Wednesday, January 02, 2013

To put things on their head first. To the 6 May. Russian Style

(Next Show preview )

Strange impression...Exhibition @ Art Pavilion, 09/01 - 12/02

This is the new upcoming exhibition of nine artists working in London.

Open 9-12 Jan, 12pm-6pm

Performance night & Private view 10 Jan, 6pm-9pm

The Mile End Art Pavilion
Clinton Rd
London E3 4QY

I am planning to present a new set of works that attempt to reflect Russia's new and not so new condition of political repression and also silence about it that comes together with some people's aspiration to fight for their freedom and for the new dialogue about the state.
Preparation for the show was totally concerned with the development of the language of my Alina performances (in dedication to Alina Kabaeva), so accordingly this work seeks to extend the discourse of bodily politics and systems of state representation. State where parliamentary woman are former Olympic stars, and where bodies are repressed on the streets and though prison regimen is something I try to show. This space is not very different in some things from other spaces in the West: There is a difficult relation to sport in every country where it had already became a top mass media phenomenon. So this work is not made to maintain the difference, but rather to interrogate common conditions and specific cases. 
But still tis pieces are loaded with political references - that could be easier for Russian (politicized) viewer, but otherwise they are not very important. Object-relationships, and politicized body are the key concerns, but I do try to seek some carnivalesque opening of my subject - and this is exactly what happens with the light box boys and Alina video screen.
White ribbon became a symbol for some of those who walked on the streets of Moscow a year ago to protest electoral fraud and injustice. I do try to extend this to my complicated reading of the parliamentary gymnast figure Alina Kabaeva, and ribbon as a beautiful gymnastic gear... 
This work also tries to open itself closer to the issues presented in Deineka's Socialist Realist paintings. I am dealing with it in relation to the opposition of collective and individual, with new attempts to emphasise collective outside of senseless mass ornament of isolated subjects that were investigated in my Mass ornament series. This is the socialist optimism I want to inherit from artists like Deineka: I think it is something that people of Bolotnaya square, and myself among them really need for the reconciliation of post-soviet ruthless capitalism. I want to re-animate this feelings of socialist collectivity.