“In the poetics of an artist, the analysis of reality often has to do with the problematization of what is given. This is clearly demonstrated by the Conceptual experience, which in the Sixties imposed a new and radical conception of art starting from the reinterpretation of its foundation: the relationship between image and idea. Questioning a code and its rules implies fighting its validity and refusing the comfort an available, already certain and resolved reality can guarantee. It is in the search for discomfort that the artist traces the indefinite, the question, the quaestio.

Protey Temen’s practice is part of this scenario, addressing the theme of knowledge and its possible representations. Temen’s works, composed of a textual and a visual contribution, exploit a quasi-scientific approach where a complex system of more or less abstract signs contributes to the illustration of a concept. Information, like material in the lab, is isolated, analysed, broken down and schematized in order to describe reality and, at the same time, give rise to a free artistic expression. His poetics focus on what he calls “emptiness”, grey and unexplored areas of knowledge that the artist uses as a starting point for his works – real clusters where a multitude of micro- themes, connecting with each other, give substance to new considerations. The abandonment of a personal aesthetic taste makes way for the use of a visual language devoid of any scientific aspect, capable of conveying a better understanding of the proposed concepts. 


In an attempt to make both dense, complex philosophical and scientific themes accessible, Protey Temen adopts a didactic method and places the observer in the position of the spectator and the learner, leading his practice back to the archetype of the school. It is no coincidence that, starting from 2015, Temen has been working on the The Inner School of Open Studies, a composite project that, through teaching methodology, seeks to explain three concepts intrinsically linked to the idea of order and schematization: rhythm as a measure of time, text as a measure of communication and maps as a measure of space.

In this context, Total Timeline (2019) analyses the theme of the moment, one of the most deeply rooted social constructs in Western culture history. This concept, which has long distinguished itself through its ungraspability, is a perfect starting point for the artist for a reflection that can summarize the main themes of his poetics. Temen thus gives life to an articulated cosmology on paper and on wood where the black background is studded with signs and symbols, clearly referencing the iconography of celestial cards. Appealing to the concepts of fragment and connection, the artist combines the incomplete nature of current astrophysical knowledge and the infinite possibilities of connection between the most disparate fields of research. The result is a body of imaginative and evocative works, strips of elastic “black time”, extended and manipulated by the artist thanks to the plastic language of the visual arts – the only one, in his opinion, able to explain everything.”

by Chiara Spagnol for Galleria Corraini


Total Timeline • Corraini Galleria, Libreria 121+, Milan, Italy, 2019
Everything is Gonna Be Fine • Social Club Creative Space, Los Angeles, California, 2018
Open Lecture by Inner School • GROUND Gallery, Moscow, Russia, 2018 
Having coffee making calculations
 • First Person exhibition / Magazijn, Amsterdam Art Weekend, Amsterdam, Netherlands, 2017

“Knowledge Of” (with Lucas Gutierrez) • Aperto Raum, Berlin, Germany, 2017
One Ant Climbed Into Astronaut’s Ear, Moscow Architectural Institute, Moscow, Russia, 2016
The Cave of Generosity • Komnata Gallery, Moscow Museum of Modern Art, Russia, 2014
Passion • Rojo Nova, Sao–Paolo, Brasil, 2011
Mechanics Logotype • LVS Gallery, Seoul, Korea, 2011
Oil Project • Gallery Annexe, Bordeaux, France, 2010


Part 2 • Vorspiel CTM / Transmediale, Aperto Raum Gallery, Berlin, Germany, 2019
Relative Explanations • Extended Mind, Arte Luce, Berlin, Germany, 2018 
Knowledge Of, Chapter B 
• The Quickest Via pavilion, The Wrong biennale, World Wide Web, 2017

Various Works Selection • META – The Wrong New Digital Art Biennale, 180 Creative Camp, Abrantes, Portugal, 2014
Newspaper • L’École européenne supérieure d’art de Bretagne, Rennes, France, 2013
Passion the Movie. New Cut • Nova Festival, Auditório MIS, Sao Paulo, Brasil, 2012
Videomix, Gogbot Festival • Planetart, Enschede, Netherlands, 2011
Videosculptures • La Biennale di Venezia, Internet Pavilion, BYOB, Venice, Italy, 2011