For the new exhibition in the Foundation's workshops, Kirill Makarov and Dmitry Kadyntsev, without agreeing on a theme in advance,used the shared space of the workshop as the theme itself. By exploring the idea of space, exposing itIn exploring thought in its inner quality as a space for experimentation, the artists exhibit works on thought aboutpractices of coexistence in the contemporary world. This question of method and work in the absence of any predetermined connection is posed by the artists in the context of the coexistence of different kinds of writing in the same territory; it is posed by them in terms of modal logic, in a reflection on a common space that was once called by André Leroy Gueron the perimeter of safety". Where formal logic is organised as the opposition of object-existing verities, and non-modal logics operate essentially only one modality - existential, giving the objects of analysis and their names a common status of existence,Artists engage modal logical relations involving the embedding of judgements, considering the fact that reality itself and its assumption in thought exist in different modes. And it is precisely these modes, implemented in pictorial practice, that are presented by Makarov and Kadyntsev under the general title “The Dream of a Halt and a Switchman.”

The question of exploring reality as multidimensional in its indivisible wholeness, which is essentially the question of the modern civilisation about overcoming the entropy of the Anthropocene is present in the works of both artists in different invariants. Whereas Dmitry Kadyntsev's work explores the question of transition and recreation, which inevitably arises in alienated labour, Kirill Makarov reflects on the existence of bodies as boundaries in the world and the preservation of the enigma of these bodies as an opportunity for a peaceful experience of subjectivity in the longing and anxiety of the modern eye for spectacle.

For Kadyntsev, the expression of the hybrid space of reality in painting is resolved through "modulations," and the most Kadyntsev's expression of the hybrid space of reality in painting is resolved through "musical modulations", the transition from one tonality to another. Its essence is that from one system of tonal functions and gravitation, the musical development passes into another system, falling into the zone of attraction of another tonic. Such a modulation can be compared to the transition to another "territory" where the harmonic laws are the same, but they are governed by a different tonic centre. This meaning is close to the meaning of the term "transition module" in mathematics, and describes well the exposition of an imaginary resting space,created by Dmitry, where the slightly discernible images of step, movement and hesitation are expressed by the discontinuity of lines, the mutual displacement of webs and the freshness of pure tones.