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| nobody’s money (sketch) |
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| Nobody`s Money (moscow, center for cotemporary-art, july 2008) |
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| nobody’s money (descrition) |
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| nobody`s home (sketch) |
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Interactive installation in public space
15 – 30 square meters house with minimum of facilities such as toilet, shower, stove, electricity, heating (if required). All the surface of transparent exterior walls are made of doors. The construction of these walls-doors should be such that it would be very complicated to block them. In the center of the house there is a non-transparent space where all the facilities are located. From all sides of the house there is inscription saying: “NOBODY`S HOME”. The furniture is built-in (some elevations of the floor level, for example ), either units (hollow cubes lacking one of the wall, so that one could be used as a chair, 2 or 3 could form a table, a bed or a cupboard).
Officially and practically the house is nobody`s. It doesn`t belong either to a state or to a person. Everyone can come in, use the house and it`s facilities as long as he or she wishes anyhow or destroy it. Police can intervene in what`s going inside just in case of braking the law (to prevent physical damage to a person).
Nobody`s home is a social experiment, a model of a society without property. In the same way as the nature, the house contains potential goods which theoretically could be used by some people together. Doors on all the perimeter of the house and it`s transparency should put obstacles to those who would try to appropriate it.
Requirements for the architectural design: the cost of the house should not be too high, it should be easily reproducible because the results of the experiment can drastically differ depending on country and place the house is built in.
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| Nobody`s Home (description) |
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| alien traces (sketch) |
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| alien traces (moscow, vinzavod art center, july 2008) |
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Alien traces. Monument for a guest worker.
Technique: slide or video projection
Conception: In now days Russian mass consciousness an image of an immigrant from Middle Asian ex-Soviet republics, who looks in a different way, often speaks Russian with accent is an image of an alien, not a human being from whom nothing good is expected and who is most of times treated with suspect or openly repelled.
The mass perception of the foreign worker from Middle-Asian ex-Soviet Republics, is an image of someone that differs in appearance from natives, and often speaks Russian with an accent- an image, not of a human, but that of an alien, an extraterrestrial, one of whom nothing good can be expected, and who is largely treated with suspicion or overt disdain.
With the hands of these aliens are built the houses and cottages we live in, are repaired the roads on which we walk. Almost each Russian street and many buildings of a modern Russian city keeps traces of their work. They leave after their work is finished, and the memory of them disappears under the sheets of wallpaper or stucco.
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| Alien traces. Monument for a guest worker. (description) |
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Вот мой паспорт! Вот моя регистрация!
На улицах, в метро и других общественных местах обеих столиц к мужчинам, чьи волосы темнее русого, щетина чуть длиннее, чем 0,5 см, брюки чуть более спортивные чем джинсы и людям любого пола с чуть более восточной или южной, чем русская внешностью по нескольку раз в день обращаются представители милиции с просьбой в форме жесткого требования предъявить паспорт и документы о регистрации.
Для экономии времени и минимализации зачастую не слишком приятного общения с не слишком любезными представителями милиции, художница изготовит каждому желающему, кто регулярно сталкивается с подобной проблемой футболку с принтами копии разворота паспорта и документов о регистрации, которые видно сразу и издалека.
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| here is my passport! |
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| Who disagrees?! (scetch) |
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An organic, self-processing sculpture for public (city) space
The inscription “Who disagrees?!” hangs on a high, wooden, gallows-like construction. Its' letters are made out of sausages, salami, wurst and other meat products.
In Russian post-Perestroika`s consciousness, an abundance of meat products symbolizes well-being and stability. Shop shelves full of a large assortment of sausages, are a sign that hours will not be spent waiting in grocery lines. When choosing between freedom and sausages today, the majority of people in Russia stops at sausages. The amount of choice in a supermarket is more precious than the freedom of choice. The majority will agree to exchange their freedom for sausages and those who don`t, run the risk of being made sausage meat themselves.
A sausage (if we agree that is made out of meat) is dismembered, dead flesh – evidence of the unlimited obedience and trust displayed by domesticated creatures and the infinite capacity of human cruelty.
Staged outdoors, this sculpture will become food for birds, homeless dogs and possibly people, who will digest it and thus manure the soil. Grass will likely grow on the soil, and may serve as food for animals which will, in turn, be turned into sausages. The links of the food chain will close up. An exit is still not found.
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| Who disagrees?! |
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Reproduction
Performance
Place: A limited space, a room, a hall
Stuff required: colour Xerox, some packages of sticking paper or regular paper and glue, a colour copy of Leonardo`s “Madonna Litta”, step-ladder, white dress.
Action: The artist or another woman in her reproductive age dressed in white dress which reminds doctor's smock, partly wedding dress, partly a chemise of a woman in childbirth takes reproduction of the Leonardo`s painting and makes a copy of it. She sticks the “original” copy into the wall; the new copy is copied again and stuck onto the wall, then, this action is repeated again and again until all the surfaces of walls, sealing and floor are covered with copies so that there is now empty spot.
Concept:
In her famous book “Second Sex” Simone de Beauvoir writes a lot about the conflict of a woman as a personality and as a mechanism of reproduction. Pregnancy and giving birth exhaust and wear out her organism, concern for a small child requires a lot of time and energy. The fact that a woman can give birth to a creature who can reiterate all her merits and demerits partly put in doubt the originality and value of her individual existence. From the other side the experience of pregnancy and maternity can be a potential source for the strongest and different emotions and knowledge which a possibly unreachable by any other means.
Now-days Russian propaganda is insistently calling young people to create families, propagate and multiply while the overall population of the world sweepingly grows forcing out and exploiting all other forms of organic life.
Owing to contemporary means of reproduction from the very childhood almost everyone is familiar with the ideal image of maternity created by Leonardo. This image of Madonna and the Child with their ideal and thus characterless faces and figures are absorbed by our consciousness and form an idea of the miracle of maternity.
The original painting is considered to be a treasure. Would it retain it`s esthetical perfection and it` value endlessly multiplied, when people would walk on it? At the same time each copy will be slightly different and, thus, unique.
Some of the art pieces had not retained, but still we are familiar with them owing to the techniques of reproduction, of photo despite some of them for example flash could have negative effect on the originals. In the similar way as in a human life potentially dangerous reproduction witch can make individual life shorter, in some way guarantees a generic survival prevailing over the time.
Still, is under the question if the aspiration for reproduction is a natural instinct or deeply suggested esthetical conviction or both of them, if it is social harm or individual happiness or the superior expression of human creativity.
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| Reproduction |
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| the turn of the head of anna kolosova for 180 degrees 18 of november of 2007 at 7.45 p m and 31 seconds |
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Поворот головы Анны Колосовой на 180 градусов 18 ноября 2007 года в 19 часов 45 минут и 31 секунду.
Цифровой коллаж, состоящий из 7 последовательных кадров поворачивающейся на 180 градусов головы, снятых за одну секунду и временной шкалы длинной в одну секунду, разделенную на семь равных отрезков. Каждый кадр иллюстрирует положение головы в пространстве в конкретную долю секунды. Таким образом, получается не только портрет конкретного человека, но и портрет конкретной секунды в конкретной области пространства или портрет пространства в определенную секунду или портрет конкретного человека в определенный момент в определенном месте. В каждом кадре можно заметить легкое изменение не только положения головы в пространстве, но и выражения лица, взгляда, изгиба губ. Это доказывает то, что на каком-то уровне человек/существо/предмет? меняется каждую секунду, каждую долю секунду, и в каждое следующее мгновение он/она/оно уже не равен себе в предыдущий миг.
Внешне работа напоминает знаменитые попытки изображения движения начала 20 го века: Дюшана, кубистов, комиксмейкеров, футуристов. Их задачей было создать иллюзию течения времени в рамках статичного жанра. Я же пытаюсь с помощью фотоаппарата задокументировать, выхватить из временного потока свидетельства уникальности бытия в каждой точке пространства в каждый момент.
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| Поворот головы Анны Колосовой на 180 градусов 18 ноября 2007 года в 19 часов 45 минут и 31 секунду. |
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| doric loop |
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| russian wallpaper |
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| russian wallpaper |
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| russian wallpaper |
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| russian wallpaper, st-petersburg, cag gallery, may 2008 |
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| my granddad died (the last walk) |
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| my granddad died (playing chess for the last time) |
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| my granddad died (eating without help) |
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| my granddad died (last steps) |
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| my granddad died |
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| my granddad died (last days) |
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| my granddad died (descition) |
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| adam and eve decollaged |
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| gender comic (page1) |
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| gender comic (page2) |
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| silence |
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| between |
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| couch syndrome (page1) |
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| couch syndrome (page2) |
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| couch syndrome (page3) |
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