Monday, September 10, 2012

Aesthetics of anger and desperation

My recent work was led by the tendency to deal with the function of an object and a tool. The set of pieces prepared for this show takes a different route to the gestural enactment of the function of an object.  This set of pieces is produced as a refusal of a function that is contrary to the strategy of my performances - Alina, Forest and the Rifle. Focus on the object which is not defined by its value, but rather function. Object-comrade, object comrade-helper in building of the new society that struggles together with human to bring futurist ideals to live.
Objects presented here refuse their function, they are objects of death. Concrete shoes are not used to kill, the gun is not used to shoot, banner fails co carry coherent political message. These pieces are made to express the sense of violence and anger that comes with current political condition in both of my countries and in Europe. This anger and suffering of political and ideological crisis that became a part of people’s lives is what I am interested in here. Anger for me is connected to the general loss of function, that is based in general sense of helplessness and impossibility to bring positive change. This set of pieces is about it. While aesthetically I am keen to reference the leftist resistance groups of the 70s, and their optimism in relation to Leninism and early USSR.
The development of this work started a banner: Sexual Freedom to the State Duma was exhibited in the Westminster Central Hall, at the day of Pussy Riot arrest, during the Citizen Poet performance made to be before Putin's re-election on the 4 March. Originally most of the work was made to be presented with the show from which only Concrete shoes made its way to the general public.

There is some critique that needs to be stated to the end. I think that this pieces of work are merely repeating existing aesthetic expressions... They exist as a number of uprooted quotes... But probably there is need for different language, some discursive misplacement?

Two Human Beings: The Lonely Ones

This is a shot from Munch catalogue for Tate Modern show that is a very interesting curatorial take on his work, overly concentrated on his "instagrams": the pictures by Munch taken himself taken on the camera. This is an interesting twist for the presentation of an artistic practice first of all.

Secondly, I was deeply shocked by the second hall. It presented about eight or ten of his pieces, motifs that are painted and then repeated by the author past 20 years. I nearly fall in love with his change in relation to paint surface and representation. So the image above points to one of those "progresses." This motif, Two Human Beings: The Lonely Ones was repeated by Munch many times in print and paint... I should not fall into the investigation of why he was so interested or why there was a compulsion to do so (tate show concentrates on that) but I wanted to point to the transformation that happened here. It got so abstractly present, it lost disturbing particularity, canvas somehow started its own life... Colour got really vibrant! And fragile, unstable, momentous//

(This lunar phallus or "I" is also impressive, this lunar motif...this image is not a part of Tate Modern show on Munch...)