The work of Sasha Sime (Russia, 1982) has been moving between reminiscent forms of abstract expressionism and informalism, but at the same time it presents traces of the visual culture on and o line of contemporary society. In his most recent projects, the appropriation of everyday materials is a constant, and this is related to trends such as pop, (not so) new realism or poor art.

In Zero Flags (2018) he ironizes with the ag as a sign, proposing a leap from the canvas to the space, without losing the surface quality of the means employed. These cellophane and adhesive tape plans work, not as ags themselves, but as ideas of ags, beyond the politicization that such symbols arouse. Plastic, a post-territorial material, has no concrete connection with any physical place; likewise, the Zero Flags do not refer to any nation-state, neither real nor ctitious, but to the current possibility of the structures of abstracting from the territory. As can be seen in the manifesto that accompanies them, the ags have been programmatically resolved through a work process that is both structured and destructive. In parallel, the artist elaborated process schedules and work schedules.

But these, like the Zero Flags, were voluntarily deviated, devoid of regulatory power through a play of forms and senses. With these (post) ags, Sasha Sime invites us to (re)think about the structures of contemporary collective organization, between arti cial brilliance and the society of transparency.