![]() This creates the split you refer to in your text – between an existing object and its reflection in an imaginary fountain, between reality and fiction. Your story creates a very vivid image of the monument in our minds, but in reality there is no fountain under the monument. In your description of the monument you mention how it is reflected in the still waters of the oval fountain beneath. ![]() Petersburg dedicated to Igor Kurchatov and his splitting of the atomic nucleus. Shapes obtain rigidity and borders solidify to reclaim their territory.ĭARIA to OLGA: In your recent essay ‘The Split’ you talked about the monument in St. The upper gallery space represents the accelerated overground section of the life cycle, the space of emergence and exit. It’s a space of passivity and suspension where actions are replaced by gestures, dispersed in an endless repetition. The shapes and materials are soft and ambiguous. The lower gallery space is the “underworld,” a territory of stagnation and slow time, where history repeats itself and insects go through their long 17 years underground. The exhibition layout is divided between two spaces representing antithetical states of agency in historical and biological cycles. The title also relates to the seventeenth year in power of Russia’s present ruler. Nymphs are both immature forms of insects and female divine spirits of nature in Greek mythology. ‘XVII’ refers to the year of the Russian Revolution and to cicadas which live underground for 17 years before reemerging and completing their life cycle shortly after. The exhibition looks to cycles of history and the possibility of reanimating time through repetition and doubling. Confronting the stagnation of the current times, the artists test posthuman gestures and insect behaviours as a challenge to human politics. The Age of Nymphs explores human and insect affects and the archaeology of trauma. Nika Neelova, Olga Grotova, Yelena Popova, and a special contribution by Mira Calix
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