Storage conditions /

Storage conditions

26 May - 07 Jun 2014


Artists: Sergei Bugaev Africa Ilya Gaponov Stas Bags , Vladimir Kozin , Timur Novikov , Semyon Motolyanets , Alekseĭ Mikheev, Andrei Pozhidaev, Vitaliĭ Pushnitskiĭ Veronica Rudyeva - Ryazantseva Andreĭ Rudiev Ludmila Sokolova Vitalievna Oleg Trufanov , Shvetsov , Natalia Fedorova , Olga & Alexander Florensky , James Kerr.
Curator: Anastasia Skvortsova

 

The main idea of the exhibition is the interaction between contemporary art and cultural heritage. St.Peterburg takes a remote place in the world art scene which leads to a constant revision of cultural layers. The question of aesthetic reflection connects several generations of Petersburg artists. In the end of 1980s, 90s and 2000s – this theme was the background of artistic examination and this is demonstrated at the exhibition. There are Timur Novikov, who turned the urge for classic into a radical avant-garde phenomenon, Vladimir Kozin with typical ‘New stupid’ irony, Semen Motolianez, a successor of ‘Parazit’ art group. Petr Shvetsov will make statements with his ‘Cabinet of curiosities’, Andrei Rudiev turns to museology, Stas Bakst to genres standards.  The artists are not the only ones influenced by the cultural heritage. For more than thirty years Ludmila Sokolova, a worker for the Laboratory of gas dynamics, has been creating her own universe of Russian culture and spirituality based on Roerich’s ideas. Several parts of her total installation will be exhibited in the gallery, as well as creative works of Andei Pozidaev, another member of the scientific community.   The exhibition-reconstruction meets a need to reflect on the curator’s practice of the precedent years. This project does not try to repeat a particular project, but to apply the particular methodology of classical curators. If curator practice is a relative activity, then the players make rules. In ‘ Storage conditions’ we try to apply the methods of Pontus Hultén and Jean-Hubert Martin to the local St.Peterburg context. The urge of Hultén to show the phenomenon and its context is combined with typical Martin’s method of including marginal practices. The important link between historical St.Petersburg’s context and  this project is the presence of Olga&Alexander Florensky , Sergei Bugaev-Africa and Timur Novikov - the participants of the unprecedented project ‘Territory of Art’ of  Pontus Hultén, which took place in 1990 in The Russian Museum.

 
Anastasia Skvortsova