Kadist Art Foundation
19 bis - 21 rue des Trois Freres
01 42518349
Arseniy Zhilyaev
dal 16/1/2014 al 29/3/2014

Segnalato da

Lena Monnier

calendario eventi  :: 


Arseniy Zhilyaev

Kadist Art Foundation, Paris

M.I.R.: New paths to the objects. Zhilyaev creates an anti-utopian museum of which name 'mir' means both 'peace' and 'world' in Russian, and could be read as an acronym for Museum of Russian History. it gives us an example of a critical and 'negative' display, by depicting a projection of what could be Russia in a near future.

comunicato stampa

For his exhibition at Kadist Art Foundation, Arseniy Zhilyaev creates an anti-utopian museum of contemporary Russian history. The title of the exhibition plays with the polysemous word ‘mir’ which in Russian means both ‘peace’ and ‘world’, and could read as an acronym for ‘‘Museum of Russian History’’. Arseniy Zhilyaev pursues his reflection on the Museum as an institution, and a legitimizing one at that, whose mission is to spread knowledge among a wide audience, as well as to express an official policy. The artist appropriates the discursive mode of a Museum of History to represent how Russian society could change during the next years.

The Museum as a tool

Arseniy Zhilyaev’s artistic practice is inspired by A. Fedorov-Davydov, an art historian who contributed in his approach to the “experimental Marxist exhibition” that briefly dominated Soviet museum policy. The science of Marxist display has to reveal not self-sufficient and static objects, but the dynamic social processes of which they were part, with a pervasive awareness of the sociological conflicts underlying all art history, combining diverse artifacts — from “high” to “low” culture, ignoring the difference between original and copy, using folk culture, advertisement et al.
Considering the museum as a tool in which the goal of the display is to educate and to create a provocative discourse open to debate, the case of MIR designed by Arseniy Zhilyaev gives us an example of a critical and “negative” display, by depicting a projection of what could be Russia in a near future. Presented from a dialectical perspective, the display draws a parallel between the Russian political situation and the contemporary art field.
It is a didactic exercise of self-criticism against over-ambitious political art, the role of objects in its economy and its “bureaucratization”.
Thus, in this fictive Museum, Vladimir Putin, the President of Russia, is taken as a model for artistic performances, showing how he proposed to escape the obsessive tendency of producing permanent changes in the contemporary art world: «‘Nowadays the only real change that is possible in the contemporary art field is the renunciation of all change’, he declared in October Journal»*.

Defining the borders of democracy

At the time when Soviet museums were widely frequented, they played a role in producing new critical subjectivity. In his text Politics of Installation, Boris Groys analyses how art today is becoming a part of mass culture, in which he tries to differentiate two main figures: the artist and the curator who both demonstrate a certain selection, a certain chain of choices, a logic of inclusions and exclusions in the objects they choose to present to an audience. But according to Groys, ‘‘the artist and the curator embody, in a very conspicuous manner, [...] two different kinds of freedom: the sovereign, unconditional, politically non-partisan freedom of artistic
self-expression, and the institutionalized, politically responsible freedom of curatorship.’’.

The artist would be the one who reveals the hidden sovereign dimension of the contemporary democratic order that politicians for the most part, try to conceal. In that sense, the installation space is where we are immediately confronted with the ambiguous character of the contemporary notion of freedom that functions in our democracies as a tension between sovereign and institutional freedom.
Having recourse to parafiction, making art and politics fields in parallel into a museal display, is a way for Arseniy Zhilyaev to test these borders between the sovereign and the institutionalized freedom based on the belief that a strong non-institutional public sphere is a precondition for the emergence of a strong democracy.

* As mentioned in a wall text in the room II of the ‘‘MIR’’ Museum.

A publication will accompany by the exhibition, with an introduction by Boris Groys and an interview with the artist by Siliva Franceschini.

Arseniy Zhilyaev (born 1984 in Voronezh, Russia) is an artist and political activist who lives and works in Moscow and Voronezh. Graduated from Voronezh State University, Philosophical Faculty (2006), Moscow Institute of Contemporary Art (2008), MA International Programs, Valand School of Fine Arts (Goteborg, Sweden, 2010). Zhilyaev’s artistic practice poses questions about the cultural production under the post-Soviet condition: Radio “October” (Project “Fabrika” [Factory], Moscow, 2011), Market “Labour” (CCA Garage, Moscow, 2011). As an artist and activist (member of the Russian Socialist Movement), he is involved in intense debates around precarity. Whithin his recent projects Zhilyaev rethinks the heritage of soviet museology («Museum of Proletarian Culture. Industrialisation of Bohemia» (Tetryakov State Gallery, Moscow, 2012), «Pedagogical poem» (in collabration with Ilya Budraitskis and collective of the project, Presnya Historical Memorial Museum, Moscow, 2012) Zhilyaev won the Innovation 2010 Russian state award in the sphere of contemporary art and the Soratnik [Companion-in-Arms] 2012 award, and nominated for the Visible Award 2013.
Since 2011, he is a member of the editorial board of the Moscow art magazine (Khudozhestvennyi zhurnal).
Artist’s website: http://www.zhilyaev.vcsi.ru/

Programme of public events:

Performance every Saturdays from 5 to 6pm (except on January 18 and February 1, replaced by Sundays January 19 and February 2)
Two dancers interpret Proposals for the Living Sculptures inside the Bolotnaya Battle Park Complex, Based on the Witness Testimonies Given on the 6th of May Case.

Screening and discussion with Keti Chukhrov
Friday, January 31 at 7pm
Philosopher and poet, Keti Chukhrov will present her film Love Machines (2013, 42', English sutitled) that questions today's shift to a post-humanist philosophy, with its dismissal of the notions of love, mercy, pity, and collective sensitivity as components of an outdated human culture.

Image: MIR: New Paths to the objects, Amphora, 2013. Photo: A.Mole

Press contact:
Léna Monnier +33 (0)1 42518349 lena.monnier@kadist.org

Opening on Friday, January 17, from 6 to 9pm

Kadist Art Foundation
19 bis-21 rue des Trois Frères - F-75018 Paris
From Thursday to Sunday, from 2pm to 7pm or by appointment.

Otobong Nkanga
dal 25/9/2015 al 19/12/2015

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