Since the beginningof the 2000s, art has undergone a qulitative change, graduallysynchronizing with surrounding reality. What we understand by the expression «contemporary art», itelligibly explains to us that we live in strange, inexplicable times. If the Middle Age focused on the theme of Heaven and Hell, Renaissance conducted revision of the past, and Modernicm shaped the fututre, then the art of the 21st century seems to be mostly interested in examining its own time.

Within this context, the genre identityof works becomes almost indefinable: virtual reality ix mixed with painting, video games - with documentary photography, social networks - with graphics, and performative practicies - with the work of the researcher. However, in regards to formal heterogeneity, all the works on display in the exhibition are related to existing forms: these artists percave reality as a workshop, filled with convenient tools, as an archive, the data of wich can be manipulated, exposing them to the act of redrawing or reinterpretation. Moreover artists have slopped producing original products - discoveries are not being made, nor are manifestos being written. A typical artistic strategy of the presence is to dive into cultural chaos - to utilize an already finished product and having reworked it (although in this case, the word «reprogrammed» would be more appropriate), introduce it into new contexts. It should be noted that this is neither bad nor good - it is merely a given. The exhibition

After Us is, on the one hand, another attempt to designate the Zeitgeist, on the other - to encapsulate the artistic strategies of the newest forms of art.