An exhibition entitled «Liberty of absurdity»
The «Liberacy of An absurdity» exhibition examines contemporary understanding of melancholy and reconciliation with absurdity. The works of artists that have been created over the past three years reflect the uncertainty of the present moment and the search for ways to overcome it. Artists seek freedom by re-establishing their fears, returning to the child’s perception of the world, through philosophical and mythological thinking. Sometimes they find support for others in reconciling themselves with constant instability and the ever — approaching end of the world.
For a long time, melancholy was the condition of creators, geniuses, starving and ascetic. They may have found true freedom from worldly life or simply followed the standards of their time. Melanholia never had clear boundaries, becoming a social construct and reflecting the moods of the era. «Melancholy’s specialty: it finds forms that are time-sustaining and appropriate to it» (C. Johannison, 2011).
It’s easy to get stuck in a timeless melancholy, where there’s room for nothing, despair, fear, and guilt. The encounter with existential traumatic and destructive, and absurd reality cannot be rationally explained. We try to preserve the usual reality, but each new social or personal shock has to be reconciled over and over again. Destroying the usual course of events brings fear, anxiety, melancholy, uncertainty in the face of the present and the future. «We can’t guarantee that we won’t be afraid, we’ll just try to keep our senses» (A. Kamu, 1944). All we have to do is get through the first emotions and move on over the unknown.
The work is conditionally divided into six categories: childhood, story, Philosophy, alert, apocalypse, protection, which are identified by abstract symbols. All the works of the exhibition are divided by them. But it is only a curatorial reading that does not limit the abundance of interpretations of work and the search for reconciliation with absurdity in every work.
One way to overcome the fear of irrational is to return to childhood experience. We accept weird things that aren’t in the world, «But he’s starting to get a little crazy, growing up in endless strange buildings with no support» (Ksenia Efimov Island). A child’s vision facilitates the perception of reality, thereby helping to cope with the horror of reality, or shows the fragility of the world (Erica Savina «Yula»; Pavel Zudanov «Mischka»; Valeria Mitrashkina «As long as the flame burns»). But sometimes fear extends from childhood to childhood, and the trauma does not heal (Veronica Solovyov’s «little death»).
The Efimov Xenia The island (2023) Popptich, painting at the beginning and center of the composition, became a real home on Spartakov Square. He’s part of the everyday world, a piece of every day running around the window of a landscape bus. But then this world starts to go a little crazy, growing up in endless strange buildings without a support. He seems to be recognized by individual elements, but in general he’s not familiar and he’s scary. It produces fish, grows trees, and the world is finally turned into a dream. The picture of a world that is no longer reliable and predictable.
Eric Savina Yula (2024) Subjects are a series of toys with paranoia impregnated with a built-in conscience. Yula is a vicious circle from which it is impossible to break. Trying to cope with impotence by putting it under a plastic dome. The viewer is the God in whose hands to begin, continue, or stop. But do we have the power to give up the game?
The Nightingale Veronica The «little death» cycle of Videoart, 5 unit trauma often results in derealization, which causes reality to cease to work. Many years later, memories of the pain and feelings of insecurity may remain as a child. In this series, I want to talk about the childhood trauma and the sensations that trigger the triggers. Children’s toys destroy themselves for fear, anxiety and panic.
A fairy tale is always a reflection of reality. Fantastic is closely intertwined with rational, creating a metaphor. Trauma and grief (Valeria Mitszyshkina «As the flame burns») are the path to rebirth (Eugenia Boluch «Phoenix»). Overcoming social pressure (Vica Ros and Lime Sparrows «Casket») and the ghosts of today’s world (Sasha Nesturkin» LøApocalypse Des Animaux; Katerina Teplica» Voice of God) are every element of reality, but finds key symbols showing her problems.
Vica Ros, Lime Sparrow Compositor: Who is folia? Casket (2022) Institute, video, 1 min. 10 sec. Casket in English means both box and coffin. Usually, the contents of the box are a valuable and very personal collection for the owner. At the same time, the idea of interconnectivity is clearly manifested in a double reading of the name. Thus, the box, as a form for video storage, refers to the research collections of the rare room collected as a set of natural or cultural artifacts. The contents of the box highlight the survival of multiples, social pressures and organic evolution.
Eugenia Bolukh Phoenix (2023) Subject «To be born again, you yearn for your death: Chado your father and your successor, your breadwinner and your eternal child. The same is always, but not the same, the same and still different, the good end is yours, in it is your eternal life.» Unknown author, fourth century (Old Rome)
Caterina Teplica Voice of God (2023) One of the hypotheses of consciousness introduces the notion of «bycamial brain». According to this theory, an ancient man could not immediately understand the split of his brain into two parts: «speaker» (smart) and «hearing» (subordinate). Out of nowhere, the voice of reason that dictates thoughts and instructions was received by something clearly external. While outside the body, this voice knew, understood, and anticipated more than the man himself. The voice was in the trees, the wind, the scream of the birds — it belonged to spirits, angels, demons, or gods. And a primal person, faced with a problem, could just ask for advice and do what they say. And in return, hear someone sigh or laugh, cry or whisper.
Valery Mitskina While the flame is on fire (2022), there was a sad story about a girl who had no home, no clothes, but only matches. Every time she lit one of them to warm up, bright visions flashed in front of her eyes. Her life goes on while the flame burns, and then she dies. As we move along the story, we burn matches one after another, history ends when the last match burns: words gradually burn down until they turn into ashes at all.
The work of this section of the exhibit is a return to topics that seem to be spoken many times, but still, at every stage of the journey, require rethinking. Artists are trying to find new answers to existential questions (Veronica Silence Database), trying to find a line between religion and artificial intelligence (Alena Philipov Illusions of the divine). After all, «All we knew, saw, felt, soon disappeared» (Alexandra Persheva, «The Witness»).
Alena Philipov The illusion of the divine (2023) Virtual Art Space Everything began with the question «Is there anything in common between AI and religion?» Turns out I do. «The commonality between religion and artificial intelligence may not be obvious, but there are several parallels that can be drawn…» from correspondence with chatGPT, 2023 Space is a synergetic of these two concepts built in absolute. In accordance with the instructions of the AI, we get a world that drowns the player in a complex relationship between us and «excellent» and what seemed to be scary. «both topics relate to the concept that something that exceeds us may exist beyond our understanding. Religion and artificial intelligence raise questions about consciousness, spirituality and immortality» from chatGPT, 2023
Alexandra Persheva Witness (2021/2024) Calligraphy Thin leaves of orchids slowly, quietly and inexorably cut through the stone, and are knocked out of the snow. They look like herbs, the time of the flowers hasn’t come yet. Thin paper, delicate drawing. Don’t even try to keep it. All we knew, saw, felt, would soon disappear. And the world we witnessed will be dissolved in some new, completely different world without us.
Veronica Silcanov Database (2022) Video play, 1 min. 30 sec. It is said that if a person dies before he has erased his search history, his soul wanders in search of her forever. behind the wall: let it out!First, let out the kraken? Two, release the bank card? First, let the air out of the battery? Over the wall, let me out!Two: What if I can’t hear? …second: The price of the Moscow Tbilisi ticket»
An anxious person is faced with irrational fear for the integrity of reality, and he is terrified of the coming future. Psychopathy is not always able to cope with permanent instability and surprise (Maria Macedonov’s Lustra 1). Everything seems to be very similar (Karina Batrachenko, «The sum of the subtractable»), and the crowd becomes a background noise (Alice of the Rings, «The Unpersonal Crowd»). And someone small and insignificant in us is afraid of an irrational enthralling reality (Agatha Gafarov, «I see and see not»; Sabine Baisarov, «I am them, they are mine;» Pavel Zudanov, «The Mischka».
Gafarov’s Agatha I look at it pointlessly and I don’t see (2022) Graph 11. Human perception of reality can be misleading. Often, our minds do not understand or grasp the main thing that our eyes see. The project is an attempt to visualize ignorance of objective reality and the impossibility of being sure of what it really is. The idea of cutting a piece from the middle of the image came to mind when I saw the horse. I’ve been thinking about how she looks at the world, how such a smart animal understands everything, despite her eyes on the sides. And a person with «right» physiology might not notice what’s right in front of him.
Carina Batratchenko The amount deducted (2023) Painting, 4 unit «The sum of subtractable» is based on the deja vu effect. A series of paintings play with collective memories and sink the audience into something familiar. This effect is achieved through the polar landscape symbiosis. In the city, it’s village and vice versa. A sample of objects isn’t random, she sends it back to my childhood. It turns out I spent six years on vacation in the village. There was no urban infrastructure in this area. In return, Moscow caused dissonance and sent each cell back to the countryside in the first place. It was barely caught in the flashes of wooden beams, in the rolling roofs, in the wild plants. When the landscapes arrived, I was taken back to the village, and I was doing the same trick in my mind. The sand resembled a tiny asphalt, the trunks of trees were turned into lanterns, and the well was reduced to an urn. It’s a composition that makes the viewer think about the objects and dig into the analysis of the backslides. Moving from common to private gives birth to new images and brings out forgotten feelings supported by point memories.
Alice of the Rings An impersonal crowd (2022) Printing Graphics, 7rd edition of the Print Graphics series is part of an ongoing project in which the artist works with the theme of impersonalization. Man appears as an impersonal, de-staffed, ghost figure, silhouette, a symbol that combines many different meanings but has no specific meaning.
Maria Macedonova Lustra 1 (2023) Videoart, 2 min 54 sec. Fears of surprise, accident and surprise, and contemplation of an unheard show a person ' s lack of confidence in fate and future, making him feel powerless in front of them. All of this is accompanied by growing anxiety, anxiety, and a series of thoughts that make it impossible to live without anxiety. Every time I was upset with the chandelier, I thought it was going to fall; but it didn’t.
Pavel Zudanov Bear (2023) The Mischka Installation was upset, offended and turned against the wall.
#b>Sabin Baisarov I’m them, they’re my (2024) Gumbychromat (manage) mountains are something strong, big and stable. I’m something small, small and quick. They’re scaring me, and they’re freaking me out. The mountains are my own land, the land of my ancestors, they are part of me, and I am part of them. I feel sad for myself, despite my trembling fear, I am acutely anxious to be part of them and to be aware of the impossibility of fulfilling that desire. That’s the feeling I’m trying to convey in my work in visual form. Taking one picture as the basis, I’m changing it. I’m putting my presence in this landscape. This change is also a metaphor for destroying the world ' s image, which occurs when there are constant emotional shocks that depend on each other. In other words, conscious of the inability to fully control one’s life, a person has fear that can affect others in his view.
The section of the exhibition, where the symbolization of public insurance leads to the idea of apocalypse, brings together fantastic creatures from wood, concrete, and crystal Sasha Nesturkina (the «L\Apocalypse Des Animaux» series) and meditational observations of reality that reveal the tectonic shift in Margot Manjulova’s painting. Vlad Lunin and Daria Oryushak are talking about the inevitability of life and death. A life where things change all the time, and yet a moment of peace can be found.
Margo Manjulova Awakening (2023) Brace (2024) Dialogue (2023) Flashing (2024) The World Paints Fractures, Stops Functioning, and it is no longer clear how to act. Our consciousness is still trying to get back into the past, somehow deal with the shocks, filling the voids, and thus distorting the reality in which we lose only more. When we lose touch with reality, the benchmarks that we used to hold onto, we turn to ourselves, and we look into a vague reflection, so that we don’t lose ourselves.
Sash Nesturkin The «L’Apocalypse Des Animaux» series of the Institute, 4 units, I view ruins as the new forms that nature creates. Ruins are often associated with loss, and they can be the reflections of wars and global problems — hunger, poverty, environmental degradation and man — made disasters. But I believe that they are also a source of inspiration and hope. And from this wreckage, a new life can come from it. Each object becomes part of a new post-apocalyptic landscape.
Vlad Lunin and Daria Oroshak tragic sun (2024) Video, sound art, 2 min 45 sec. Vlad Lunin: This film depicts the sun as a living creature, an all-seeing stalker and a stalker. Beautiful, yet terrifying, it determines the day-to-day nature of its supervision. By changing the shape of their unreachable body, the tragic sun tells the story of the inevitability of life, death, and confrontation. Things are changing in this world, and hardly any of us could have avoided it. Still, a moment of peace can be found. Darya Oroshak: The sound for artwork was born out of the spirit of the ghost inherent in the video. The old chamber, interference, and defects have determined the sound’s mood, which is more distant than nostalgic. And if nostalgia is present, it is nostalgia, of course, for what has not happened.
In an attempt to protect against external threats, consciousness includes all possible tools, looking for the slightest danger (Eugenia Baigaliev, «Lookers»). The support of loved ones helps us not to lose our sense of reason. In the work «And the earth became invisible and empty,» Alena Saakyan shows the mother’s start and care for the loved ones. Care, as a basic form of human communication, contributes to the cultivation of armor that protects against external and internal problems. The «Panzier» of Alina Gombaz appears to be the same armor that was raised as a result of socialization.
Alina Gombaz Pancier (2023) Search for shape through somatic pain in the muscles of the thorax. In an attempt to understand the location of the pain and its cause, I created a shell that had to be «received for bleeding wounds». Why is somatic neurolgia emerging? Why is it so common among women? What is the level of responsibility that is sometimes impossible to hold alone, or is it the necessary armor that is so unbelievable to women’s nature? Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey.
Eugenia Baigaliev Looking for (2023) Diptich, paintings by Anthropomorphic Lamps characters tell of the wars of the Seekers, abducting the light. The film format of the works implies the length of their confrontation over time. The author does not reveal the reasons for what is happening or the roles that are played by those seeking in the conflict, focusing only on the atmosphere of tension and anxiety.
Alena Saakyan And the land became invisible and empty (2023) Video, 11 minutes. The video station is dedicated to caring for women, mothers and daughters throughout their lives. «And the earth became invisible and empty,» as if the effect on the screen was at the end of time, and nothing else in the world was left, just the primary — the mother’s beginning and the water trapped in the cycle of life. The washing process is very intimate and connects people in a special way. I explore the line between intimacy and infirmity through different kinds of relationships: we are not born or dying self-sufficient, and the relationship between a mother and a child is considered to be a manifestation of care and love, and between an adult and his parent is a help. In the middle of the road, we are independent, but can care for ourselves replace others in our lives? Or are we capable of becoming different to ourselves?
The exhibition was prepared parallel programme, which includes artists, lectures and redding club.
The exhibit «Liberation of Nonsense» was written:
CTE «Fabric» (a href=»fabrikacci.com»>http://surl.li/tydtc">fabrikacci.com) site, social networks INE Design School HEQ/b> ( publication in Instagram*get/fref=» (http://surl.li>/freffe) joint parallel programme < b>>>obs./b> The Vanderlust (a href=»http://surl.li/tydj>the content of life perfurt. PASS (a href=»mag.russpress.ru»>http://surl.li/tyduv">mag.russpress.ru) of 04.04.2024
Annotations KudaGo (<a href="http://surl.li/tydti>kudago.com) of 22.03.2024 Afisha (<a href="http://surl.li/tydtl>afisha.ru>/u>) Arts (artvesti.ru/u>) of 11.03.2024 Culture.pf (culture.ru/u>) MyDecor (<a href="http://surl.li/tydtr>mydecor. ) of 15.03.2024 Design Mate (desigm-meate.ru>/u>) Whoe.ru City Guide (/dhex=»«>http://surl.li/tydtw"> where.ru>/a) of 22.03.2024 Kover (>keverafisha >/a>>/u>) NIM TEC (a hafli.taft=»>hese.ru»>http://surl.li/ydty">>hese.ru/u>) FreeShows (
The documentation of the exhibit also appeared in the Archives of the Museum of Modern Art, Garage, and is available at RAAN.
21 March — 21 April 2024 CTI «Fabrica», Olivier Hall
