14th International Art Fair. This event focuses on new international trends, mostly 21st century and late 20st century art, but welcomes classical Modernism, which greatly influenced the development of 20st century art. As part of Art Moscow non commercial Medialisation program the fair presents three exhibitions realized by Museum Folkwang, Essen in 2010 (The Most Beautiful Museum of the World, A Star is Born, and Hacking the City), solo shows by Olympia Scarry, Tzarina-Bellflower, Andreas Golder, Sergey Kalinin, Alexander Sokolov, Patrick K.H. and several group shows (Techno Russia, The Factory of gestures. Body language in film, Not Far - Close. The graduate exhibition of the institute of Contemporary Art).
ART MOSCOW is the first Russian art fair featuring high quality contemporary art, fully in accordance with international standards. The primary goal is to create an ideal environment for the exhibition of art works in Moscow.
ART MOSCOW focuses on new international trends, mostly 21st century and late 20st century art, but welcomes classical Modernism, which greatly influenced the development of 20st century art. All exhibitors at ART MOSCOW are chosen and invited to attend by a high profile Expert Council of Russian and international experts.
Since its inceptions, ART MOSCOW has become the most effective contemporary art market on the Russian art scene, affording maximum opportunity for implementing cultural and commercial ideas. The Ministry of Culture of the Russian Federation and Moscow City Hall Cultural Committee support the fair in a bid to develop the art market. ART MOSCOW FAIR is the only places where one can get acquainted with contemporary art trends and also invest capital. As a regular annual event, ART MOSCOW is a fundamental segment of the Russian art market's infrastructure.
One of ART MOSCOW's goal is to promote contemporary art among the wider public. The organizers aim to involve state museums, exhibition halls and mass media in the fair.
Technology shapes society. Today, more than ever, communication – its character, forms and speed – depends upon technological equipment. Art, the most truthful – although not always straightforward – form of communication, is not immune to technological intervention. As a matter of fact, the advent of mechanical reproduction has originated new art forms and new approaches in the processes regulation art production and fruition that have mutated through the years following the evolution of technology. Clearly, the simple use of certain equipment is not enough to validate the product as a work of art – for that more factors have to be taken into account. However, a close look at those works in which analogue and digital tools play an active role – that is, they are not used to just record moving images – offers a better understanding of the dialogue between the artist and the machine. “Techno Russia” is a selection of five of the most relevant works in Russian contemporary art of the past two decades having technology has their focal centre. Chronologically, the first work is Collective Actions’ To Romashko (Video) (1989).
Here, in order to read the instructions that he has follow, Sergey Romashko, one of the group members, has to look into the viewfinder. It is the very first time that has got a video camera in his hands. Twelve years and a collapse of an empire later, video cameras have affirmed themselves also in the Russian art world and video art has become a form of artistic expression defining many an artist. In such a view, Anna Jermolaewa’s Shooting (2001), is a strong statement – the artist with a gun shoots a video camera (and her own recorded image) hitting it right in the eye. The questioning – with a hint of irony – of the nature of moving images and their dependence on an electronic tool lies at core of Bluesoup’s Untitled (2003) – here, a lightbox is purposely called “video”. Addressed to the contemporary art audience is Electroboutique’s Out of Control (2008). Viewers are free to pick up a hammer and smash into pieces a television set transmitting a manipulated reflection of what is in front of it. Finally, in Vladimir Logutov’s Pause (2009) that split second following an explosion and preceding destruction is permanently frozen in time – the shimmering effect is nothing but a function of the settings on the projectors. By presenting instances of contemporary art in which technological equipment is an active participant, “Techno Russia”, be it in a condensed form, is not simply a historic document. In its essence, it is an invitation open to the art community to explore in depth the potentialities (and challenges) of new technologies.
The Factory of gestures. Body language in film
A Seven channel installation – in English and Russian (ca. 240 Min./seven chapters; s/w and color, digital media) by Oksana Bulgakowa (script/editor/director) & Dietmar Hochmuth (co-director, producer). The moment when the new technologies of photography, film, and the mass distribution of images upset the social and cultural practices of the 20th century is especially striking inRussia, where artistic experiments coincided with great social cataclysms and the search for a new expressivity of the body produced sometimes unparalleled results. As the Revolution disrupted social norms and traditions, Soviet society experienced a radical change in the gestural code. The abolition of gestural restraints was interpreted as the liberation of natural man: bad manners were re-evaluated as socially acceptable behavior, some body techniques that had been contained within the private space – like washing or calisthenics – were now accepted in the public sphere, and some gestures from the public sphere were transplanted to very private settings. The Soviet cinema, which had to reflect and invent a new social model, used very eclectic sources: the rhetorical gestures of political leaders, the symbolic gestures of the imperial code, the eloquent gestures of theatrical melodrama, the new gestures of decadent flamboyant hysterical bodies, the body language of American film stars, sports culture, and Taylorism. Film proposed utopian, sometimes contradictory models of the new body behavior that should be imitated in reality. A new society striving to free itself from old rituals was developing a new design of clothing and living spaces, new standards of perception, and a new body language for a new anthropological type: homo soveticus, a specific version of a man of modernity.
V_MUSEUM FOLKWANG, ESSEN
As part of ART MOSCOW’S noncommercial Medialisation program ART MOSCOW presents three exhibitions realized by Museum Folkwang, Essen in 2010: «The Most Beautiful
Museum of the World», «A Star is Born», and «Hacking the City». The exhibitions will be shown in the format of the V_Museum at Art Moscow 2010.
The V_Museum is a new innovative format for creating interactive exhibitions of virtual versions of non-digital art works or media art originals in a real space.
The exhibition «The Most Beautiful Museum of the World» presented the high lights of the museum collection of the modernist period and was the inaugural show of the new building of Museum
Folkwang, Essen. «A Star is Born» portrays the stardom and performances of contem porary rock stars. The innovative project «Hacking the City» reacts to changing structures of public space, mobility, and
communication in the city.
These three exhibitions portray the work of the Folkwang Essen, Museum. Technological advances and the internet offer the museum world various new options and opportunities. Technology
continuously transforms the world; it affects structures formerly established through history, it modifies the biological, physical, cultural and economic factors of existence at hand. Medialisation strongly
questions established value systems, drives to their reconsideration, creates unease resulting in a creative but unstable environment.
Museum Folkwang is not only of interest to the local audience but also to the audience worldwide. The traffic on our webpage is not only caused by locals informing themselves but by an international audience using the webpage as a library and information source. The awareness that not all of the audience visiting our web page has the opportunity to visit our exhibitions physically we try to provide a lot of
information useful to the interested person. However, we understand that a web page visit cannot replace the physical encounter with the museum.
Therefore, the V_Museum is more than a remote access to the information – in the context of Art Moscow it makes a physical experience of the shows possible without actually relocating the works
of art. By the means of this project museums can apply the ideology of «sharing» the museum knowledge library and collection with the whole audience, especially with those inremote areas.
Art Moscow 2010 offers an exciting platform to discuss the future of exhibition models. The project was realized with the help of the Sputnik Art Foundation and Rost Media setting the ground of the V_Museum and working steadily on the ideological and technical advancement of the project.
Olympia Scarry. The artists is not present (Next stop offensive)
Olympia Scarry’s work reveals vulnerability, inner chaos and her attempt to solve interpersonal relations. Scarry’s choice of materials reflect the complexities of the ever contradicting role reversal of power in relationships through her industrial black rubber cables encased in fragile glass, the 750 kilos of skinlike soap upon sharp edged stainless butcher's steel and the delicate bandages hanging from metal chains or filling a space with 500 kilos of pure white feathers. Scarry finished her BA in Psychology in 2007 and her fascination in the subject is a constant driving force in her works.In the work The Artist Is NotPresent (Next Stop Offensive) the artist is sitting online in the chat room «Chat roulette» waiting for her next victim to be gazed at though the distance yet intimacy of the immediate live cam. Options for moving through this virtual space are tagged, Next (next audience), Stop (to end session). This way the audience becomes the performer by being introduced to the artist but because that introduction takes place online and under conditions of anonymity it provokes a very different response. The artist will besitting through the whole duration of the fair.
Tzarina-Bellflower. Object-installation by Elizaveta Berezovskaya
«A gigantic bellflower with the entrance in the manner of a cave shifts spectator’s assemblage point – by creating an integral pattern where cave and flower values interplay and lead to maternal womb implication. Advancing into the cave’s depths filled with the spirit of life source, one feels like Thumbelina having found herself in heavens’ womb. Familiar scales are disappearing, the awakening from a humdrum dream establishes and at the moment when feeling of slight perplexity starts arising, fairy flower visitor hears the bell sound. Here something opposite to «Plato’s cave» is created – the enlightening cave, the cave revealing Mystery. If a spectator manages to get through the depth of a converging 8-meter corridor without being scared by darkness arising whilst his advancement – in that case he’ll turn from a spectator into a listener as there are not gonna be any visual signals any more, only the bell ringing. The visual is an illusion, a deceitand the aural is traditionally connected with indisputable divine authority. God cannot be seen, god can only be heard. And the only visual part in this case is a telepatic message that traditionally has a flower manifestation aswell: VirginMary is being sent lilies, Buddha got his lotus. Today Elisabeth’s received a bellflower from The Garden of Paradise which turned for us into compressive polysemantic artefact incorporating a flower, a cave, a gramophone trumpet, a maternal womb, a blackhole, shamanic sound of a bell and even those entering the cave. However the object is not overloaded even in spite of its combining a number of functions and a layup of meanings, and sticks to the ultimate emptiness. Rene Magritte expanded his items for the sake of consciousness shift. Here on the contrary – we’ve got diverse parametersof a piece resetting perception and this shift from the visual into the aural elevates, spiritualizes the consciousness for the sake of its transcendence into absolute consciousness where revelation is possible. That comprises one of the major aims of an object within the new genre – object installation».
Not Far - Close. The graduate exhibition of the institute of Contemporary Art, Moscow
Participants: Maria Doronina, Alexander Kauffman, Ekaterina Zorina, Igor Chirkin, Alexei Podkidyshev, Alexandra Suvorova, Anna Khodorkovskaya, Andrey Blazhnov, Dmitry Ablin, Alexandra Fedorina, Vladimir Potapov, Valentin Fetisov, Varvara Mikhelson, Dmitry Sukholet, Anastasiya Pozhidayeva, Pavel Davtyan, Vlad Khromenko
«Short distance is not in itself nearness. Nor is great distance remoteness... Whatis happening here when...?» M. Heidegger, The Thing
The point is not even in what to speculate on. The reserve of samples has already run out. The question about the sincerity left would be more appropriate. The machinery of images only reflects mechanicalness of ideas. And now we are not speaking anymore about confronting the system with handmade spear. It's all rather comes down to so simple and so demanding «think one’s own thinking» said by commanding wheeze of Pyatigorsky. That’s where the very country road starts, where the refusal doesn’t take but endows. And the only potential which is able to oppose the clear reflexive optics to consumerist society without getting stuck in its nets is only barely visible in foggy waters, the mobile and self-organizing flying Dutchman of young art. Of art not yet appropriated, which allows the vital desire to cut the ropes which have already long time ago have become stiff as monuments of guards, standing in self-sufficient awe and shielding the real perspective of action-place. And each of these slices measure not even a distance, but an effort of sincerity being made on this thorny way. The way from Helmholtz’s sensory physiology, down to the shaky bridge of psychoanalysis, along the wide deck of structuralism, through the engine room of Merleau Ponty’s active perception, finally to figurable selfhood. From not far to close, from near to plain horizon.
PATRICK K.-H. VISUAL LONG PICTURES
Patrick K.H. (Anton Yakhontov,b. 1980) – composer, sound-artist, vide-oartist. Has been active on the experimental scene since middle 1990s as improvisation guitarist, founder and composer of «Beligriush» orchestra and visual artist. He currently works as electroacoustic music composer, live-acousmatic performer, video artist andanimation-maker. His wide-range art experiences turns him more into interactive forms and reflects his belief that most of the laws as well as paradoxes of each single genre can be mapped to other medias for producing a certain unexpectable result. During his childhood, he learned classical and jazz guitar (studies and studio work with Alexey Lapin), ballroom dance and visual art (classes of Viktor Norkin aka VAN). Patrick K.H. attended to Theremin Center for Electroacoustic Music at Moscow Conservatory workshops and other activity in 1999 (workshops of Andrey Smirnov, Elisabeth Schimana, Jon Appleton). Cum laude diploma, soundproducer(GITR’09).
Based upon graphical painting, his animation is nearly repeating its historical way of evolution, through stop-motion, drawing sound and some other early-time techniques. «It had shades of Yellow Submarine and Terry Gilliam which at first seemed rather dated.» (Charlotte Kasner, BalletMagazine, UK 2007). Terms of his videos spread from surreal short stories to so called «long pictures» – ornamental-like «still picture-in-progress» in time, which are usually presenting as video-installations. The same with his sound art – started to cut audio tape at the age of 9, he is now almost came back to similar way (by digital means), mostly known as 40s–50s music concrete. Coincidently, his best known piece is dedicated to exploring sounds of another type of tape, «Scotch Acoustic Session» (tape-piece, 2004, 8-channel sound installation, Diapason Gallery, NY, 2008).
Andreas Golder. Visual Pollution
The reality brings monsters to birth. This is a kind of ambiguous characteristics for the art of Andreas Golder (born in 1979) – a young German artist of Russian origin. Andreas Golder’s uses his creative work to demonstrate in grotesque forms the inside of our real life. His paintings shift on the edge between figurativeness, punctuated naturalism, bright expression and purely abstract forms. This formal ambivalence is reflected in his creative subject matter, which is a mix of high and low culture, with numerous sly references to the history of painting alongside visceral smears of paint and loose splashes of colour. «What I actually do is another way of telling a story or a view of the world», says Andreas Golder. In his own words, this is an area between the realistic and the abstract, the physical and the metaphysical. Andreas Golder’s art-works are often based on a compilation of images from glossy magazines, pop-culture, illustrations from the books on the history of fine arts and personal narratives and experiences. It resembles a certain game which explores ridiculous forms to bring to light the backside of the reality. Characters pictured by Andreas Golder rarely have distinctions of sex. Most of them are creatures with sexless bodies, distorted limbsand heads, but always witheyes. «The Romance» (2010), for instance, pictures a man, or even an unknown creature with a misshaped rose-faced head, grinning mouth and a sole eye, which fixedly stares both at the viewer and at the star simultaneously. Almost all creative works produced by Andreas Golder contain pink paint – symbolic for the artist – which, being lain against black background, generates absurd, cartoon-like atmosphere, like in «The Romance». Andreas Golder in his art-works explores the realms of power and spectacle, our desires and requirements, as well as the dilemma of the collisions between aspirations and happiness.
Sergey Kalinin. Total Sale
To what degree is a work of art a commodity? At Sergey Kalinin’s exhibition Total Sale, the visitor will be able to bargain over the price of portraits of prominent members of Russian society and ask for a discount if defectsare discovered. If the paintings have burn holes, water stains from glasses, or are coveredin ash – these are reasons to ask for a discount. But not reasons to give it since these, after all, are defects of the canvas as an object but hardly of the work as such or of thef ace that it depicts. There are those who have remarked on the significance of the «trade on image» as an important part of a work in contemporary art. A portrait takes the idea of «trading on image» in the most literal sense possible. Though a portrait may also be good as a painting regardless of the personal qualities of the sitter. To what degree can a person active in the field of contemporary art be evaluated outside of it?Anatoly Osmolovsky recently gave a lecture at the Seliger summer camp, and this served as the cause for a lively discussion. In the course of the discussion, Dmitry Gutov noted that «we live in conditions in which content interests very few while the surrounding circumstances interest everyone». What is the text and what is the context? For the portraits, the context will be provided by the Discussion Program at Art Moscow.
Alexander Sokolov: SUSPENSION OF DISBELIEF
A: When you drive on the Autobahn, you always see them (at least in Austria). What are they – decorations? Or is there some other meaning?
B: They are for the birds, so that they don’t break their necks.
C: Black birds are often predators, and ordinary birds are afraid of them. The stickers function as scarecrows to frighten away birds. Without such scarecrows, birds crash into transparent surfaces and suffer injuries, because there are no such surfaces in nature.
(discussion on blog)
Suspension of disbelief is a formula named as such in English by the poet and aesthetic philosopher Samuel Taylor Coleridge to justify the use of fantastic or non-realistic elements in literature. Coleridge suggested that if a writer could infuse a "human interest and a semblance of truth" into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative.
The phrase "suspension of disbelief" came to be used more loosely in the later 20th century, often used to imply that the onus was on the reader, rather than the writer, to achieve it. It might be used to refer to the willingness of the audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises. According to the theory, suspension of disbelief is quid pro quo: the audience tacitly agrees to provisionally suspend their judgment in exchange for the promise of entertainment. (Wikipedia)
Elena Lopatina, +7 (495) 657 9922, ext. 129 email@example.com
Roman Ramazanov, +7 (495) 657 9922, ext. 125 firstname.lastname@example.org
Preview: 21st September 8 p.m. – 10 p.m.
Press conference: 22nd September 2 p.m.
Official opening: 22nd September 4 p.m.
Conference on MEDIALISATION: 23rd – 24th September
Young Collectors Talk: 25th September
Central House of Artists
Krymskiy val 10 - Moscow