Sasha Kuprianov’s solo exhibit.

The title of Sasha’s exhibition YOLO (You Only Live Once) is a reference to the cultural phenomenon that was born in the beginning of the 2010s and became the motto of the century. Self-expression, living “here and now”, a demonstration of your individuality- these are the predominant ideas of this time. On the other side of these ideas lie over-consumption, risk and over-saturation. YOLO is a strategy of being seen, where freedom is associated with attention and actions -with public demonstration. The phrase “YOLO” became popular with Drake’s track “Motto”. In the song Drake sings: “You only live once, that’s the motto…YOLO”. This verse became an ironic and simultaneously serious explanation of choice, in which outer appearances become a way to exist in a world that is driven by algorithms and attention. Sasha Kuprianov explores this phenomenon of self-representation in the field of the public eye, where visual codes of pretense become a way to communicate a mask, an instrument to navigate in the symbolic field of the contemporary capitalist world. Capitalism became the global norm. Here, this demonstrative luxury is no longer criticised. Luxury becomes a symptom of the cultural and anthropological reality, in which visual cues replace meaning, and strategies of visibility become a strategy of being.

Sasha’s project explores how aesthetics form a new language of social rituals. Visual gestures of stolen elitism become symbols in a system where a sign no longer points at reality, but constructs its own meaning. A pyramid made of champagne, plastic chandeliers, luxury logos in rented lofts-all this constructs hyperreality, in which the desire to “seem” becomes a necessity. But behind the visual glamour lies not only a mask-but human vulnerability, an attempt to survive in a world of constant visibility. The artist strives to look at these constructs as a sincere act of self-reflection in a situation where “living once” means creating your life as personal power, even through borrowed symbols, not a “knock off”. Through the aesthetics of consumption, imitation and prestige , Kuprianov invites the viewer to explore the ethics of desire, the borders of authenticity, and freedom in narratives that are constrained by social media and their algorithms. The exhibition becomes a space of reflection in which a viewer can see the artist’s  biography in each element- be it dedication, shame, happiness or irony.

The title of Sasha’s exhibition YOLO (You Only Live Once) is a reference to the cultural phenomenon that was born in the beginning of the 2010s and became the motto of the century. Self-expression, living “here and now,” and a demonstration of your individuality—these are the predominant ideas of this time. On the other side of these ideas lie over-consumption, risk, and over-saturation. YOLO is a strategy of being seen, where freedom is associated with attention and actions—public demonstration. The phrase “YOLO” became popular with Drake’s track “The Motto.” In the song, Drake sings: “You only live once, that’s the motto…YOLO.” This verse became an ironic and simultaneously serious explanation of choice, in which outer appearances become a way to exist in a world that is driven by algorithms and attention.

Sasha Kuprianov explores this phenomenon of self-representation in the field of the public eye, where visual codes of pretense become a way to communicate a mask—an instrument to navigate in the symbolic field of the contemporary capitalist world. Capitalism has become the global norm. Here, this demonstrative luxury is no longer criticized. Luxury becomes a symptom of the cultural and anthropological reality, in which visual cues replace meaning, and strategies of visibility become a strategy of being.

Sasha’s project explores how aesthetics form a new language of social rituals. Visual gestures of stolen elitism become symbols in a system where a sign no longer points at reality but constructs its own meaning. A pyramid made of champagne, plastic chandeliers, and luxury logos in rented lofts—all this constructs hyperreality, in which the desire to “seem” becomes a necessity. But behind the visual glamour lies not only a mask but human vulnerability—an attempt to survive in a world of constant visibility.

The artist strives to look at these constructs as a sincere act of self-reflection in a situation where “living once” means creating your life as personal power, even through borrowed symbols, not a “knockoff.” Through the aesthetics of consumption, imitation, and prestige, Kuprianov invites the viewer to explore the ethics of desire, the borders of authenticity, and freedom in narratives that are constrained by social media and their algorithms. The exhibition becomes a space of reflection in which a viewer can see the artist’s biography in each element—be it dedication, shame, happiness, or irony.