines the objects and employs metaphors, allegories and juxtapositions. This leads to a certain defamiliarization of mundane objects, or even defamiliarization of reality itself and our interactions with it—or, a different point of view. The real and the virtual are merged into a hybrid.
At first glance, Tsesler’s works perplex you with deliberate provocation and farce, bordering vulgarity. This fine balance between provocation and aestheticism makes him a true contemporary artist. As you investigate the works more closely, however, you come to see the satirical lens of the author. Some works are not devoid of politics, since, a fervent observer, Tsesler aims to address pressing social issues, including political matters. This is also the reason why the author uses in his art modified brand logos that have become part and parcel of our day-to-day. Tsesler can be described as a flâneur of the information age, who is capable of sensing the finest shades of meaning in the events and conveying them in a straightforward and open manner. This combination makes commentary on his work gratuitous.
Yet, to take a broader perspective on Tsesler’s contribution to contemporary art, it is worth opening this conversation with the meme culture. It is evident that the artist was a pioneer ahead of his time not only with regard to this particular cultural phenomenon but in the context of the post-internet aesthetic in art overall. His works materialize objects of the media space, of the so-called discourse, and make them into pieces of art.
This is more than a mere record of individual memes that surround use, this is creation of allegorism by means of the abovementioned techniques. Cyberspace objects are materialized as art whereas material objects are represented online.
Vladimir Tsesler occupies the intersection of two fast-emerging trends and acts as the architect of style. On the one hand, his works are a mirror for the cultural code, a carnival mirror distorted by the author’s irony. On the other, these works of art are forward-looking, as artefacts for the archeologists far into the future. Individually each work contains a succinct yet substantial message, as a totality the works serve to piece by piece recreate the cultural reality.