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Interview with artist Dmitry Kawarga
ARTinvestment.RU   12 ноября 2010

Uncompromising in creativity of the artist and distributed the text of a published interview. The list of exhibitions Kawarga - more than fifty dates and names. Among the main themes - the conflict of chaos and order. Material published in author'

his "Topography of the creative evolution of" (installation is also known as "Hair Kulik") in the summer effectively pierced the wall Gridchinholla, and the fall has continued to grow in the 19 th Conference Central House of Artists, becoming One of the most impressive exhibits exhibition nominees Kandinsky . Memorable "myslezem and installation of bio-feedback have been a highlight of the exhibition of contemporary art. In the work of Dmitry Kawarga recognizable one hundred percent. But to know anything about Kawarga-man publications is difficult.

part of his artistic strategy - to dissolve personal identification in the works: "It is important, not where the artist studied and from which emerged and what he's doing now. " The catalogs of its exhibitions in situ the situation of a portrait is always placed some collages and art hoax, but not normal, human picture. Published a formal biography familiar fit in three lines. And the interview can be counted on the fingers of one hand. But the list of exhibitions Kawarga - more than fifty dates and names.

Dmitry Kawarga hard "digs his hole, producing a bizarre combination of his" thought forms ", aside from the commercial formats. Today in the sphere of his creative interests - the destruction of stability, conflict of chaos and order. Neither you appeal to the left of the discourse, nor appeals to the right - a non-standard problem for modern criticism. Abundance of meaning in the plastic art is today more a hindrance.

But at the same time do not change: you want to remain a hard punch walls. And only "Hair Kulik is able to do this without compromising yourself.

ARTinvestment.RU: Exhibition schedule you have pretty tight. How many exhibitions held in the year?

Dmitry Kawarga: The schedule is crowded, but every show - it's still a unique event, and do not want them to count (recalculate themselves: this year there were eight general and two personal. - AI .). They do not railroad ties to be accounting umeschaemosti under the rails. Let's say a few words about just dismantled exhibition in one of the unusual space of London - Church One Marylebone . The event, organized Zurich gallery Natalia Akhmerova and curator acted Oxana Maleeva. Artists from different countries tried to initiate a particular communication environment and to build a dynamic dialogue with the viewer: it is both video and photos, and interactive installations, and even a "perforated". I managed to reincarnate one of its most slozhnozavernutyh installations from the cycle simulation of consciousness. " This tech-and knowledge-based work, instrumentation biofeedback and assumes the viewer interact with plastic materialisations physiological processes. Installation, in fact, an aggressive builder. It captures any space, it expands and forced delays to the attention of visitors. Thus, like a spider, I braided my nanopolimernoy web insides elegant buildings of the seventeenth century ...

From our participated in the exhibition, Alexander Ponomarev, with breathtaking imagination monumental work (which hung in the space men gaze into the rotten rhizomes), Peter White and installation of the lamps and rubber, as well as nekrorealist Eugene Yufit with videos and photos.

AI: Your works are characteristic high-capacity multi-level titles. "Model biopolyarnoy activity", "Topography of the creative evolution of" ... You assign them in the end or beginning?

DK : The names of I try not to assign a force, it's such a catchy process of self-Magnet, which takes place at the beginning or the end. They, like the skittish creatures to resist, to confuse attention and trying to be the keys to engaging in creative processes.

AI: Is it possible to say that when you start building work , then you do not know what will happen as a result?

DK : You could say that I know what the result, but path to it has to run on unfamiliar terrain and marshy impassable taiga. Each time it is very difficult and it is not clear how.

AI: And how fast are new major product?

DK : It is difficult to talk about the rate of job creation. And should I do? Perhaps it is here to talk about wasted workdays, but I do not share the time on individual pieces, and treat him like a thread of continuity. One theme is interwoven into the other, a large installation zaparallelivaetsya with shallow flows into the painting or sculpture. I do not put crosses in the calendar, because there are no days off and holidays, and to report something especially not to anyone. In addition, there is a sense that, while there is a process, it seems long, but then, when all is practically impossible to determine to what extent it has been long relative to the previous or next. And if we take into account that most of my projects has a property to mutate and evolve over time, the answer to the question of speed is very difficult.

I can confidently say that these are the three palaeo core Natasha Akhmerova showed that ART-MOSCOW, I did almost all summer. These are artifacts of human development - conventional, cultural "rock samples, extracted from the civilization sequence. In sections of two objects the viewer sees the layers and stages - it's my idea of the time evolution of the species. The third has a few other plastic: it is not the layers, and vertical borers, damasks. Figures of people randomly scattered among donors. They like humus, which fill the gaps between meaning structures. And in this vertikalizme is the continuity of generations: some pass the baton to others.

AI: In the cores can see many of your corporate fellows ...

DK : Indeed, this character migrates from work to that and, frankly, fed up with my order. Previously, every man I carefully made in a single copy, we can say given birth. But recently, suddenly came to realize that the time of my life, not rubber, as opposed to rubber form, I took off the two dozen most prominent characters. Now, their livestock is calculated by buckets, as someone said of the greats, a death - a tragedy, a million - has statistics ... In general, returning to the palaeo cores, we can speak not about the individual and his fate, but about humanity and global civilization processes.

AI: In your work often include scientific component - Appliances bio-feedback and other solutions. Why, in his comments, you are distanced from the membership of a sci-art?

DK : Because I do not do "Sines art ", or" scientific art ", and doing his own art. At the same time, some technological solutions are interesting to me, and I apply them. They help tighten the perception of the viewer in the works themselves, and most importantly, with my creative attention takes a sudden mutation. Through collaboration with scientists and vpletaniyu to install scientific instruments at the time I forget that I am an artist, and falling into the action of clarity. Familiar continuity of the artistic process as it terminates, and an opportunity to look at all of an entirely new way. These are just some pieces of his short time, but they are very important to me.

AI: About sci-art forget. But tell me, with what direction to associate your surround expressionism? What is the "meme" is applicable to Dmitry Kawarga?

DK : If someone needed something short and capacious, it I write "biomorphic radical." This is everything and nothing.

AI: From your recent projects I especially liked the "Ouroboros (the snake that eats its own tail. - AI . ) - sublime scenic experience in sculpture. How do you dare to use as building material his old canvases?

DK : For the "Ouroboros" (exhibition Ouroboros, Gallery Brissot, Paris. - AI .) I'm really pissed her paintings of the late 1980's, to breathe one canned air of bygone feelings and try to rework them into something new for themselves. On the other hand, this is what is at the disposal of the artist is more important than the creative process itself? After all, it is entirely woven from the time of life itself, and the constant analysis of the process feeds the creative strategy that generates further development. Therefore, the crawl again on drilled once burrows, to analyze the very method of their digging, and feel their ornate curves are not intuitive half-blind mole-rat, but the detached gaze of the architect - a valuable experience.

I felt like that same snake devouring its own tail, or perhaps even a dog returning to its ...

AI: And you do not want to go back to the plane after the "Ouroboros"?

DK : That's right now, probably not, because, doing installations and sculptures, about anything so do not even think desirable. But when vdarit frost and bending my toxic polymers in the yard will not be, I plan to surrender to the plane. Generally, of course, painting on a plane for a long time for me was painful restriction, which was so anxious to overcome. Gradually, millimeter by millimeter, the work became pasty and thick. In the paint sand, sawdust, metal shavings, and then went to move small objects and mummies rodents, fur pet mixed with paper pulp, the surface itself is deformed and variable geometry. In short, the picture turned into relief, and then all of a sudden sprouted into sculpture. But as soon as it happened, the plane shlopnulas for me for several years, seemed to be lingering ice crust, and only with the help of the project "Ouroboros" I'm re-learning it dived.

AI: Your personal image is so carefully hidden or dissolved in the structure of creativity that open-source can be found schitanye nuggets of biographical information. You're finishing up some profile art school?

DK : Well, with your own way I have a long conversation ... Not that I like it out there specifically to conceal, hide something there is nothing special, but I can not seem to get used to it. Then something else: himself this image itself is woven from the endless attempts to search through the arts. That is very I is inseparable from the creative process. It's part of it, and even a tool. Perhaps that is why even the slight protrusion of his personality close to work or speaking before an audience seems to me inappropriate clowning. Sometimes you can tell a dozen sentences for training, but so that incessantly something diamonds and glitter face - it's just not for me. Although it's probably not worth too seriously all this concern, one must be a bit playful ...

As for college, then I have done it long after he began to exhibit and Here's to the present day, all doubt was whether we should do it. But in any case, I do not regret, and even think it was necessary to finish all the same ...

AI: When you began to exhibit?
DK : Expose 1988. I was fortunate to participate in exhibitions in the Municipal Committee of the plots in Small Georgian with Anatoly Zverev , Viktor Kazarin , Boris Scourge , Sergei Bordachev , Pyatnitsky and other mastodons of the then art scene.

AI: Which of the its exhibitions do you think is the most important reference?

DK : I'm afraid, once again not be able to answer clearly. I do not know how this other, but to me nothing is permanent and unequivocal. All of these recent exhibitions live somewhere inside me, my life and remind the original fractals. They tossed and rustled, shimmer and drift into their shells, occasionally surfacing to the surface. At such moments it seems that this is such a close, the event is the support of all. But there comes a certain fragility, and it is like a swamp tussock, immersed in the event-driven lack of clarity ... It is very difficult to identify something once and for all, no certainty.

AI: A favorite job?

DK : This is probably the installation of "Fluctuations of spatial arrays" for the exhibition "Tunguska substance." Now she is in the Krasnoyarsk Museum Center. A couple of years ago they held an exposition dedicated to the conference's scientific and cultural mythology of the Tunguska meteorite, "and dedicated to the centennial event. This work represents a huge spatial "saucer", which is implanted in the audio device. Published by the roar of uterine causes many to shudder needle bushes and cracked the very anomalous surface.

AI: What galleries are you now working?

DK : The foreign actively cooperated with the Barbarian Art Natasha Akhmerova, a Swiss gallery, which relate my most responsible and large-scale projects. There is also a small Parisian the gallery Brissot, and another in London, Orel Art, which renamed itself Art sensus. In Moscow, several years collaborated with the pop /off /art, but it turns sluggish, although the team I was always pretty and friendly. In our artistic environment in general is a lot of countries, so that everything is normal. Among other things, though this is not entirely gallery, or rather not gallery, this year happened fruitful interaction with the brainchild of Sergei Gridchina - Gridchinhollom - a completely unique art form on the body of the Moscow art scene. Thanks Sergei, I was able to embody one of the most monumental and long-lived their projects, "Topography of the creative evolution of" ("Hair Kulik). In fact, one such project outweighs the few years of gallery co-operation.

AI: What music do you listen to?

DK : Before listening to a huge number of industrial and ambient. Now ceased. Looking for some times some of noise drive. And when the sound is mixed with the sound of grinders and drills, it turns out quite decently, and you can listen to it. Just by the way, this is the case with art. When watching the artists, then take them as a visual surround fluctuating noise, which has no end. It can only be switched on and off ...

AI: Do I understand correctly that you are in a sense berezhesh creative vision, so try not to look at the work of other artists?

DK : I deliberately did not turn away, no. On the contrary, very carefully look. But I think artists are too many quotes and process each other, while in some permanent state insane dialogue. Art has become a mix of common meanings. This field, which sit tyschi tysch gold, wash up the same sand. What are they looking for? I myself, of course, also subject to all the possible influences, but it seems to me that the art - it is an area in which it is possible to do so, what else do not.

AI: You tried to formulate the problem of his work?

DK : To the extent that. Its core is probably an attempt to self-awareness and transform themselves through art, through reflection and the materialization of the mental processes. Through these materialize, I'm trying to understand himself and the world around us - here and in interaction with nature, with society, reflection, complexes and overcome them, the mechanics of thinking and so on. The whole story evolves over time through biomorphic style of the physiological substance, which is the body of my work. A most important task - to complete dissolution in the art, which really trifles something ...

AI: I have close idea of what the true purpose of the artist - to be one step ahead, virtually predict the future. Agree?

DK : One step ahead ... future, the past ... I imagine things are different: there is a thread of life - the chaos in which there is neither past nor future. This is an abstraction, which are trying to communicate through some exhibitions there, acts as the Internet. You live in a fluctuating and varishsya solution, trying to understand something. As soon as you start to draw lines and the coordinates (rather than drawing them is not possible), it becomes somewhat clearer. However, the perception primagnichivaetsya to these lines. History of art gradually builds up in the head in the natural progression from cave paintings to the present moment. You unwittingly begin to enter their attempts in this sequence, successfully find sources, parallels, and related fields. Things are going. But once you realize that doing something logical and natural that build meaning a cell and goes through the same blocks. Therefore, if we talk about what art is particularly unpredictable territory, then, indeed, the artist is able to extract from the chaos of an amazing catch and give people a little bit updated vision of the world. But I fear that this is not exactly art, which today are passionate about the vast majority of artists of the world ...

AI: Your comments on LJ cause much regret that you do not write texts their exhibitions. Why?

DK : releases most of its shows on my own. The case is tight and sometimes ugly, but the result is usually tolerable. Artists I generally divide into two types: "mozgoviki" and "towels." Very rarely a balanced mixture, and such instances are unique. I'm an inveterate "ruchechnik, so drag out a process of writing for a couple of pages of text for me is equivalent to torture.

AI: Lyrics help faster kerf in the subject. When you told me just three sentences about the cores, I have once lined the overall picture. It's important that you understand?

DK : Well, of course, important. Artists have always dream of a perfect picture of that, they say, everything is understood, moreover, correctly and even more so than inherent in the work. But, though this is putting it mildly, not so delicate build bridges to the viewer is not quite right. Brief descriptions, I just write .. But the audience is much more interesting and more valuable than the most open sense than by reading a set of words to make a couple of little creative reasoning. Besides, I'm still doing the plastic arts and retell it make sense there.

AI: At one time a frequent companion of your sculpture was barefoot - the instrument of bio-feedback. It is used in "Hair Kulik. What is its role?

DK : For the viewer it is possible to find common language with an object or installation. It connects to the device and is rooted to the spot, trying to make some inner force balancing their mental mechanisms. In "Hair Kulik, by the way, even absent use instructions. There was only information about which part of his body were connected. Man had to independently discover the relationship between the state of his mental activity and alter sounds. If this happens, then began to build and train the senses, leading to an understanding of the overall design of the project. In my opinion, it's great that, in addition to sensory and emotional and intellectual insights into the art object, possible a third way - the tactile psychophysiological dialogue with him.

AI: Well, now just a time of rapid knowledge and quick emotion. A diagram of the perception that you have described requires a modern audience too much: time and a deep dive. Is it too risky?

DK : That's right, this is not the emotions and knowledge, and feeling of peace and meaning at the level of physiology. We live on a living planet, and not everything or understand otrefleksirovat sensually. Something has to absorb a misunderstood body and long enough to bear. No one can explain how this is done and why.

AI: You watch your audience? What is the most common reaction when in contact with your sculptures?

DK : The reactions are different. In his youth, among leading figures of the sixties, I heard from one of them the story that a lady for a long time was at his work, and then she vomited. The artist was delighted with such a strong emotional reaction, and proudly told me about it. Decades have passed, and I live with the idea, how lucky he was ...



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