Overview

Galerie Suzanne Tarasieve in Paris presents “TOO MUCH!” by Russian collective Recycle Group, with invited guests Blue Noses, running April 4 through May 23, 2026 at the gallery’s Marais location. The exhibition opened on Saturday April 4 with a vernissage from 6 to 9pm.

TOO MUCH! is Recycle Group’s fourth solo exhibition at the gallery, following “Novus Ordo Seclorum” (2016), “0.0” (2019), and “Expired Reality” (2023). The collective’s practice sits at the intersection of contemporary art and design research, working with digital structures, religious iconography, material excess, and the relationship between analogue tradition and algorithmic culture. The exhibition includes new works produced specifically for this presentation alongside work from 2025.

Focus

The exhibition takes as its subject the condition of the human being caught in a world of excess: an excess of data, signals, meanings, and of one’s own creations, which begin to live autonomous lives. The project’s central phenomenon is the work that outgrows its author, from ancient myths to contemporary digital structures that reshape reality faster than human perception can follow.

Recycle Group positions artificial intelligence not as a new phenomenon but as the latest iteration of a recurring human predicament: the cultural form that escapes its creator and becomes an autonomous force. This framing connects the exhibition to a longer arc of civilizational anxiety about making things too powerful to control, from Frankenstein to the Golem to contemporary machine learning systems.

The collaborative element with Blue Noses adds what the press release describes as a precise and ironic accent, revealing the fragility of perception and the inherent absurdity of attempts to keep everything under control. The overall register of the exhibition is described as “punk classicism,” a phrase that captures the collision between archaic material languages (burned wood, carved inscription, sacred text) and the vocabulary of digital design and overloaded information systems.

TOO MUCH is a space of punk classicism and digital structures, where the human being tries to preserve itself in a world that has long since become more than it can contain.
Recycle Group / Galerie Suzanne Tarasieve, Press Release, 2026

Works

Burn Series (2026)

The exhibition’s anchor works are large-scale pieces in burned wood, polyurethane resin, silicone, and LED light. “Burn” (200 x 200 cm) is the largest, presenting a surface of cracked, scorched wood covered in incandescent writing drawn from nine languages simultaneously: Latin, Italian, French, German, Russian, Greek, Arabic, Japanese, and English. The words are fragmentary, incomplete, blending into one another to form a polyglot palimpsest. The assembled texts circle around a single idea from Ecclesiastes 1:18: “For in much wisdom is much grief, and he that increaseth knowledge increaseth sorrow.” The work enacts its subject directly: it is Too Much made literal, a universal warning about excess rendered nearly unreadable by its own density. “Message 1:13-18” (60 x 60 cm) and “I still have many things to say to you, but you cannot bear them now” (60 x 90 cm) are smaller panels in the same material language.

Information Jungle Series (2026)

Three large sculptural works in thermoformed plastic mesh, “Information Jungle 2.0,” “3.0,” and “4.0” (each 210 x 110 x 40 cm), extend the excess theme into three-dimensional form. The mesh structures function as physical analogues of information overload: dense, layered, partially transparent, simultaneously structural and entrapping.

Resistance from AI (2025)

A four-panel installation in thermoformed plastic mesh (220 x 470 x 75 cm total) representing the resistance, or attempted resistance, to AI’s autonomous development. The work’s physical form, a barrier-like mesh that is both permeable and obstructing, embodies the ambiguity of that resistance.

3D Print Series (2025)

“Madonna” (30 x 30 cm) and “All Saints. Vortex” (30 x 60 cm), both in 3D-printed recycled plastic with LED lighting, continue the collective’s practice of reprocessing religious iconography through digital fabrication techniques, placing sacred imagery within a material and production context that is entirely contemporary.

The Blue Noses Collaboration

Blue Noses is a Russian conceptual art duo known for their ironic, often absurdist engagement with political and cultural symbols. Their presence in the exhibition functions as a counterweight to Recycle Group’s more technically elaborate and materially dense practice, introducing irreverence and humour as analytical tools for examining the same conditions of excess and loss of control.

Reference: Das Rheingold in Salzburg

The press release draws a direct parallel between the exhibition and the Salzburg production of Wagner’s Das Rheingold directed by Kirill Serebrennikov, running almost simultaneously. The connection is conceptual: a classical work that demonstrates its capacity to exist as a self-sustaining entity and to project an image of the future pushed to absurdity, a world governed by human fantasies and their consequences. This serves as a mirror to the exhibition’s central argument about autonomous creations.

Audience

The exhibition is open to the general public at Galerie Suzanne Tarasieve, Tuesday through Saturday, 11am to 7pm. It addresses a broad art and design audience interested in contemporary media critique, the intersection of spatial and material practice with digital culture, and the use of religious and classical references as frameworks for understanding technological transformation.

Event Details