Exhibition of Igor and Tatiana were opened one after another in one evening, so the audience straight from Novikov went to the exhibition Nazarenko, logically continuing the search for an “input-output” in the topic of collective traumatic memory. They should watch the doubles, in that order.
the First draft of “Exit” occupied two floors. Each room is a separate total installation, like a Chapter of the novel, which we read visual images. The first room asks the basic question: where are we going and why? The image is “traced” with the red stairs, growing out of the floor and getting stuck in the ceiling. Some of them are hanging over their heads, while others hit the wall, others painted on the wall for him to climb up the red men. They are similar to both conventional (road) signs and avant-garde heroes from the paintings of Kazimir Malevich. This icon — “the phantom”, which Novikov was invented in 1980-ies and since then, they “walk” in all his works. In the first hall of the “conventional people” tend upwards to find the exit. “There’s a connection with the biblical story is not only a search, but a transition to a different state if you want a measurement. And this image of an eternal movement always somewhere committed, sometimes not appreciating what he has. People are so arranged. So it was in the years of perestroika, before. Now is the time to look back, to rethink the history and understand the mistakes,” — said Igor.
In the next room, turned into the dead of the Russian Cup (the prototype of a collective image made by Vladimir tract, which in the EIGHTEENTH century, transported criminals in the Siberian FORTS), conventional people crawling on the ground. Total installation complements the video with various snippets of history over the last hundred years: a portrait of Nicholas II to Yeltsin’s speech. “So I am illustrating the experiment that is happening to our people the whole story. Rulers are always looking for a way out Russian forests, but the outputbut no. Our leadership, regardless of mode, always experimenting, and always unsuccessfully. 90% of the population suffers from it”, — says the author.
photo: Maria Moskvicheva
In the next room icons dance, drink, or lie within the paintings. Novikov copies of the classics — from Levitan to Roerich — and introduces them to their symbols, filling of textbook stories with new meanings. A hundred years ago people were osmislili reality through contemplation of the world, but today this method is no longer working. Now we think in symbols, and landscapes of the past two has changed.
the Second floor of the exhibition sets the tone. Here we find the same men, “inscribed” in a variety of classic and relatively new stories: from “Christ in desert” picture to the image of the “Worker and collective farm”, which “phantoms” sawn in half. The talking room is filled with installation “And I go, step through Moscow”. Here is the eponymous song. On the floor the three piles of money (to waist height). There are about 3-5 million Euro (of course, fake). They are installed opposite large-scale paintings, occupying all the walls and depict in dark colors the Mausoleum and Red square. Symbols of power and the Soviet system here we encounter the main value of the modern capitalist world. Over them (exactly on the exit from the hall) hangs a conventional road sign “Skid”. “Capitalism has won everywhere today is ruled by money! And the sign of the drift is a way… On how to enter and make money…” — said Novikov.
At this point the “output” should be transferred to a nearby building, the exhibition “Future in the past” by Tatiana Nazarenko, the same moment when we skidded. Here are works from the late 1970s until 2020, but they are all devoted to the past — the era of perestroika and what was “before”. Is Central installation “Fountain of fame” (2020), assembled from earlier things in a three-dimensional image of the worst years. Before us people — the poor, hungry and unhappy, thrown out by the collapse of the Soviet Union on the side of life. On the dais (in the center of the “Fountain of fame”): a girl of easy virtue on the arm of a worker in a cap with earflaps, with vodka bottle in his pocket and shovel in his hands. Around them — all the poor population of the country: ones that sell Newspapers, other seals or the greens, and others — are buying gold, playing the accordion or begging. Portraits of the era written on the plywood with supports in full size. The viewer is with them face to face. It seems the past is thus faced with the present and makes us remember all the worst, through what we once were. In adjacent rooms, along with the “plywood” heroes, there are portraits made from foam. Some of them — not at all the portraits and body parts (arms, legs, torso), sprawled on the floor. People, torn history.
in Addition to these uncompromising images presented famous series “Family album”, which tells a very personal story of a family Tatiana through yellowed letters, transferred to paintings, vividly written archive photo or household items Packed in the installation. Private family history Nazarenko turns into a universal — after all they’ve been through relatives of Tatiana (war, exile, difficulties of Soviet life), and experienced other families. In this story, no smiling people. There is a lot of grief and sensuality, which persisted in people, no matter what. Exhibition Nazarenko draws a merciless era, the traumatic memory of which haunts us today. The story is closed. Not random it’s getting Rhow to use, which opens the exhibition. The painting depicts three managers in suits against a painted sheet. They belt hung this dirty bed sheet, on which are written two words: “Replacement Windows”. In General, the window is changing, and the way. And exit, it seems not. Or it’s hidden in the thicket of the past?
See photo essay on the topic: In Moscow opened the exhibition of the depreciation of human individuality: photo gallery 32 photos