The title of the exhibition "The Family of Man" is borrowed from E. Steichen's famous exhibition of the same name, which was first shown in 1955 at MoMA in New York. The focus of Steichen's exhibition was simple human emotions, through which he sought to demonstrate the international unity of the peoples of the Earth. The exhibition was then based on reportage photographs by more than two hundred photographers from around the world.

At the Béton center exhibition the processes and problems of the modern world are considered by means of contemporary art photography. The exhibition includes works from Olga Michi's projects "Vulnerable" and "Deity's Likeness", and the creative group GrOM.

The search for answers to the questions of our time has always been at the heart of contemporary art. To emotionally feel, consciously rethink and ultimately express in some artistic form one's own attitude to the changes in the world around us - these aspirations have driven creative minds for centuries to create unique masterpieces. In turn, these priceless artifacts not only reflected the present, but also provided a glimpse into the future and catalyzed fundamental turns in the path of history. In our time, when the pace of humanity's transformation has greatly accelerated and, due to the clash of cultures, the path itself is increasingly branching out into bizarre probabilities, art is more important than ever as a means to demonstrate the fantastic realities of the future, which may eventually find embodiment in everyday reality.
The exhibition begins with Olga Michi's works from the series "Vulnerable".
The viewer finds himself in the epicenter of the global problem of choosing between the past and the future, separateness and unity, diversity and unification. Along the way, there is no single right solution that answers what is most valuable in human society.
And, therefore, vulnerable in this complex situation are not only the minority heroes of Michi's works, but also the viewers of the project, who in one way or another, although not always consciously, contribute to the choice between what to keep and what to sacrifice. 

Olga Michi's project "Deity's Likeness" explores this problem more deeply, namely, it gives us an opportunity to think about what humanity is guided by when choosing one or another turn on its path.
After all, the nature of the decision is determined by a complex of reasons, in which not so much transient circumstances or peculiarities of local etiquette are important, but rather stable basic virtues, fears and weaknesses associated with them, peculiar to any human being. Having been reflected earlier in ancient images of deities, these human qualities continue to guide mankind even now, giving rise to new, no less formidable idols.

The exposition is rounded out by the works of the GrOM group. What is the likelihood that an ordinary individual can turn out to be or become a superhero or encounter in reality the circumstances of a fictional fantasy reality? Is what the viewer sees in front of him or her what actually exists, or only what he or she would like to see? After all, perhaps the characters, scene and plot of the seemingly naturalistic image are the product of fiction created by an artificial digital algorithm, which is guided not so much by meaningful-figurative as by mathematical-abstract principles.

The authors' reflections on contemporary heroes are realized on large-format works using AI.