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'It was my attempt to overcome the state of anxiety, depression and even despair that I am filled with – well, not me personally, but any person living here and now', Haim Sokol
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‘Transformation as a form of resistance’ is a two-act project by Haim Sokol, exploring the ideas of transmutations and borderline states – between human and animal, female and male, animate and inanimate, homely and creepy, past and present.
The artist speaks not about biological or psychological transformations, but more about metaphors or allegories, creating poetic objects and conventional spaces with fragile figurative sensuality, resembling decorations. This is why the exhibition is somehow theatrical, showcasing a two-act mystery. When one’s reality is full of anxiety, fear, trauma and alienation, the only escape is transformation, that offers salvation and relief and gives power to fight.
The project goes beyond the walls of sterile 'white cube' gallery and continues in the former Lopukhins-Naryshkin mansion, where the Third Place cultural space is located.
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ACT I. WHITE CUBE
The first act takes place in the sterile ‘white cube’ gallery space, where we face the setting of an enchanted forest with nuclear colours of pink, green and blue. The emphasis of the act is on the mutation of a man into a bird, particularly into a crow, and vice versa.
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The image of the bird in the project becomes a poetic metaphor for the possibility of escape from the space of darkness and suffering. However, these birds in the project are different. They are hybrids composed of animal and human, male and female. Sometimes they become the physical embodiment of states of permanent anxiety, chronic fear, and painful alienation.
Haim's birds, animals, mutants are in pain. They scream, break into pieces and suffocate. The artist creates a space filled with sufferings. Rewording Henri Edmond Cross's phrase, one would say that Haim is 'insane anxiety himself'.
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‘I think about transmutations’, says Haim. ‘When people turn into birds and animals. Women into men, men into women. The dead turn into gutters. Or into things, or vice versa, or simultaneously. Can inanimate things change gender? For example, if I paint blue male pants with pink? Is it possible to replace heart with a stool or use a bedside table as a uterus?’
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THE BOY AND THE BIRD IN THE ENCHANTED FOREST
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The culmination of project is 12 metres graffiti on the pink wall wtih a number of protographic symbols that appear in every project by Haim: trunk, crows, ladder, coat, chair, black sun. There is author's writing on the sterile white wall.
disinfection
disinsection
Leave me my silence my mooing my speaking my accent my jargon my parasites
Take away your perfection
The installation is based on the memories of the artist's father: in 1941, as an eleven-year-old boy, he fled from the city occupied by the Germans into the woods, where he had to hide for several days. However, this work goes far beyond the autobiographical narrative. When working with the past as a collective and individual experience, Haim also tries to comprehend the historical nature of his own subjectivity through assimilation. The artistic images and messages proceed from an extremely personal and subjective worldview, albeit in a collective sense.
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I was asked.
Why pink?
Which pink do you mean?
My daughter's favourite colour?
Ever since she was a little girl, everyone's been telling her
Especially reproductive workers
Nannies.
Cleaners
'Boys like blue.
Girls like pink.'
What happens if
Pink
Mixes
With blue?
Bruise
Why
No country
Has
A pink flag?
If you hit it hard
the soft tissues
with a rubber stick
First it turns bright pink
Then purple and blue
Then green and yellow.
As if
Blue is...
Overgrown
Pink
And green and yellow
Saturn's rings
The colours of melancholy/mourning.
Is that the kind of pink you meant?
Or maybe
Pink of the tongue
Clitoris
Head
Baby
Heel
Internal organs
Liver
Heart ?
Pink is always
A dash of red
A touch of blood
It's a mixture of sperm
And menstrual secretions
What happens
If you mix
The blood of 12 million dead animals
With arctic snow?
As one Nazi bastard said
in the movie 'The Nuremberg Trials'.
'It's not a problem to kill that many
But the disposal, yes!'
Or the pink
In the sunset sky
of Jerusalem?
A mixture of red and clouds
Who owns it
How to divide the sky
If we don't even know how to divide the earth
Do not know how to divide it?
For red is common
And white for all
Is there a wall
In the heavenly Jerusalem?
Who is afraid of pink?
Who fears the desires
Of the hunter? -
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ACT II. THE MANSION
The Lopukhins-Naryshkin mansion was built in the mid-19th century by Harald Bosse, now house the second act of Haim Sokol’s TRANSFORMATION AS A FORM OF RESISTANCE. A poetic narration about metamorphosis goes beyond the neutral ‘white cube’ gallery space and continues in a site-specific format.
The term 'site-specific' refers to art that has been created in a certain place that wasn’t originally intended for it. Site-specific interacts with meanings evolved under certain conditions and in a certain space, becoming a part of the artistic dialogue.
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Upon entrance the vistors face the red carpet and theatrical curtain made of dirty rags. In the past, the main staircase, were used by the Royals, aristocracy and their guests, now became site-specific installation devoted to the suppressed ones who worked so hard to build the cultural heritage – including the Lopukhins-Naryshkin mansion. The entire space is endowed with theatricality so typical for Haim's work who continues his search for new forms at the intersection of perfomance and visual arts.
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Haim's works occupy three central rooms in the main enfilade of the mansion. In the first room we see a series of large format graphics where artist documents his affects through writing. Huge images of black and white figures, depicting morbid and even frightening animals and people mutating into birds hang from the ceiling like flags or banners. A macabre shadow theater or post-apocalyptic horror. But what (or who) does cast these shadows? Our subconscious or our consciousness, our memory or the ghosts of past ancestors?
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The second room turns into a grand installation, where Haim's works and the interior of the mansion mixed, immersing the viewer into the atmosphere of archaic memory. Haim's visual symbols are embedded in the ornamentation of Soviet carpets, against which many families took photos in the post-Soviet era. How could a man and his fate be embedded in this ornament? Perhaps these birds on the carpets are the result of someone else's transformation?
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SOCIAL CORRECTION
You will be tested every day. Your thoughts, your race, your gender. If you do not pass the test, you will be isolated, disinfected and killed if needed for public safety.
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COLLECTORS LOUNGE
Collectors Lounge is a space on the third floor of the Anna Nova Gallery where collectors, designers and architects can gather. The Lounge's interior is carefully created to showcase the perfect combitation of contemporary art works and design objects. The constantly changing exposition consists of works by the gallery's artists.
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Transformation as a form of resistance: Haim Sokol
Past viewing_room