Center for contemporary art Winery celebrates first round date — 10 years from the date of the basis — a series of solo projects. Different in content and format, however, was unexpectedly close, in fact. Each is a reflection of the past, present and future, the revolutionary context.
Exhibition Of Marina Zvyagintsev.
Together they illustrate the changing cynical mocking of the postmodern age, “new sincerity” — a phenomenon that is dubbed as metamodern. “MK” tried to make sense of the premiere, reflecting the transition into a new reality.
What a beast — metamodern? Over the past two years — after the Manifesto by British artist Luke Turner (although the term appeared earlier) — much has been written about it, however, is mostly pseudo-scientific and convoluted. If shorter and simpler, it is the desire of the generation born in the era of postmodern nihilism and irony, to speak frankly, to give up games with the meaning and to fill the cultural vacuum of new. But not so easy to escape from the usual algorithm, because — “meta”, which translated from Greek means “between”. This phenomenon of oscillation between two opposites — the modern and postmodern. And series Premier at the Winery is picturesquely characterizes it.
In the “Gallery 21” faceless gray concrete of the city is faced with a living pulsating art. For the author of the project #Unblock Marina Zvyagintsev, which recent years, mainly engaged in outdoor projects and has become one of the leaders of the public art, this gallery-personal exposition — the first in 10 years. It’s time to bring intermediate results — Zvyagintsev makes it emotionally sophisticated and straightforward. All works — paintings, objects, both static and interactive form a single body, total installation. The gray pipes communications, enveloped the entire space, pulsing red blood of contemporary art. And includes colorful heartbeat by a viewer: a network on a throne assembled from the same sewer pipes (object “Remote access”).
However, the first “contact” installation and some of the objects of the exhibition were closed grid construction. During the opening ceremony performers dressed in sweat pants and orange vests, workers (group “gastarbaiterov”), took off the cloth, thereby “unlocking” works. First, the actors opened concrete wall greets the viewer at the entrance. All of it is entirely in the holes, like the bullets. From holes “dripping” paint. More precisely, a mixture of colors, fancy mixed using the technique of the XVII century monotypes, which Zvyagintsev was included in the field of contemporary art and did his signature “chip”. In this technique and performed a new series of paintings: they are like a giant phone screens, on which live images of growing out of “waves” of monotype.
I tried exaggerated to show the phone in which we are daily “dive,” says the artist, “MK”, is to remove the media from the little boxes and turn in the mirror we can see ourselves. Today children don’t play with each other, and sit close by, and everyone looks in your phone, and adults, too — this separation is depressing. My show is a call to communicate directly. I think, ever be fashionable to go to parties without the phone or disable it. Then everything will balance out, live chat will be compensated.
Exhibition Of Marina Zvyagintsev.
— The phenomenon of “metamodern” close to what you’re doing?
Yes. While everyone was busy postmodern, which dilutes the visual, I was doing public art. And saw that most of it incomprehensible — well, not people actually read labels in the city, they do not understand or want to understand art, if you haven’t called the human emotions. Is the pursuit of “new sincerity”, the conversation about the present more emotional language, voiced in the Manifesto metamodern, close to me. Monotype is pure emotion. One direction art must sooner or later be replaced by others, which he does.
The Exhibition Of Ivan Korshunov.
Pure emotion is read and the neighbor Zvyagintsev, a young artist Ivan Korshunov, who presented his project “the Kiss”, gallery “fine art”. The cycle of paintings and graphic works executed with almost photographic accuracy. The background for the experiences and awareness of reality modern man is the wall with graffiti, which depicts “the Passion of the Christ”. In each work to one of the biblical stories — the man of the XXI century. One immersed in the phone, passes, the other is asleep, his face buried in his knees, at the feet of the crucified Saviour, but there are those who looks at the image of Christ, drawn to him (maybe it was the author himself?). It seems, faith has become synonymous with the artist’s freedom of choice, bogoiavlenski a consequence of the postmodern emptiness, and spirituality and involvement in the gospel story — way to get out of the vacuum of loneliness and find new goals.
The Exhibition Vlad Yurashko.
The name of another premiere project speaks for itself — the exhibition “Swear to tell the truth,” Vlad, Uresco predicts a new era in the development of culture. This utopian story tied together the October revolution (the opening was timed to the centenary of her), ideas of Malevich and reflection on the role of the artist in the art of the future. Beautiful picture of the Ukrainian author are placed in a white cube, looking at him through the window, it is possible to detect the canvases on the walls, floor, ceiling. The main space of the gallery pop/off/art took increased the architectons of Kazimir Malevich and his Suprematist coffin, hanging from the ceiling. The white object hanging on a blue, red, black and yellow fabrics, combination of colors refers to the flags of Russia and the Russian Empire. The political context of the development of art and emphasize the walls, occupied a giant poster. On one of them black on white written: “Through 100 years of painting will not.” There are decoding — the long text that starts with specific ideas, written in calligraphic handwriting, and ends almost nonsense, written with a shaky hand, gradowska unconscious, scanning the thoughts of the artist online, changing world order through the disappearance of borders and States… Yurasko, like other artists, foreshadows a new era in art, seeking a way out of the labyrinth of the postmodern.
The Exhibition Of Igor Mukhin.
It is impossible not to agree with Vlad in that art is inextricably linked to philosophy and politics. These ideas permeated the project of Igor Mukhin “Time” in gallery XL. The photographer is a chronicle of meetings over the past two decades — with the beginning of the reign of the current President. Photos printed in a giant format (200 x 150) and number three is a the gallery walls from floor to ceiling, thus creating a total installation and turning the viewer from observer to partner’s events. The pressure of the atmosphere of the protest, the investigation of the nature of “Russian revolt — senseless and merciless”, referring to the October revolution and pradosha conscious/unconscious — all this is read in the photo, skillfully United in a single fabric. Sometimes it seems that the same characters “walk” across the marches. Involvement in the intensity of “street passions”, the degree of which will obviously only increase — another sign of changing cultural formations. After all, along with the ironic attitude towards politics (as expressed, for example, in the Monstration), there was a seriousness, a sense of ownership, that is the “pure emotion”, which breaks through the concrete of postmodern reflection, which is closed in itself. Maybe “unlocking” their attitude to reality, including the political, we will finally enter a new cultural era?