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ENDURING
FUTURISM
FUTUROLOGY,
PROGNOSTICISM,
QUASI-TOTALITARIANISM AND 'THE RUSSIAN IDEA'
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INAUGURAZIONE SABATO 12 DICEMBRE
DAL 14 DICEMBRE AL 10 FEBBRAIO 2010
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ARTIST
ARCHI GALENTZ
ANVAR KADYROV
ELENA KOVYLINA
ILYA KITUP
BERND BRINKEN
PETR BYSTROV
ALEXANDER KORNEEV
ALEXANDR SCHUMOW
GIOVANNI DE DONA |
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| DOWNLOAD
- ENGLISH PRESS RELASE
- RUSSIAN PRESS RELASE
- INVITATION CARD
- MAGAZINE PROMOTION
- HANDWHELL |
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| Enduring
Futurism - Installation view at dispari&dispari project |
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COMUNICATO STAMPA: dispari&dispari project inaugura sabato 12 dicembre
2009 alle ore 18.00, “Enduring Futurism” una mostra curata
da Petr Bystrov con l’intento di riflettere sulla influenza esercitata
dal movimento Futurista Italiano in Russia. Per l’occasione sono
stati riuniti a Reggio Emilia artisti contemporanei di nazionalità
Russa le cui opere (video / video-installazioni / sculture / opere sonore
/ performance / azioni), affrontano alcuni dei temi chiave espressi nel
manifesto di Filippo Tommaso Marinetti. Senza nessuna gerarchia, luci,
suoni e azioni si sovrapporranno sgraziatamente all’interno dello
spazio espositivo generando una visione d’insieme brutale, caotica
e discordante, come fu la percezione dello stesso Manifesto Futurista
che per alcuni rappresentava idee rivoluzionarie di sinistra e per altri
supportava i movimenti totalitari della destra fascista. La mostra è
aperta al pubblico fino al 10 febbraio 2010, da martedì a venerdì
dalle ore 10.00 – 13.00 / 1500 - 20.00. Sabato e Domenica solo su
appuntamento. Per maggiori informazioni visita www.dispariedispari.org
Artisti Invitati: Archi Galentz, Anvar Kadyrov, Elena Kovylina, IlIa Kitup,
Bernd Brinken, Petr Bystrov, Alexander Korneev, Alexandr Schumow, Giovanni
De Donà.
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| Enduring
Futurism - Installation view at dispari&dispari project |
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ENDURING FUTURISM
FUTUROLOGY, PROGNOSTICISM, QUASI-TOTALITARIANISM AND 'THE RUSSIAN IDEA'
L'anno 2009
segna il 100° anniversario del famoso Manifesto Futurista di Filippo
Tommaso Marinetti pubblicato sulla rivista Parigina Le Figaro. In quegli
anni, sia il manifesto che l’autore, sono stati percepiti in maniera
contraddittoria e ancor oggi si discute sulla posizione di Marinetti come
esponente di sinistra o di destra. Inizialmente le sue idee sono state
considerate come un appello alla liberazione e alla libertà, ma
la stessa energia (proveniente dall'interno) ha generato una sorta di
filosofia totalitaria culminante con il concetto di guerra come l'espressione
più nobile della natura umana, e la violenza nella società,
come il valore più alto.
In Russia, la
particolare propaganda di Marinetti - come del resto le sue idee –
venne accettata da personaggi come David Burljuk, Vladimir Majkovski e
altri cubofuturisti russi i quali inizialmente ne ebbero una comprensione
come al cento per cento di sinistra. Tuttavia, nel momento in cui Marinetti
divenne l’ideologo fascista che sosteneva il regime di Mussolini,
le sue opinioni incontrano una certa censura alla quale seguì la
cancellazione del suo nome da tutti i corsi letterali della Russia sovietica.
Enduring Futurismo
è un progetto che riunisce una serie di artisti contemporanei russi
ed intellettuali, (con l'eccezione del tedesco Bernd Brinke e dell’italiano
Giovanni De Donà), il cui lavoro in maniera molto diversa affronta
i temi della guerra, la forza, il ritmo, il modello, il culto, la profezia.
Enduring Futurismo mette in luce la concreta relazione storicamente sviluppatasi
tra i due movimenti, il futurismo Italiano e Russo, che esercitarono una
grande influenza nella modernità contemporanea. Questa mostra,
accompagnata da una serie di presentazioni e pubblicazioni è destinata
ad essere come uno sbarco di truppe sul suolo italiano e su gli altri
eventi storici di questo nuova filosofia italiana, che a livello mondiale
e stata maggiormente recepita in Russia.
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| Enduring
Futurism - Installation view at dispari&dispari project |
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ARTIST AND FUTURE
The future is the subject of the most varied speculations. Amongst the
discourses about tomorrow we can single out two principal types. The first
is based on the logic of our notions about the present day and flows from
present achievements and good intentions. The second has its source in
the realm of pure fantasy: it has nothing in common with the present,
however progressive and developed that may be; it diverges from all our
hypotheses, even the most fantastic. It is unimaginable. The bright future
promised by the totalitarian regimes was based on the attempt to calculate
tomorrow and erect a defense against it; it followed from the achievements
of the present moment and included an economic model, a politics, and
an ethics. In turn, the moral and ethical character of judgments about
the future range from the romantic prognosticism of the scientist, with
his talk of hyperboloids and moon buggies, to the enticing hullabaloo
of the fortune-teller, who for a price cracks open the door into our unknown.
The precarious infrastructure of the unknown is formed by currency exchange
rates, weather forecasts, and personal predictions. And yet we know very
little about the future in the authentic sense of the word, even the immediate
future. The artists who present their works in the project Enduring Futurism
show us various versions of what should happen tomorrow.
Control over tomorrow - including warding off the onset of non-existence
- and the virtual beautification of tomorrow are symptomatic of all forms
of authority. In the rhetoric of the state, those declared useful for
this tomorrow are always designated, as well as those who hinder its emergence
- that is, the future as it should be. To this day, scenarios for successful
development based on the dogmas of nation, country or state continue to
multiply. Perhaps they are non-functioning, totalitarian or quasi-totalitarian,
but they preserve within themselves this conceit.
The pieces by Elena Kovylina, Abstraction: Russia N1 and Egalité,
make explicit this confused, sometimes unconscious claim on the future:
the claim to (future) order, (unalterable) hierarchy, and (an indefinitely
enduring) regime. At the same time, they visualize the well-known “Russian
idea” (whose actual content, however, no one knows for certain):
eastern ornamentalism crossed with European regularity. The attempt to
manage the future with know-how, visibly and handsomely, is frightening
because even outwardly impeccable mathematical constructions in practice
inevitably presuppose victims and suffering, the rejection of all superfluous
elements. In dialogue with the decorative panel, the video Egalité
figures as a contemporary version of the Procrustean bed, alluding to
attempts at forcible socialization.
The cult of war tops the hierarchy of civic values and liberties in Marinetti’s
Futurist proclamations. It is war that is a blessing and good; war is
the specter of tomorrow. The set of issues engaged by Archi Galentz in
Globe of Armenia belongs to this problematic: the mutual convertibility
of borders, the endless modification of identity, the permanently emerging
map of sovereign nations. The aesthetics of Globe has its origins as it
were in the classical formula of the world as war (and vice versa), or
of the world engulfed in the flames of war – if not a hot war, then
a cold war, but a permanent cold war whose outcome has been predicted
in countless ways.
Aleksandr Schumow, however, interprets the entire history of the avant-garde
precisely as a perverse manifestation of passionarity, of the impetuous
will to act. And if the desire to fight, conquer, and emerge victorious
is common amongst “ordinary” men, then the avant-gardists
(in life as on the surface of the canvas) carve out a strange and decorative
behavioral pattern that again leads to bloody and contradictory relations
and generates a chaos teeming with events. Such is the picture of the
artistic and “everyday” avant-garde proposed by Shumov in
the labyrinthine installation SUPREMUS.
The project by Anvar Kadyrov, Booth of Silence, was born out of the desire
to change tomorrow for the better, out of a radicalization of spiritual
ecology and mental hygiene. This is an uncompromising humanitarian mission
that wants to realize itself in the form of a massive new infrastructure
whose benefits are for the time being as it were unimaginable. Simultaneously,
this project is an uncompromising apology for silence as a phenomenon,
as an elemental force.
Ilja Kitup also tells us a story about a tomorrow better than our today.
His taste for inventions (the series STAMPATO) is akin to the qualities
of those scientists who have little concern for the future applications
of their constructions. Instead, the process of creating these innovations
itself consumes them.
In his lecture about Beautiful future projects and Mountain of Darkness,
Bernd Brincken discusses the historical relationship between “pure”
art and realpolitik. His topic is the furious enthusiasm for the invention
of all manner of contraptions, engines, and flying machines, which characterized
the European totalitarian regimes, and the unprecedented concentration
of the future in the present, with its emphasis on a speedy forced march
in that direction.
In the performance Left, Left – Right!, Petr Bystrov questions the
essential belonging of all forms of creativity. Does creativity belong
to order or chaos, to what is already given or to the unknown? This performance
also functions as an open discussion of the political foundations of the
Futurist project, which began as something revolutionary but then mutated
into the aesthetic “doctrine of fascism.”
“Left, left – right!” Thus two pluses make a minus,
and two minuses, a plus, in continuous, agonizing, physically painfully
rebirth: from rhythmicity to chaos, from regularity to the riot of impulses.
Then again, in his piece My Brother, Aleksander Korneev offers us an image
of pure experimentation girded by the logic of “what will be, will
be.” This experiment is such that its function has nothing to do
with corroborating a theory and certainly not with serving the ideals
of civilization. This is a maximally absurd action whose goal is to achieve
an improbable result.
Giovanni de Dona, the only countryman of Futurism’s founder in our
project, presents Diachronic, a performance during which he reveals an
experimental mode for the processing of information by demonstrating a
series of sounds and images. This mode is unburdened by a logic that seems
singular, immediate, and indisputable. |
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Petr Bystrov, Moscow 2009
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ENDURING FUTURISM
OPERE
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| ANVAR
KADYROV: BOOTH OF SILENCE
Booth of silence project main purpose is erecting sound
proof cabins in the centers of biggest cities all over the
world in order to start up a newest infrastructure service:
protecting people from extra noises caused by urban acoustics,
those we all do suffer from at times. Back in summer, we
took the following route: Geneva-Rome-Naples-Paris-Barcelona-Moscow
in order to seek and explore biggest european cities' most
noisy locations, sound meter them and imagine possible architectural
solutions in order to booth of silence potential locations.
Anvar is right now collaborating both acoustic companies
and design offices for having consulted and invented most
appropriate outlook for the original cabin as well as its
construction decision. 12th of December will see the first
B.o S. presentation - not a real object but yet an idea
of what supposes to be a massive public service as the project
develops. However, the basic intention is starting a booth
of silence company as one real functional thing - not only
art piece to see; rather social infrastructure to spread.
Should the experimental object - equiped, functioning and
transportable - be one day perfectly produced, we are looking
forward to a space (somewhat 4 to 4 metres) preferably somewhere
in the city center where booth of silence can fit in and
have a period of work registered - meaning people come making
use of it and us monitoring and documenting all. It is not
yet defined whether the whole initiative would later result
in becoming a mass (or kind of business) project; for now
this is an art project of a certain sort. |
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| BERND
BRINKEN: LECTURE
My contribution
to Enduring Futurism is a lecture comprising three parts:
• Beautiful future projects - Projects with a futuristic
character that were not yet realized - but should be.
• Mountain of darkness - Understanding the future
of the past, as part of a social learning process, a dark
historic chapter following another futuristic path: The
production of the german 'Vergeltungswaffe 2' in World War
II.
• Futurist Manifest II - Manifesting a futuristic
approach in the (second) future society of today. |
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ELENA
KOVYLINA: ABSTRACT COMPOSITION RUSSIA #1
Elena Kovylina's newest series is dedicated to the phenomenon
of modern Russian postimperial / totalitarian spirit. This
is taken not only as condition of daily life that spread
allover but that remains elusive, although one could recognize
it's massive impact on politics and even on artistic circle
condition. In the era of political censorship (which one
in succession?) when terrible things of injustice are often
to happen in life, Kovylina would rather appeal to kind
of allegory language than to that one of direct assertions.
According to her, aesthetics of geometrical abstraction
contains violence and links towards totalitarianism of a
sort.Hundred years back, in the age of chaos, Otto Dix documented
life of deformed by means of figurative paintings, whereas
Wassily Kandinsky created abstract compositions naming them
alike Premonition of civil war. This is extremely important
to be able to find this gesture of premonition in abstractionism.
A series of abstract compositions consisting of colored
bars of wood (Russia is certainly known an immense timber
resource) under subtitle Russia 1, Russia 2, and the like
will be presented.
ELENA
KOVYLINA: EQUALITY
Elena
Kovylina’s Equlaity video piece is a brutal satire
on democracy in Russian society today. The video-installation
“Egalite” creates a clear image of the many
double standards in post-Soviet society, developing the
idea of the “Procrustean bed,” that is, a norm
that will cause the individual unavoidable pain when he
or she tries to fit in. The real difference is that today,
you don’t “try to fit in:” instead, participation
in contemporary society is an inevitability that has become
impossible to avoid. Deliberate social security, the declaration
of rights and freedoms, and other slogans and formulas characteristic
of Russian society are expressed with visual simplicity,
and one might even say that they have gained a human face.
But if “egalite” is a century-long project that
has continued in Europe since the Enlightenment, its Russian
version is very different after the fall of the Soviet Union.
Illusory financial equality has been replaced with a so-called
civic equality that has become no less utopian than its
Soviet counterpart. |
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| ARCHI
GALENTZ: HAJK (GLOBE OF ARMENIA)
Globe of Armenia (Hajk) is the title of an object that refers
back to the basics: to a square, an arc, or a cube. Hajk
is a generalized term to name Armenia as cutural community,
not certain geographical territory. Wooden cube is glued
over with paper on which one can see Armenia state borders
in hypotetical historical perspective. Cube is fixed on
bearings and rotates freely while letting us observe all
its six sides: various scenarios of the development of Armenia's
territorial identity are presented this way. However, the
certain history that is represented to us on the cube might
be seen a metaphor: national history never happens the way
of gradual transformations but policy turnaround; a chain
of events one has to react. Thus, watercolor technics ain't
chosen accidently. Before the inventions of printing machines,
architects used to set color planes the way the would drift
lots of layers with paint diluted with water. A slang expression
to talk it was tear painting. The subject of Hajk lies somewhere
between rebundancy - as we are given plenty of prognostications
made from a point of an engaged thinker who obviously stands
for the country's virtual prosperity - and deficiency in
positive opportunities of real politics of nowadays. This
is why the Hajk's patterns of political development are
being pictured a pessimistic ones: whatever happens to Armenia
means territory losses as the only strategical tool to save
the autonomy. The Pan-Turksih, American and others gameplans
of those who reckon on miappropriations. The point being
made is Galentz protest against Armenian lands speculations
and territorial pretensions from allover with Hajk representing
a certain antiutopia and huge dramaticism. |
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ILYA
KITUP: DRAWINGS
Ilya Kitup’s creative imagination has been enchanted
by Mars, alien civilizations, and (more specifically)
the means of getting closer to them for over a decade.
He is not a sentimental dreamer or utopian, however. He
is a discoverer, for in the space of his own studio (yes,
in his studio!) he manufactures constructions and instruments
whose great and, alas, unrealizable function is to fly,
roar (i.e., motors), and help humankind to overcome distances
measured in light years. Moreover,
these designs never leave the two-dimensional surface,
the level of the blueprint, sketch or graphic fantasy.
Such is the nature of his machines, engines, and apparatuses.
A separate aspect of his mythology is the idea of the
intelligent life that still populates Mars, which is testified
to by the publications that are allegedly printed there.
Obviously, this is a pure invention on the part of the
artist, a fantasy that is hackneyed and contrived and
not particularly witty. And yet Kitup elaborates it with
enviable earnestness. In the series STAMPATO he presents
the covers of Martian books (as well as those of “normal”
books, i.e., from Earth): a dozen linocuts on colored
paper that depict industrial sites there – contours,
façades, fragments of some kind. The books published
on Mars wage an intellectual war with their earthly counterparts,
whose titles are an endless series of abbreviations, primarily
the three-letter variety (KGB, DDR, KDW, etc.). The covers
themselves are adorned with infantile drawings –
airplane wings or a potted plant. The presentation of
Kitup’s work at Enduring Futurism is a not altogether
ordinary sampling of the work of this primitivist graphic
artist. Rather, it is an ode to the talents of researcher,
engineer, and mad scientist buried deep within him. Thus
the representation of his talent is not limited to the
traditional form of a wall on which framed graphic works
have been hung, but moves implacably towards revealing
the secrets of a kind of virtual design bureau: an idée
fixe in the form of diagrams, blueprints, and meticulously
detailed plans. This is Kitup the draughtsman, physicist,
and mechanic. Kitup as Semyon Lavochkin. Kitup as Andrei
Tupolev.
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GIOVANNI
DE DONA: DIACHRONIC
Today I was reading Deleuze, talking about Bergson, the
duration…(reported on the Evolution Creatrice) he
talked about metaphysic that investigate duration, isntead
science investigate matter. Time is just a function. I will
play this function on a fixed duration. Does this way means
I'm doing metaphysical epistemology? Is Diachronic, first
of all, first of a new musical instrument, first of a sound
manipulator, a player of matemathical function expressed
through the earable sound, first of a neo futurist instrument
because is vanguard in itself and because concern the Boccioni
and Russolo ideas and dreams …. is this the product
of a new epistemology based on the consciousness of time,
and so of future/past paradigm, its mythology, and perception
of being in itself? I have the suspect, working on this,
to have created a sort of machine of disillusion of time,
based on variations of the repetition. Playing variations
you can work with matemathical description of nature, and
so create a new kind of order. This is not, in fact, a random
noise generator. There are rules, and new grammars to build.
The avanguardia produce finally a new order. His contrary
is pop: to keep something diffused and resume it in a symbolic
act. Here I'm producing a new machine, that permit new actions!
I'm not using the copy machine of the polish Warhola went
to America: I'm breaking codes. This is, in fact, not a
new thing in itself, some of these manipulation can be used
in normal post production: but its use in real time is part
of a new consciousness, of a new way to look to the subject,
to his consciousness. The new subject is product of the
global connections, our perception is delayed by the buffer
of the net, no more drove by the mechanical paradigm of
the piston of the Ford of XX century. Acceleration started
years and yers ago, and the Futurists just say that: they
provocated to say the truth, and then XX century happened,
and the illusion of the ethernal present is closer through
our usual Skype conferences. The net delay is the last meter
that divide the visrtual from the actual, where our bodyes
live. I would say we are here and now, we produced a new
nature through the technics, and this is not opposite: is
the extreme consequence of the acceleration. I will play
accelerations and its contrary in a fixed duration to represent
our time, and our consciousness that is no more linked to
the old binomius nature/technich, body/machine: we use machines
as external improvement of our cognition, and mathematics
implemented in machines as we learn measuring fields and
stars figures thousand years ago. Music is to create figures
to our perception, out there are frequencyes only. No aesthetic
outside men perception. Also no ethic. War finally produced
the XX century and showed the extreme consequences of science,
like the atomic bomb. This was perceived as "progress".
Now technics, finally Internet, is produced by science reasearch,
motor of the war. I'm not a XXcentury man. I am the man
of now, and this is our present, and this machine implement
old dreams and intuitions of plastic dynamism and acceleration,
and propaganda, and "the art of noise", and would
break the regularity of XX paradigms of fixed repetition
we can find in all current sftware for music. This because
I have a contemporary perception of time, and old paradigms
in new machines are destinated to fail: we have computer:
let's use them to theyr peculiar ability, to calculate,
so calculate time variations in a more complex order than
we humans can do, and play with it!" |
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PETR
BYSTROV: LEFT-LEFT-RIGHT
is the title of Petr Bystrov music piece conceived and written
for boxing heavybag as if it were supposed to be lead drum.
The thing is that music party for snare is normally accompanied
with symbols for left and right hands to play with. The
snare drum is also played accented (louder) on beats that
signed >. This is somehow parallel to how combinations
of punches are being commanded (from a trainer) when attacking:
left-left-right; left-right-left-right, left-left-left,
etc. - with the concluding punch being made most powerful
of all: accented and, thus, ending the attack. Like this,
in LEFT-LEFT-RIGHT Petr Bystrov applies drum technics as
well as his rhythm skills to a heavybag in order to 'play'
it. Exactly left-left-right (or, in boxing term, double
jab followed by right hand lead) is known one basic combination
the way young fighters are being taught to come forward
and hit the opponent. The first edition of LEFT-LEFT-RIGHT
has been recorded in a boxing gym in Reggio Emilia in July
2009. giovanni_de_dona was the one to program sets on drum
machine to provide electronic bass drum to which Petr Bystrov
responds with his 'hand made' series while wearing boxing
gloves and equiped accordingly. A dialogue between man and
machine - or electronic device and physical power - was
established. This performance regards some fundamental thoughts
of Marinetti directed to certain sort of a competition to
be held between the man to having endlessly upgraded his
physical skills and devices taking their permanent turn
to the better as civilization goes further. In its second
edition recorded in Moscow (LEFT-LEFT-RIGHT: THE LIVE DUO),
a drummer plays snare live from a score while being in a
here-and-now dialogue with the boxer working out and punching
the heavybag impromptu. Rhythm, strength, tempo and physical
ability of a human are being examined in L-L-R whilst listeners
facing somewhat musical drama - produced from out an experimental
drums - that starts from nascent to then reach certain saturation. |
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ALEXANDER
KORNEEV: MY BROTHER
The work of Alexander Korneev is a kind of anti-scientific
experiment whose purpose is to examine the human capacity
to survive. Moreover, the test subject is the artist’s
own brother. The emphatic senselessness of this experiment
– its inapplicability to the needs of humanity –
forces us to draw comparisons with that branch of “modern
science” for which the Nazi concentration camps became
infamous. Passive victims placed in profoundly extreme situations
all in the name of the “selfless” service of
science: the savage face of unfreedom. Cruelty, however,
is not something that characterizes Korneev as an artist,
and we don’t find it in his piece My Brother, either.
His gaze is neutral, his mind is cold – he is the
ideal doctor. However, it remains unclear what the temperature
of the water in which his brother sits submerged really
is (it is obviously getting colder) and how long he stays
in the water in the end. And why his brother? For one would
imagine that it should be possible to free a relative from
this duty for whatever reason, even when it is absolutely
necessary to conduct such an experiment. Should the artist
replace him with himself? No, we don’t find this logic
or this noble impulse in My Brother. All that we are left
with is a silent young man with a snorkel in his mouth under
a layer of water. The latest subspecies of the Amphibian
Man. This outline of a colossal record achieved with difficulty
and shattering all imaginable reasonable limits, as well
the utterly excessive parameters of the action (a scrawny
pale man in swim trunks; his long, unending submersion)
aspires to conjure in our minds a certain integral image
of the victim of the regime and the tortured prisoner of
conscience: to sit out one’s term whatever it takes,
to emerge victorious in the battle with the elements. Which
in this case, moreover, are not raging, but patiently biding
their time. The water bides its time. And in the water a
man bides his time. His brother. |
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ALEXANDR
SCHUMOW: SUPREMUS
Supremus
is the title of a magazine edited and published by Aleksandr
Schumow during last thirteen years. Several issues went
out in dedication to this or that celebrated events in Switzerland
and Russia, such as dada anniversaries and celebrations.
At the same time, Supremus entitles a certain figure identical
to the artist persona as a sort of superego. His installation's
scenarios often presume kind of interprenetration between
some level of real and desirable, with latter being fulfilled
with aspiration for certain perfection in the artist's own
world of dream. Rather installed and consisting of huge
number of elements, his opuses are being viewed as shocking
of their confessionary nature at times. This is most definitely
what artist intends to do with his spectator when inviting
him into the world of 'daily avantgarde' based on chaotic
associations that would provoke and release one's fantasies
deliberately. |
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Ideazione:
Artista:
A cura di:
Indirizzo:
Inaugurazione:
Periodo:
Tel:
Fax:
Info:
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ENDURING FUTURISM
dispari&dispari project
Anvar Kadyrov, Bernd Brincken, Elena Kovylina, Archi Galentz, Ilja
Kitup, Giovanni de Dona, Petr Bystrov, Aleksander Korneev, Aleksandr
Schumow.
Petr Bystrov
Via V.Monti 25, Reggio Emilia
Sabato 12 dicembre 2009, ore 18.00
Fino al 8 febbraio 2010
da martedì a venerdì dalle 10.00 - 13.00 / 15.00 -
19.30
sabato e domenica solo su appuntamento
+39.335.6097304
+39.0522.557344
info(at)dispariedispari.org
www.dispariedispari.org
www.enduringfuturism.org
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