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Recycle Group

@recycleart

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Within the fragile space between humans, systems and belief.
The art duo formed by Andrey Blokhin and Georgii Kuznetsov

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It’s finally here — the opera is on stage! Last night, Das Rheingold, directed by Kirill Serebrennikov and conducted by Kirill Petrenko, premiered powerfully at the Salzburg Easter Festival. This marks the start of a new Ring des Nibelungen cycle, which will continue over the coming years.

We are thrilled to be part of this project and to work with this amazing team — a real dream team 🤍 We would like to thank Kirill for his vision and for inviting us to be part of this inspiring and ambitious project.
For us, this was our first step into the world of opera and we are deeply thankful for the opportunity.
Thank you to everyone involved — what a start!

Das Rheingold
Salzburg Easter Festival (@osterfestspielesalzburg), Felsenreitschule

Conductor: Kirill Petrenko
Production, Set, Costumes: @KirillSerebrennikov
Sculptures, Co-Set Design: @Recycleart
Co-Costume Design: @slavna_false_front
Co-Set Design: @mme_pavluk
Choreography: @este_van and DeLaVallet Bidiefono
Dramaturgy: @_daniil.orlov_

Cast:
Wotan: Christian Gerhaher
Loge: @brenton_ryan
Alberich: @leighmelrose
Mime: @tomcilluffo
Fricka: @catrionamorison
Freia: @sarahsoprano_
Froh: @atkinstenor
Donner: @gihoon_superbariton
Erda: @jazziejanae
Fasolt: @leee_buuu
Fafner: @patrick.guetti
Woglinde: @_louise_foor_
Wellgunde: @yajie_zhang_mezzo
Flossihlde - @jessicadandy
Performers: @goshakudrenko @campbellcaspary @davide_t_ @bibataibrahimmaiga1 @dinamialinelina @delavallet @romeo.bronbi @rodolpho3393 @aipeurfoundoux @ngo_youngdeep @souleymane810

Photos: (1, 7) © Frol Podlesnyi; (2) © @vahid.amanpour
#KirillSerebrennikov #KirillPetrenko #DaniilOrlov #SalzburgEasterFestival #osterfestspielesalzburg2026 Das Rheingold
Salzburg Easter Festival
Kirill Serebrennikov
Das Rheingold Kirill Serebrennikov taken in Salzburg, Austria by @recycleart

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7 months ago

@cairoscene x @artdegypte’s Forever Is Now | Meet the Artist: Recycle Group

Formed from numerous human figures made of plastic mesh, ‘Null’ is a multifaceted symbol. It signifies a starting point, the beginning of a new era, a resetting of old systems with the emergence of an additional fourth digital dimension.

Null is also a religious symbol based on the principle that if the cross was once the basis of chronology on our planet, then zero is its alternative in the New Age. Null or Zero symbolises humanity’s transition into a new digital epoch. The human figures, frozen in motion, represent us, caught in the net, stuck in the network. The virtual world is absorbing us more and more, changing our perception of reality.

The installation, part of Forever Is Now’s fifth edition, is on view at the pyramids until December 6th.

🎥 @cairoscene by @recycleart

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a year ago

Hi everyone!
We’ve decided to tell you a bit more about Recycle group, and what delights and impresses us.

Since 2008 we are discovering the interaction between human consciousness and new media, and finally decided to use them ourselves to show you our world.

Our projects showcased at the different Biennales, museums and galleries around the world, but the main gathering place for audiences is our sacred phone.

Started with small installations and performances today we create large-scale projects in urban environments, using augmented reality, Ai, and other technologies.

We want our projects to transcend the boundaries of museums and galleries and become part of everyday life.
Stay tuned taken in Paris, France by @recycleart

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2 years ago

Recycle Group’s ‘Sapient 1’ and ‘Sapient 2’ depict serene pastoral landscapes shaped by a vision of AI-led utopia, where technology enables transparent systems of governance. Their luminous lightbox format lends this imagined future an almost idyllic clarity, making its promise feel both alluring and quietly uncertain.

Now on view at @GazelliArtHouse New York as part of ‘Put the Kettle On,’ the diptych enters a wider dialogue on the ways images, technologies and systems shape our perception of reality.
Spanning more than six decades of artistic practice, the inaugural exhibition connects pioneers of computer-generated art and mass media with contemporary artists working across AI, algorithms and digital networks.

Featuring works by Agil Abdullayev, Memo Akten, Derek Boshier, Pauline Boty, Harold Cohen, Brendan Dawes, Jake Elwes, Lilly Fenichel, Jann Haworth, Kalliopi Lemos and Recycle Group, the exhibition traces unexpected links between analogue and computational practices, abstraction and figuration, and successive generations of image-making.

Put the Kettle On
Gazelli Art House, New York
September 23 – October 31, 2026

Artworks: Sapient 1; Plywood, recycled plastic, polycarbonate, LED; 90 × 165 × 18 cm; 35 3/8 × 65 × 7 1/8 in.; Sapient 2; Plywood, recycled plastic, polycarbonate, LED; 90 × 165 × 18 cm; 35 3/8 × 65 × 7 1/8 in. taken in New York, N.Y. by @recycleart

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8 days ago

Created for Das Rheingold’s intricate visual world, the bracelets and Wotan’s ring by Recycle Group originated from a request by director Kirill Serebrennikov. Taking inspiration from antique bronze and brass cuffs that resemble traditional Kapsiki bronze cuff bracelets, the pieces evoke ceremonial objects that are associated with status, ritual and exchange.

A subtle intervention links them to the present: the bracelets incorporate Recycle Group’s familiar Wi-Fi and Bluetooth symbols, pairing an ancient visual language with the invisible networks of contemporary life. Wotan’s ring takes its cue from one of Wagner’s most charged objects—the magical ring seized from Alberich, whose possession becomes bound to power, desire and control.

Das Rheingold opened at the 2026 Salzburg Easter Festival’s Felsenreitschule, conducted by Kirill Petrenko and directed by Kirill Serebrennikov, with Recycle Group contributing sculptures and co-set design.

Conductor: Kirill Petrenko
Production, Set, Costumes: @KirillSerebrennikov
Sculptures, Co-Set Design: @Recycleart
Co-Costume Design: @slavna_false_front
Co-Set Design: @mme_pavluk
Choreography: @este_van and DeLaVallet Bidiefono
Dramaturgy: @_daniil.orlov_ Das Rheingold by Kirill Serebrennikov
Salzburg Easter Festival taken in Salzburg, Austria by @recycleart

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12 days ago

“Liberty Leading the People is a reference to a particular image of French freedom—the figure of Liberty moving forward and leading people beyond the barricades. We wanted to bring this gesture into the present, where the barricade is no longer only physical, but technological.” — Recycle Group

Echoing Delacroix’s painting, Recycle Group translates its charged movement and collective uprising into the digital age in ‘La Résistance des IA’. Where Delacroix’s figures surge over the barricades, Recycle Group’s central figures break away, confronting invisible forces of technological control.

Their thermoformed plastic bodies, shaped from 3D scans of ballet dancers Olga Smirnova (@leka.spb.ballet) and @JacopoTissi, make movement a gesture of resistance. The barricade shifts from a physical site of revolution to a psychological and technological threshold, where freedom becomes a struggle to preserve perception and free will.

Artwork: La Résistance des IA, 2025
Public art installation created especially for Nuit Blanche with the support of @Galerie_Suzanne_Tarasieve and the Nuit Blanche 2025 team.
Location: Paris City Hall Liberty Leading the People
technological control
Nuit Blanche taken in Paris, France by @recycleart

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15 days ago

Now Open | Put the Kettle On at Gazelli Art House New York

Gazelli Art House has officially opened the doors to its new Chelsea gallery with Put the Kettle On, the inaugural exhibition marking the beginning of the gallery’s New York programme.

Bringing together Agil Abdullayev (@agilabdullayev), Memo Akten (@memo_akten), Derek Boshier (@derekboshier), Pauline Boty (@paulineboty), Harold Cohen, Brendan Dawes (@brendandawes), Jake Elwes (@jakeelwes), Lilly Fenichel (@lillyfenichel), Jann Haworth, Kalliopi Lemos (@kalliopilemos) and Recycle Group (@recycleart), the exhibition spans more than six decades of practice, creating a dialogue between post-war, contemporary and digital approaches.

From abstraction and Pop to algorithms, AI and computational systems, Put the Kettle On reflects the cross-generational spirit that has shaped Gazelli Art House from London and Baku to its new home in New York.

Click the link in our bio to find out more.

Put the Kettle On
Until 31 October 2026

Gazelli Art House New York
545 West 25th Street, Chelsea

Photos: Alex Yudzon.

#GazelliArtHouse #NewYorkArt #ChelseaGalleries #ContemporaryArt taken in Chelsea New York by @recycleart

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21 days ago

Loss, change, and the fragile threshold between one state of being and another shape ‘Pietà’ (2023) by Recycle Group, currently on view at @Collection_ARTISSIMA, the private contemporary art collection built over four decades by François and Michelle Philippon.

Revisiting the timeless Pietà motif through the lens of our digital present, the work evokes eternal life within the network alongside the anxiety of an unknown future, asking what changes as reality evolves—and what remains fundamentally human. Its central question is as old as the image itself: can we ever truly change?

Artwork: Pieta, 2023; Thermoshaped plastic mesh; 94 1/2 × 66 9/10 in | 240 × 170 cm
Photos courtesy of @galerie_suzanne_tarasieve Collection ARTISSIMA
Recycle Group
Pietà motif taken in Lyon, France by @recycleart

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21 days ago

Congratulations to @GazelliArtHouse on the opening of its first permanent gallery in New York!

We are pleased to be part of ‘Put the Kettle On,’ the inaugural exhibition opening on September 23, at the gallery’s new Chelsea space. Bringing together artists from different generations and practices, the exhibition considers how images shape our understanding of the world, tracing connections between painting, abstraction, digital media and computational art.

Our works join this dialogue alongside Agil Abdullayev, Memo Akten, Derek Boshier, Pauline Boty, Harold Cohen, Brendan Dawes, Jake Elwes, Lilly Fenichel, Jann Haworth and Kalliopi Lemos.

We are honoured to contribute to the first chapter of Gazelli Art House’s New York programme and to see our work enter into dialogue with such a distinguished group of artists.

Congratulations to the entire Gazelli team, and we look forward to seeing you in New York! taken in New York, N.Y. by @recycleart

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a month ago

For us, the screen has become the main mediator between the human being and the world. We increasingly encounter reality through a grid of pixels: we see places, people, events and even ourselves through an interface that selects, filters and frames what reaches us. We are gradually seeing simply the replacement of the interface.

The screen may eventually disappear as a visible object, but the interface between the subject and the world will remain—and may move closer to the body itself. This raises the question of who controls that interface and, consequently, who shapes the reality we perceive.

What begins as a screen may eventually become something much more intimate: a system through which reality is not only viewed, but modified, supplemented or replaced. replacement of the interface
systems of perception
disappearing of screens taken in Paris, France by @recycleart

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a month ago

“The future of the human body may begin with something as simple as changing the interface through which we experience reality.” — Recycle Group

As the boundary between the physical body and digital reality becomes more permeable, new technologies such as neural implants could connect thoughts directly to machines, broadening sensory experience and transforming thought into a tool for creation and communication.

However, this technological transformation could also divide society into those with modified bodies and those with physical bodies only. If technology can overcome illness, pain and physical limitations, then the body itself could become optional. «Who are you? A person who makes physical decisions with a weak body that nevertheless needs to be developed so that it does not die.’ The deeper question is whether we will still recognise ourselves within this transformed body or whether ‘a person will turn into an algorithm».

“When we fully learn to create a virtual reality, it will be possible to live in two worlds without losing the senses, and you will be free to choose which world to live in.” — Recycle Group

1. Recycle Group, ‘WiFi,’ 2015;
2. Recycle Group, ‘Enlightener 11,’ 2014—2015.Plastic cast 90 × 80 × 60 cm;
3. Recycle Group, ‘Enlightener 5,’ 2014. Plastic cast, lightbox 100 × 90 × cm. taken in Paris, France by @recycleart

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a month ago

Never before have we left behind so many traces of ourselves, creating digital versions that may outlive their creators. But if everything that can be recorded can also be reproduced, perhaps the most essential parts of being human are what cannot be archived: intuition, experience, and the freedom to choose. digital immortality taken in Paris, France by @recycleart

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2 months ago