КАМЕРЕ РЕДКО КОГДА УДАВАЛОСЬ ЗАПЕЧАТЛЕТЬ ОБЪЕКТЫ, ФОРМАЛЬНО БОЛЕЕ ИНТЕРЕСНЫЕ, ЧЕМ ТЕ, КОТОРЫЕ ПОЛУЧАЮТСЯ У МЕТАЛЛУРГОВ И КРИСТАЛЛОГРАФОВ. СЬЮЗЕН CОНТАГ
Exhibitions
12 April - 19 April

12-19 АПРЕЛЯ / МАСТЕРСКАЯ АРТ-РЕЗИДЕНЦИИ (ЦРМ, 5 ВХОД)

В мастерской «Зари» откроется выставка участницы резидентской программы Верены Иссель. Экспозиция «Молчаливая утопия» представит результаты её работы во время пребывания во Владивостоке. Выставка продлится до 19 апреля.

Берлинская художница Верена Иссель во время своего пребывания во арт-резиденции «Заря» собирала свои впечатления о городе в единую картину. Образ Владивостока она интерпретирует как сложную мозаику, включающую элементы разных эпох и многообразие влияний разнородных культур.

Исследуя новое для себя пространство, художница сосредотачивает внимание главным образом на архитектурной составляющей городского ландшафта и её поразительной стилистической пестроте. Иссель отмечает очевидную контрастность застройки, когда монументальные сооружения эпохи арт-деко соседствуют с советскими зданиями и уцелевшими образцами деревянного зодчества. Однако, в этом многообразии форм можно выделить и общий элемент: наличие декорированного фасада, представленного узорами, резьбой, рельефами и муралами.

Наиболее сильное впечатление на художницу оказали советские росписи и мозаики – этот вид декора являет собой не абстрактные формы, а сложные композиции, со своей структурой образов и чётким нарративом. Это было поистине доступное искусство «для людей», легкое в интерпретации, использующее простой язык, понятный широкой публике.

Демократичность этих росписей Верена Иссель противопоставляет элитарности искусства институциональной системы. Рассматривая феномен монументального декора советской архитектуры в качестве актуального и уместного ответа на процессы, затронувшие культуру под влиянием глобализации, художница, тем не менее, сознательно отступает от мотива идейной пропаганды, традиционно присущего культуре эпохи социализма.

Работы Верены – это коллажи, выполненные с использованием различных материалов, внешней формой отсылающие зрителя к тем самым настенным росписям и рельефам. Сюжеты, запечатленные художницей - это фиксация самых ярких моментов ее пребывания в городе, разнородных и красочных, как сам Владивосток.

Итоговый проект представляет собой портрет города, при создании которого автор руководствуется не только собственными впечатлениями, но и использует разнообразные символы клишированного представления иностранца о России.

Таким образом, экспозиция включает в себя образы монументов, вдохновленные бесчисленными памятниками на улицах города. Фигуры военных танков, в пастельных тонах, отсылают к фортификационным сооружениям Владивостока. Нелепые штампы чередуются с атрибутами глобализации и новейших тенденций: классические огурцы ala rus, рядом с ними – бургеры и смартфоны. Подражания советским муралам воссоздаются из безделушек с китайского рынка. Присутствуют зарисовки на тему зимней рыбалки и другие узнаваемые сюжеты. Все эти разрозненные на первый взгляд части складываются в единую композицию, имитирующую настенную роспись, посвященную Владивостоку.

ВХОД СВОБОДНЫЙ

*Верена Иссель (р.1982) - художница, работающий в жанре инсталляции, живет и работает в Гамбурге, Германия. Окончила Академию Изобразительных Искусств и Гамбургский Университет. У Верены две степени магистра: в визуальных искусствах (скульптура, инсталляция и кино), а также в классической филологии. На протяжении многих лет является участником различных программ резиденций по всему миру - в Южной Корее, Шанхае, Тайване, Японии, Литве, Германии, Бельгии. Помимо этого, ее персональные выставки были представлены в Норвегии, Франции, Японии, Шанхае.

23 March - 22 April

On March 23, the ZARYA Center for Contemporary Art will launch “Sum of its Parts,” an exhibition by the Vladivostok-based photographer Denis Korobov. The show is conceived of as an installation of 60 photographs of varying size and scale, reflecting the everyday life of Vladivostok. The exhibition will remain on view through April 22. Admission is free of charge.

“I started taking my first shots of the city back in 2014,” Denis Korobov recalls. “These compositions were caught by chance in the camera’s viewfinder, but each wielded a mystical aesthetic, whether it was the specific geometry of a building, the rainbow-tinged film of gasoline in a puddle, or a dead pigeon. As time passed, I came to understand that I was not interested so much by photographs of people, as by images of what they leave behind. These collisions of ideas, textures, geometries – this is what I look around for as I cut circles through the city’s residential districts.”

Over the past three years, Korobov has documented the daily life of the city in short but numerous series, including “garage façades,” “the art of advertising,” “car parks,” “under a blue tarp,” “food and the body,” and “playgrounds.” His images provide a fresh and unusual perspective on moments that we might otherwise consider random or invisible to the normal eye, and thus capable of slipping by without notice.

Through the artist’s interpretation, the portrait of the city comes together as a combination of images, the sum of individual parts bound by the light irony of the observer, a compositional ingenuity, a refined sense of color and a poetic use of rhythm, all while producing a documentary record of the light, character and texture of a given place. And while several of the images may suggest partial staging, they still preserve the elusive quality of the moment.

As the curator of the exhibition, Larisa Grinberg, explains, “In the case of Denis Korobov, what we are seeing is his search for the genius loci, exploring the environment around him. His method of research – conducted through scouring minute, almost unidentifiable segments – is entirely logical. On the other hand, close attention to non-obvious details is not exactly a novel technique for any generation of photographers. However, this is precisely where a new round of young photographers picks up: just because ‘everything has already been said,’ it doesn’t mean that someone has already lived our lives, and everything we are experiencing in the here and now, we are experiencing for the first time. It’s like with a declaration of love; every second, thousands of people all over the planet are making them, but that doesn’t mean that one can’t still express one’s sincerity through this act of confession. In the same way, these ‘parts of the city’ that Korobov is documenting are each meaningful in their own way. And the search for the whole, the genius loci, through these barely-legible fragments stands alone as an exploration of what’s happened not ‘before our time,’ but rather ‘never before our time.’”

For the exhibition “Sum of its Parts,” the photographs are presented without frames and directly mounted on the wall in a manner that downplays their individual significance in favor of emphasizing their role within the greater context, allowing the viewer to forge their own associations.

For Reference: Denis Korobov is a photographer born in 1991 in the Primorsky Krai settlement of Terney. He currently lives and works in Vladivostok. Among his solo exhibitions are “No Parking No Parking,” at the ZARYA Art Residency in 2017, as well as an exhibition at Ogurtsy (“Cucumbers”) space in Vladivostok in 2015. He has participated in the apartment exhibitions of the Vladivostok School of Contemporary Art (VSCA) and the auction preview exhibitions at ZARYA CCA in 2016 and 2017. Korobov was included in VSCA’s 2016 project “New Poverty,” created in collaboration with Moscow’s Krasnyi Center and the St. Petersburg-based collective Chto Delat.

Larisa Grinberg is a gallerist, curator, and chief specialist in regional development for ROSIZO/NCCA, as well as the chair of the Masters program in “Art-Management and Gallery Business” in the department of “The History of Film and Contemporary Art” at the Russian State University for the Humanities. Since 2007, she has been the co-founder and art-director of the photography gallery Grinberg (formerly known as “Photographer.ru”) and she also co-founded the Moscow-based photography agency, Photographer.ru (2004-2014). From 2014-2017, she was the curator of three municipal exhibition halls: Na Shabolovke, Peresvetov Pereulok and Gallery Nagornaya.

23 February - 13 May

FEBRUARY 23 - MAY 13 / MAIN EXHIBITION HALL

On February 23, the ZARYA Center for Contemporary Art will launch “Timur Novikov and the New Artists.” Produced in collaboration with the Moscow Museum of Modern Art, this retrospective exhibition surveys the artistic output of this remarkable group, which was founded in Leningrad in 1982. The exhibition will remain on view through May 13. Admission is free of charge.

“This exhibition guides the visitor through a detailed and thorough retelling of one of the most vibrant and pivotal periods in Russian contemporary art,” explains ZARYA CCA’s Chief Curator, Alisa Bagdonaite. “Timur Novikov and the New Artists managed to build up around them a creative position that was in maximal contrast to the social, political and artistic context of the time. For us, it is a true honor to be able to show these legendary works of the art in the Far East for the very first time.”

The survey at ZARYA CCA will include extraordinary works by Timur Novikov, Oleg Kotelnikov, Inal Savchenko, Vadim Ovchinnikov, Sergey Chernov and Sergey Bugaev, as well as many other members of the Leningrad avant-garde of the 1980s and 90s. Among the works presented will be textile collages from Novikov’s “Horizon” series; paintings; archival materials (photographs, texts, and video footage from Pirate Television); poetry and prose written by the artists; various art objects; and costumes. These items will be divided into several thematic sections, kicked off by a selection of personal works by Novikov. Other galleries will be dedicated to Necrorealism; Pop-Mekhanika; the New Artists; the New Wilds; and the New Composers. This exhibition at ZARYA CCA is able to so comprehensively cover the wide-ranging activities of this group only with the support and collaboration of the Moscow Museum of Modern Art, the ART4.ru Museum, the Petersburg Video Archive and the private collections of Sergey Shutov and the family of Timur Novikov. The exhibition was curated by Ekaterina Andreeva.

The New Artists is a creative alliance founded by artist and curator Timur Novikov and his close friends Ivan Sotnikov, Oleg Kotelnikov, Kirill Khazanovich and Georgy Guryanov. The New Artists formalized in response to the Zero Object (1982), a famous intervention made by Novikov and Sotnikov, which was followed in 1983 by two other happenings: the first public performance of the utyugon and the poetry-filled “Medical Concert.” By the end of the 1980s, this tight circle had transformed into a movement of more than 70 participants, many of whom also belonged to a number of other associations – among them, the Club of Friends of Mayakovsky, the Engineers of Art, the Necrorealists, etc.

The creative outpouring of the New Artists aimed at nothing less than a total transformation of life around them. This entailed producing not only paintings, graphics, panels, and collages, but also literary works, animations and parody films, the invention of new musical instruments (such as the utyugon and the “long string”), and theatrical performances (In 1984, Novikov established New Theater, whose first production was an interpretation of Daniil Kharms’ The Ballet of the Inseparable Trio, which, in its second run, cast as one of the “Inseparables” Garik Assa, who was prominently featured in ZARYA’s previous exhibition “Assa En Masse”).

The performances of New Theater were scored by the avant-garde sonic collages of New Composers Igor Verichev and Valery Alakhov, while Novikov and the New Artists participated in concerts by the bands Kino and Pop-Mekhanika, and, in 1985, the Leningrad rock club hosted “Happy New Year!,” the first public exhibition of the New Artists. The genius of wild painting, Oleg Kotelnikov joined forces with Evgeny Yufit, Evgeny “Debil” (“Imbecile”) Kondratiev and Andrey “Mertvyi” (“Dead”) Kurmoyartsev to devise a cinematographic and literary Necrorealism. The artist, musician and writer Vadim Ovchinnikov and Vladislav Gutsevich organized the literary club Druzhba (“Friendship”), while Sergey Bugaev-Afrika launched the Club of Friends of Mayakovsky and the Novorossiysk School, whose members included former classmates from Novorossiysk, Inal Savchenko, the rising star of expressionist painting, and Andrey Krisanov, an artist and guitarist in the band Kino. A series of avant-garde fashion shows by the New Artists were captured by the camera of E-E (Evgeny Kozlov), who also shot the album covers for records by Kino and Pop-Mekhanika, as well as portraits of Novikov, Guryanov and the New Composers. The Perestroika years would see the rise of the New Wilds (Kozin, Maslov and Zaika), as well as the dawn of unabashed superstar Vladislav Mamyshev-Monroe, who hosted Pirate Television alongside Yury Lesnik. The esteemed Soviet painter Maria Sinyakova-Urechina bestowed upon Novikov and Bugaev the title of “Presidents of the Terrestrial Sphere,” a designation coined by the great Russian Futurist, Velimir Khlebnikov.

In this historic retrospective, the artistic production of the New Artists is framed as part of the international “New Wave” of “free expressionism,” a movement that includes Jean-Michel Basquiat, putting the ASSA Gallery on par with Andy Warhol’s Factory.

For Reference: Timur Novikov (1958-2002) became an artist and curator during the rise of the wave of Nonconformism in Leningrad. In 1977, he started participating as a member of Letopis (“Chronicle”), a group founded by Nonconformist-Expressionist Boris Koshelokhov. The following year, Koshelokhov received permanent residence in Italy, and twenty-year-old Novikov stepped in to take over the organization of the group’s activities. He founded a squat with studios for his fellow Letopis members in the former Church of Shestyakov, which he christened in honor of the Apostles to Ancient Rus, Saints Kirill and Methodius. While police promptly put an end to this squat, Novikov was not discouraged and continued to organize unofficial exhibitions on beaches and parks. In 1980, in a renovated communal apartment on Ulitsa Voinov, Novikov inaugurated the ASSA Gallery with the “First Biennale of Portraits of Timur Novikov.”