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International young art program “M’artian Fields”

 
International young art program “M’artian Fields”

event site and dates

Contemporary Art Centre M’ARS
6 october 2009 — 25 october 2009

Organizer: M’ARS Association

Head of the program: Natalia Kossolapova

Curator of the program: Irina Yashkova

Annual young art project "M’ARTIAN FIELDS" has been produced and curated by M’ARS Center for Contemporary Arts since 2005. The project started as an annual exhibition of young artists from Russia, Eastern and Western Europe. In the process of its development the project grew up into several exhibition and research programs.

"M’ARTIAN FIELDS" - is an annual exhibition of young artists from Russia, Eastern and Western Europe. The project is aimed at search for and support of young talented artists and  
inclusion of  the best of them into Russian and international art context.

"COLLABORATION" - is an annual project with young artists from the CIS countries. The project is aimed at promoting humanitarian cooperation between Russia and the rest of the CIS countries, an attempt to enroll young artists and curators from these regions into  joint artistic process and dialogue.

"M’ARTIAN FIELDS +" - solo exhibitions and projects by young artists and curators from
Russia and foreign countries. In the frames of this program the following projects were carried out:
- RECYCLE by Krasnodar artists Andrey Blokhin and Georgy Kuznetsov
- PRODUCT PLACEMENT (a joint project with Yekaterinburg branch of the NCCA) and VIDEO NURSERY, a project by German young artists realized in the frames of the 1st Moscow Biennial of Young Art.

In the frames of the 3rd Moscow Biennial of Contemporary Arts M’ARS Centre for Contemporary Arts presents several  projects from the “M’ARTIAN FIELDS + “ program:
- THE INNER URALS, a project by the Yekaterinburg Branch of the NCCA
- BUNKERBROT AND APPLE GRETCHEN, a project by Shakhar Marcus (Israel) and Nika Kukhtina (Moscow - Berlin)

«The Inner Urals»

Curators: Alisa Prudnikova, Vladimir Seleznev, Svetlana Usoltseva

«The Inner Urals» is not a plagiarism of Pelevin, not even an homage to Boyce; rather, it is the very alchemy which emerges at the geographically enticing frontier between Europe and Asia. A deceiving metaphor for a region exceedingly rich in existential background.

The Urals is either inside, or merely aside. Any attempt at metaphorical comprehension makes one cast aside all that is modern and related to frontiers and instead embrace images of inner experiences. But to what extent is that typical of the Urals? The Urals is a severely dissected space bound together by the almost souvenir stories – all those «from the Urals» and «we were born at the Urals». Those who live at the Urals not only form an eternal bond with those mountains, those forests, and those fields beneath the never-ending snow, they also carry the Great Ural Mythology gene. This mythology is like a fathomless quarry, a black hole that sucks in anyone who approaches it: the Demidovs, the Russian tycoons of yore, whose fake gold coins still excite the imagination of local treasure hunters; the numerous Ural craftsmen, from the fairytale Danila to the Cherepanovs; the Red Army divisional commander Chapaev, who had sunk into the River Ural as if into the mythical Lethe; the infernal pioneer Pavlik Morozov.

And right in the middle of this pantheon is the custodian of cedar wisdom, the surrealist of mines and metallurgical plants – Bazhov, narrator of folk tales.

Ekaterinburg is a very sensitive city, often overreacting, constantly amassing the functions of the center of the Urals. One has to firmly believe in one’s center, which is located exactly where you live; and to do that one sometimes requires a certain initial shove or impulse. For the Ural artists, the fundamental principle has always been this: «Real art always comes from within», using the words of the artist Leonid Tishkov. Objective circumstances are not enough to explain the local cultural explosion; rather, there are some mutagenic agents at play here, creating this reality of the surreal space with an elusive identity.

Alisa Prudnikova, Vladimir Seleznev

Participants:

  • Leonid Tishkov  
  • Kuda begut sobaki
  • Zer Gut  
  • Victor Davydov
  • Den Marino
  • Oleg Lystsov
  • Vladimir Seleznev
  • Alexander Shaburov
  • Elena Klimova
  • Alexander Belov
  • Alexander Solnechnyi
  • Fedor Telkov
  • Soup Studio
  • Julia Bezshtanko
  • Katya Poedynschikova

 

«BunkerBrot and Apple Gretchen»

Project by Shahar Markus (Israel) and Nika Kukhtina (Moscow-Berlin)

Curator: Irina Yashkova

“Every form in which the male and female principle
 is not found, is not a higher or complete form”
Zohar

Male and female, light and dark, War and Magic World, Markus and Nika. The space is divided into three worlds – Male World (war, territory), Female World (dark, magic, irrational) and Middle World in which Yang meets Yin during performance.

Markus plays with soldiers, it's a male game. Markus builds a bread bunker, a labyrinth of loaves, he constructs some sort of a narrow military space, which simultaneously is quite cozy (bread brings warmth and coziness).

Nika plays Fairy Tales. Gingerbread Cottage, Toads that turn into Roses, Apples – the game runs in surreal theatrical space.

Yang meets Yin in course of performance. Its main character is the Dress. Markus creates .The Dress for Nika fulfilling a childish dream of every girl. During the performance the batter dress is stoved with fire. Markus makes use of the Fire Element and creates a new Element of batter – Bread. Afterwards Markus goes around the dress biting off its pieces. On  one hand, this sends us back to pagan ceremonials, on the other hand, it reminds us of Alice in Wonderland and magic mushroom – just like the mushroom the Dress has no sides.

Male consciousness penetrates female soul basing on experience of both sexes. Any evolution of feminine nature gets absorbed by its male twin. Both halves are learning from each other how to become an integral whole which they never were.

 

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