The exhibition title, <Press the alien registration... button and start>, is taken from a poster at a immigration cen- ter. It suggests transition without revealing the destination. The phrase “alien” evokes both a legal status and a psychological state, and in this context, becomes a symbol of new beginnings in an unfamiliar environments.

The artists initially envisioned a minimalist presentation, working solely with graphics and textiles. However, the city of Seoul seeped into the project in unplanned ways. Its density, complexity, and everyday details naturally infiltrated the exhibition process. Objects discovered on the streets and incidental readymades became part of the gallery space. Studiya transformed into an archive of Seoul’s living rhythm. Meanwhile, Moscow—the artists’ home city—began to take on the quality of a faint simulacrum, rather than a metropolis.

The exhibition is structured in two parts: the first features works created in Moscow, while the sec- ond presents new pieces developed in Seoul after the artists’ arrival. This duality reflects a medita- tion on transience, and centers on the instability of images and memory. It explores the thresholds between cities, between fleeting moments, and between one’s present and past self. The works en- gage with a state in-between—between Seoul and Moscow, clarity and ambiguity, now and then.

The artists question the conditions of perception in an era of constant information flow. Attempts to grasp a moment dissolve into blurred fragments; meaning, in a hyperconnected society, easily shatters. Here, press- ing the “button” becomes an act of embracing uncertainty—a movement into a space where images flicker, memories loosen, and identity remains a perpetual draft.

The artists continue to explore new points of intersection between their practices. Their works give form to this neutral, in-between state—inviting viewers to sense and interpret the ever-shifting flow for themselves.