The title of the project, realized in New Holland, references the artist’s signature method of creating new objects through mechanical reassembly. This approach explores the mutability of form and the logic of object utility. For the exhibition, the 16th object in the series was created: an installation featuring a sailboat prototype that could hypothetically have been crafted by 18th-century Dutch shipbuilders in the vicinity of New Holland.

Vasily Kononov-Gredin draws on the philosophical concept of the “body without organs” and the “rhizome,” formulated by Félix Guattari and Gilles Deleuze. The “rhizome” (from the French rhizome, meaning “root system”) embodies the artist’s approach to rethinking form and its emergence. Like a root structure, any object created by the artist lacks a center and consists of chaotically intertwined, multi-layered, and unpredictably evolving parts. This system serves as an alternative to classical form-making, with its linear structure and predetermined schemas — hence the term “antiform.”

The artist is fascinated by form itself and its potential. Nearly any object can transform into a new entity without losing its capacity for further metamorphosis. Through mechanical reassembly of its components, Kononov-Gredin reveals the latent possibilities of an object, liberating it from fixed meanings and functions. Its new form — or rather, antiform — accentuates temporality. The installation at the exhibition has no definitive visual identity, as the object can be endlessly reconfigured, disassembled, or restored to its original state, embodying an infinite cycle of transformation.