WINZAVOD contemporary art center
invites to the «START»

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Arseniy Zhilyaev

Search artist eclectic actively and consciously does not develop into a unified whole. One gets the impression that the viewer spying on children's attempt to defend himself. Go ahead, but do not step on the cracks in the asphalt! Girl in dress of sackcloth carefully carries on his head a cross from the earth, keeping just trampled boundaries. Or breadcrumbs symbolizes the boundaries of his body, which instantly flock of pigeons to peck.

The performance "March 8" to identify A with the heroism of American activists protest realized as glamorous: girls pelted healing clay face, showing the corruption of modern media situation.

Liberation "Untie my hands," actually turns out to be an endless obsessive game, almost Fort / Da. Gradually comes the understanding that you're dealing with capacious, almost literary form of the story, which could in certain circumstances fit a novel. Association with the story is not accidental. Xenia Sorokina software theatrical and literary. Brutal female performance take it opposes metaphorical poetics of reflexive action. The physical body in her work refers to ideas about women as a social and cultural construction with deep historical roots. But, unlike the analytical and critical pragmatism characteristic of many works using the body as a medium of artistic expression, the artist is looking for his way of poetic synthesis. Features Digital videoyazyka also included in the narrative. The artist seemed to compete with the media picture is exactly the image of emotions, seductive image. "Women should strive for the ideal of beauty, 24 hours a day. What a trite trick!" Xenia exposes attraction background media image, the very situation of our look at the screen image of a woman.

Gipertrofiruya theatricality, staging performative act, thereby Sorokin deconstructs its representation. Once banished from the high modernist art by Michael Fried, theatricality takes a resounding revenge. An important feature of this return is that she is not hiding theatricality and opened appears as the critical effect. All too beautiful, too arbitrary, too emotionally. Due to this excess conventions of beauty and finical viewer opens overblown theatrics as the new language of critical reflection and deconstruction clichéd notions of modern female identity

Valentin Tkach


Ustina Yakovleva