Russian exhibition at the Venice Biennale, a parallel program
In a parallel program of the 55th Venice Biennale, Moscow Museum of Modern Art presents a group project "Lost in Translation" and a solo exhibition by American artist Bart Dorsa, "Katya"
Lost in Translation
University Ca 'Foscari, Venice
May 29 - September 15, 2013
A poet in Russia - more than a poet.
Yevgeny Yevtushenko
In a parallel program of the 55th Venice Biennale - La Biennale di Venezia - Moscow Museum of Modern Art presents the project "Lost in Translation" - large-scale exhibition of contemporary Russian art, exploring the theme of unacceptability rooted in the cultural context of work in the period of globalization. The exhibition brings together more than one hundred works carried out over the past forty years, from the collection of MMOMA and other public museums and private collections.
concept of "global village", formulated more than half a century ago, has evolved from a theoretical construction into a practical reality. Technological progress has simplified and accelerated the international communication. The global network that permeates the world today, seriously strengthened the permeability of geographical, political and economic boundaries. However, the globalized world is still not uniform. Although communicate easier, effective communication is still dependent on the clarity of understanding among the participants. Adequate translation - one of the most important factors for successful communication. Every time a work of art is the process of adapting to the context and the place in which it is demonstrated. Historical, political and cultural differences, language barriers and different approaches to the theoretical analysis - all of which can cause confusion and therefore requires a deeper explanation.
Modern History shows that, despite the fall of the Iron Curtain in December 1991, marking the end to the isolation of Russia and its inclusion in the "global village", the translation is still a fundamental element that provides an adequate understanding of the individual works of art and semantic layers that they carry. In many cases, the process of translation - it is a complex procedure, which, in addition to the literal transcriptions of verbal communication, requires further explanation of historical, cultural, political, social and economic environment, which resulted in the creation of work and references which are present in the product. has gained international recognition after a series of performances of "man-dog" in the 1990s. Making sense of this radical artistic image can be when you take into account the overall context of tough economic reforms initiated by the first Russian President Boris Yeltsin. These reforms, known as "shock therapy", focused on the transition across the country from socialism to capitalism. Knowledge of the context helps to understand why the TV film "Seventeen Moments of Spring" (1973) became a source of inspiration for a number of Russian artists, while for Western audiences, he does not mean almost anything.
Exhibition "Lost in Translation" brings together works made in various media - painting, drawing, sculpture, video, installation, performance - the famous Russian artists, as has already received international recognition, and young authors. Carefully selected by the curator on the basis of their special "untranslatable", these works are the most difficult to decipher, not having basic knowledge "of the Russian context," in which they appeared. The work is accompanied by an "extended translation" - an explanatory article such as a glossary, with key references that will facilitate the "reading" and allow viewers to understand the meaning of the work, and to correlate it with the international artistic context. The exhibition is accompanied by an illustrated catalog of articles about each work. Addition to the exhibition will be an educational and research program - video preview, lectures, performances and interdisciplinary conference.
exhibition is open at the University Ca 'Foscari, known center of Slavic studies in Italy. At the university there is also a Center for the Study of Culture of Russia (CSAR), the purpose of which is to study the historical and cultural heritage of Russia and the development of relations with Russia's leading cultural institutions.
members: "Blue Soup», Sergey Bratkov , Alexander Brodsky , Erik Bulatov , Vinogradov and Vladimir and Alexander Dubossarskii Vinogradov , Elagina , Simon Fajbisovich , Andrei Filippov , Rimma and Valeriy Gerlovin , Lyudmila Gorlov, "Iced Architects», Dmitry Gutov , Yermolayeva , Alice Joffe , Ilya Kabakov , Vitaly Komar and Alexander Melamid , Irina Korina , Koshlyakov , Alexander Kosolapov , Oleg Kulik, Sergei Leontiev , Anton Litvin, Vladimir Logutov, Igor Makarevich , Vladislav Mamyshev Monroe , Andrew Monastery , Simon Motolyanets, Vladimir Nemuhin , Timur Novikov , Boris Orlov , Peppers , Paul Pepperstein , Victor Brewers , Alexander Ponomarev, Gia Rigvava, Michael Roginskii , Yuri Shabel'nikov, , Leonid Juice , Alain Tereshko, Avdei Ter-Oganyan , Vadim Vadim Zakharov , Konstantin Stargazers and others.
Bart Dorsa. Kate
University Ca 'Foscari, Venice
May 29 - 15 September 2013
In a parallel program of the 55th Venice Biennale, Moscow Museum of Modern Art presents a solo exhibition by American artist Bart Dorsa.
The "Kate" - an exhibition of silver-collodion photographic plates and bronze sculptures, presented in a specially organized dark space. It tells the personal story of a Russian girl, met by chance an American artist. Kate, the main character of the exhibition, embodies the archetype of the mythical crossroads (crossroads) - title theme in the works of Dorsey.
Katya was born in the Far East in the family confectioner and electrician local house of culture. When she was 3 years old, my parents separated, and her mother turned to religion, and took the veil. Mother and daughter moved to the monastery and lived there until Kate is under 13 years old and together they are not moved to Moscow. Find your freedom in the metropolis, Kate was in an extreme environment subculture associated with various forms of body modification.
Katin way of life - 10 years of strict monastic life and the subsequent immersion in the Moscow underground - is reflected in its face and body. Capture all its images on glass and bronze, Dorsa captures the topography crossroads - a mythical place of the existing "between worlds", and at the same time very personal moment in the life associated with the transition from suffering to enlightenment. Seem at first glance the same, the images of Katie, vosprizvodimye with obsessive repetition, create a symphonic effect. The body language says about balancing on the edge between the provocative and vulnerability. Piercing is a psychological portrait of the heroine at the same time, a portrait of the author.
choice of technique - collodion photography - predestined passion Bart American Indian mythology, in particular to believe that the photographer can steal the soul, and his faith in a unique expressive ability collodion process, its ability to reflect the subtle nuances. The artist was inspired by the powerful energy picture, what he saw at the National Archives: it was made on a glass plate portrait of a man suspected in the assassination of Abraham Lincoln. Dorsa went to Europe to study the ancient technique of photography and later experimented with the selection of the camera and lens are made by hand and reagents. To achieve the desired effect, Dorsa gradually cuts off the superfluous elements, until he decided to completely abandon the camera in favor of a pinhole camera. The model and author who holds plate, separated only by the old optics lens - the image directly "imprinted" on the glass.
| Bart Dorsa Body 1; Series Crossroads 16. 2012 Silver-collodion photographic plate 46,5 × 30,1 Courtesy Bart Dorsa Source: Press release MMSI | Bart Dorsa The central part of the triptych; Crossroads Series 9. 2011 Silver-collodion photographic plate 46,5 × 61,5 Courtesy Bart Dorsa Source: Press release MMSI |
Creating photographic plates - a long and laborious process. Repeats many times, it becomes a kind of ritual, a special form of creative meditation. The artist compares himself to Plato's allegory of the seers, "bound in chains, they saw only shadows on the wall of the cave, which was their prison. That is how I see the shadow of his subconscious. Camera Obscura - my cave. I'm chained to her, and trying to catch the shadows of my subconscious, I peered closely at the image on the plate reflected from the faces and bodies of those who pass in front of my 160-year-old lens ».
Bart Dorsa exhibition in Venice brings together a large number of new jobs created over the past three years. Bronze sculptures that were exhibited for the first time are in fact a continuation of photographic technique. They take photos of the object and the ability to play as if out of the dark plane glass plate to gain size and physicality.
Source : press release MMSI
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