Three trends of generation Y – Vedomosti

by time news

Calligraffiti, a paraphrase on the theme “Ballads of Nails” by Mayakovsky, a nostalgic variation of a school dress and a sculpture made of rebar – all this is very unusual for the Russian Museum. The collective portrait of millennials in the Marble Palace is assembled from materials new to the museum walls, filled with personal memories, dreams and worries of artists and sounds in unison with the voice of the street.

“The generation of 30-year-olds, in my opinion, is the most difficult for any formalization,” believes Alexander Borovsky, head of the department of the latest trends in the Russian Museum. – The reason is in the unprecedented variety, diversity, when completely different and even opposite strategies coexist with each other. When our department appeared and we started working with contemporary art, the museum [для художников] became everything – and a gallery, and a critic, and a police department, and a mother. There was no infrastructure, there were no galleries yet, there was no concept of curatorship. Now everything has changed, almost all artists have been snapped up by reputable galleries, they are already in sight ”.

The names of the participants in the exhibition “Generation of Thirty Years in Contemporary Russian Art” are well known to the public. Asya Marakulina, Pokras Lampas, Maxim Ima, Egor Kraft, Stas Bags, Antonina Fatkhullina, Konstantin Reshetnikov, Ivan Tuzov have exhibited more than once in the Manezh, the Street Art Museum and private galleries. The exhibition in the Marble Palace does not have a single theme; instead, the curators propose to explore three trends characteristic of “generation Y” art: experiments with new materials and technologies, the desire to share personal experiences in works, and access to a vibrant urban environment. The exposition is free from topical references – neither political or social context, nor gender accents. Curators invite the viewer to evaluate creativity as such, without a semantic load in the form of an actual agenda.

For example, the section “Dialogue with the material”. Everything is clear to the viewer from the title: this section illustrates the story of the interaction between artists and the materials they have chosen, tells how artists test them, study their properties, texture, and ways of handling. In particular, “Union of Earth and Air” by Antonina Fatkhullina is the embodiment of the alliance of opposites, a sculptural duet built on the contrast of rounded and warm ceramics and broken lines of metal wire. Alexander Paramonov uses embroidery in his work, Ivan Tuzov lays out a mosaic panel, in which the high academic mosaic technique is leveled by a frivolous and comic cartoon plot. And Konstantin Reshetnikov grinds “vegetable” shells in the form of garlic and radish on a lathe and milling machine.

The museum curator, who entered into the system information about the works presented at the exhibition, had to add to it a lot of really new materials and techniques, which for the first time in the history of the museum were used in this particular project. “At the time millennials were growing up, digitalization and the emergence of the Internet happened, but these people still remember rotary telephones,” says the curator of the exhibition Maria Saltanova, senior researcher at the Department of Newest Trends at the Russian Museum. – Today any fantasy, fear, anxiety, dream or dream can be visualized using a computer program. These trends influenced the formation of visual culture and, as a result, the art of artists of these generations. “

Pokras Lampas devoted the winter season to an in-depth study of technology. “I work with neural networks, make generative images, see how different reference styles can affect the canvas that I have painted,” he says. – Computer digital solutions show me what I myself could not have seen in my works before. They help to find a new shape, plasticity and color, and then I will transfer all these ideas back to canvases. My teacher is no longer a certain master, an artist, but a faceless computer program, which, based on calculations and generation of certain solutions, gives me ideas. “

In the section “Inside myself” Alena Tereshko tries to capture the movements of her body on the canvas, while Asya Marakulina returns to the world of school memories: a huge plush two-color pencil is thrown over a rope, on a mannequin there is a modest dress in a cage with the inscription “Well done ! 5 “, familiar to more than one generation of schoolchildren in the country. And Denis Patrakeev’s work “Mustard Seed” is an invitation to surreptitiously observe the artist through small holes in boxes attached to the walls. There, a video is broadcast with the participation of Denis: he performs some mysterious actions near the water, visualizing in a symbolic form the process of creative searches and the search for himself.

Ivan Plyushch presented at the exhibition the painting “Immortality No. 5” from the series “The Promise of Eternal Life”, in which he shares his reflections on the reality of immortality. “People have been dreaming of immortality throughout the history of mankind, and there is a feeling that the world is already teetering on the brink of some discoveries, when the dream becomes a reality,” the artist explains. – It was interesting for me to comprehend this process. The blue egg in the picture is a symbol of a certain comfort zone, possibly virtual, in which a person is and where he can gain one or another degree of immortality. The industrial landscape is the surrounding reality that disturbs, from which there is a desire to hide and in which a person as a result dissolves. “

Finally, a part of the exhibition entitled “Habitat” is devoted to artists for whom the opportunity to go out is important. The museum deliberately abandoned the idea of ​​displaying street art or graffiti in its purest form. Instead, the curators decided to show how artists use these methods and how this language can sound already in the museum space. For example, Pavel Pletnev exhibits here a model of a courtyard with a garbage dump, a dog kennel and miniature graffiti on the walls of houses – the work “The Wall of Glory”.

Only two works were created by artists specifically for the exhibition, and in both cases, directly within the walls of the museum. Maksim Ima reproduced a copy of his 2016 work “My laments”, and Pokras Lampas built a black plasterboard wall in one of the halls, on which he wrote the inscription in gold calligraphy: “Calligraphy was called the art of beautiful writing. By breaking the standards of beauty, we are changing the idea of ​​what calligraphy is and what its function is. “

“We did not plan to order anything specially for this exhibition,” says Saltanova. “Our task is to show the trends that are, and not ask artists to illustrate the theme that we asked them, like in a children’s studio.”

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