Fabricio Plessis. The soul of the stone automatic translate
с 5 Июня
по 5 Августа
Главное здание ГМИИ им. А.С. Пушкина
ул. Волхонка, 12
Location: Main building (Volkhonka, 12, halls No. 16, 24, 31)
Curators of the exhibition: Giuseppe Barbieri, Sylvia Burini, Olga Shishko
The Pushkin State Museum of Fine Arts in the framework of the Pushkin XXI direction opens the exhibition-intervention of one of the most outstanding representatives of media art - the Italian artist Fabricio Plessy. Specially for the Pushkin Museum, 16 video sculptures have been created, which will be presented in a dialogue with the works from the Tsvetaeva collection of casts, as well as a digital reconstruction of the fresco from the Giants’ Hall at the Palazzo Te in Mantua. The museum, following the artist, offers a new look at his own collection.
Pioneer of video art in Italy, Fabricio Plessi connects the past and the present with the help of modern technologies. The artist was the first to use the television screen as the basis, inside of which the uncontrollable digital flow of water and fire is carried. Sound performances, ephemeral architectural structures, television and theater scenography make up a background in which Plessis embeds his video sculptures and in which the use of technology becomes a natural element. The artist combines modern art methods with classical matter, trying to penetrate the "body of the stone", invading the plane of the Baroque fresco.
At the heart of the exhibition at the Pushkin Museum. A. Pushkin - an idea that often stands at the root of the artistic quest of Plessis, and at the same time is clearly discernible in the mission of the museum - the classic always exists in dialogue with modernity and vice versa, innovation is inextricably linked with the rethinking of the past. It is from these prerequisites that Plessis proceeds, building a dialogue with the museum space. To implement his idea, the artist selected 16 casts from the collection of the Pushkin Museum. AS Pushkin, representing masterpieces of Greek art of the late classics and Hellenism, as well as the art of Ancient Rome and Italy. With the help of multimedia, revealing the true form of antique works, and playing mirrors of the cast appear to the viewer more truthful than the originals. This theme also arises in some large-scale drawings by the artist, which are an important part of the exhibition space, which, in turn, seems to be carved inside the museum. The appeal to the ancient models, from which the genre of the individual portrait will later emerge, as the prototype, is a kind of search for new important links between modern masters and works of art of the past. A similar project was shown in 2009 at the 53rd Venice Biennale in the medieval palazzo.
The exhibition will also recreate in digital format a fresco from the Giants’ Hall in Palazzo Te, created by Giulio Romano in the 16th century. At the heart of her story is an episode from Ovid’s Metamorphosis. Water, one of the favorite motifs of Plessis, becomes an allusion to the Flood, and its reflection on the screens used for installation is a source for thinking about the crisis and rebirth as integral parts of human life.
Fabrizio Plessis, artist:
Truly amazing is the idea that a work of art exists in its material base, still untouched by the artist. Creative flair and creative power like Ariadne’s thread guide the master to the heart of future work.
Today, even such elements of everyday life as a metal detector can let us see this, allowing us to see something "different" and previously inaccessible, to penetrate into that primary sphere of art and to comprehend all of its magic and depth. These new technologies, which are in fact closely related to human nature, slightly, but still tangibly touching the surface of the stone, reveal to us his soul.
Sylvia Burini, professor of the history of Russian art and contemporary art at the University of Ca ’Foscari of Venice, director of the Center for the Study of Culture of Russia (CSAR):
Italian art has always been closely associated with the collection of the Pushkin Museum. A. S. Pushkin. Within the walls of the museum are presented as originals of the most important works of art, and an incredible collection of casts, showing the diversity of the Italian sculptural tradition - from Ancient Rome to the Renaissance. Any tradition remains relevant due to constant interaction with the present and new interpretations. A solid academic base, which has been at the heart of Pushkin since the opening of the museum, has in time been expanded through meetings with the public and artists. Fabrizio Plessis, one of the protagonists of Italian video art, enters into a dialogue with the museum’s collection and with the tradition that it reflects.
Olga Shishko, Head of the Department of Film and Media Arts of the Pushkin Museum. A. Pushkin, curator of the direction "Pushkin XXI":
Art museums are a repository of knowledge about traditional fine arts, but at the same time a source of inspiration for new projects and the development of the artistic process. Direction "Pushkinsky XXI" presents two projects of the Italian artist Fabrizio Plessi, a pioneer of media art, devoted to the theme of antiquity, which appears in the author’s works as a stream of time, the energy movement of the mind.
Early evaluating the possibilities of digital technology, Fabricio Plessis, as an alchemist, tries to overcome the line not only between art and science, but also between nature and technology, combining the elements of nature and digital technologies. Plessis has the ability to humanize technological tools, transforming them into bearers of emotions and concepts, and at the same time revitalizing history, giving the viewer an opportunity to openly read the connections between the past and the present.
June 5 at the Pushkin Museum. A. Pushkin will host an International Scientific Conference timed to the opening of the exhibition. The coordinator is the director of the Italian Institute of Culture in Moscow Olga Strada. During the meetings, the head of the Faculty of Philosophy and Cultural Heritage of the University of Ca ’Foscari Giuseppe Barbieri will present a report on the authenticity of the interpretations of the ancient heritage in the Renaissance and the culture of subsequent eras; Director of the Center for the Study of Russian Culture Sylvia Burini and Marco Tonelli will discuss with Fabrizio Plessis questions of the perception of the body and its representation in different epochs in different cultures, the problems of making casts and simulacra; Olga Shishko will offer his views on the exhibition in the context of the direction "Pushkin XXI"; and Stefano Bahia Curiooni, an art management teacher at the Bocconi University in Milan, a member of the Supreme Council of the Ministry of Cultural Heritage, Cultural Activities and Tourism, talks about art in a global context and about intercultural dialogue.
Fabrizio Plessis (born 1940) is an artist, teacher and stage designer. He studied at the Academy of Fine Arts in Venice. I have participated many times in such international exhibitions as the Venice Biennale (since 1970) and "Documenta" in Kassel. Personal exhibitions of Plessis were organized at the Guggenheim Museum in New York and Bilbao, Scuderia del Quirinale in Rome, Martin Gropius House in Berlin, the Valencia Institute of Contemporary Art, the Vienna Museum of Art History and the Joan Miró Foundation in Barcelona. In 2011, in the newly opened pavilion of Venice at the Venice Biennale, his large-scale project "Vertical Seas" was presented. For its installations, Plessis used the spaces of St. Mark’s Square in Venice, the Valley of the Agrigento temples, La Lonja in Mallorca, the Giants’ Hall at Palazzo Te in Mantua and the Venetian Theater of La Fenice. In 2013, near the Brenner alpine pass, the Plessis Museum was opened, a futuristic author’s project, conceived as a single work of architecture, sculpture and design, harmoniously integrated into the natural environment.
The exhibition is organized in cooperation with the program of the Center for the Study of Culture of Russia (CSAR) of the Ca ’Foscari University in Venice, whose goal is to present new perspectives of dialogue between Russian and Western art. The project was implemented with the participation of the Alberto Peruzzi Foundation in Venice, the Italian Institute of Culture in Moscow and personally by Marianna Sardarova.
"Pushkin XXI" is a program that is designed to give viewers an idea of contemporary art and its brightest representatives, to demonstrate the art of new classics that speak not only the language of painting, graphics and photography, but also in the language of new forms. Video, sound, performance can brightly and harmoniously fit into the context of a traditional museum. New media, which are often temporary and ephemeral, can give a new reading to classical works, forcing them to breathe, move and enter into a dialogue with the viewer.
"Pushkin XXI" is a museum in the museum. The basis of this direction is the combination of educational, research and exhibition activities, which will show the evolution of the artistic image - from traditional methods to modern technologies.
Tsvetaevskaya collection of casts
The collection of casts and spears, typical for European museums of the XIX century, in its preservation and regularity is a unique collection for the XXI century, the composition of which was initially determined by the state and interests of the art of the late XIX century. Today the collection of casts is exhibited in the historical building of the museum in only one-third of the rooms reserved for them by IV Tsvetaev. Most of this collection - about 1000 exhibits - is shown in the IV Tsvetaeva Educational Art Museum. In addition to the cognitive meaning of the casts of the great works of art of various cultures and eras, combined together in the museum space, formed into a unique artistic environment, which gives the museum a unique attraction of an imaginary time travel.
The State Museum of Fine Arts named after A.S. Pushkin
The Pushkin State Museum of Fine Arts is a museum complex possessing one of the largest art collections of foreign art in Russia, storing artifacts created by masters of different epochs - from Ancient Egypt and ancient Greece to the present day. Today, the museum’s collections have about 700,000 works. The pearl of the collection is a collection of French art of the XIX-XX centuries - one of the most famous collections of Impressionist and Post-Impressionist works in the world. In the department of personal collections, created in the Pushkin Museum. A.S. Pushkin in 1985, are stored more than thirty private collections.