HOUSING Automatic translate

Sculptor - Gurgen Petrosyan / Architect - Anna Kovalevskaya / Curator - Antonina Gorbenko (the exhibition is held with the information support of ArchNadzor)

In each of us there is a share of comprehensive memory, the memory of society, generation, state and culture.

Important events and places in history, no matter what role they play in the past, become the basis of our own strategy for understanding life. One of such important places is occupied by architectural monuments, acting as a message from another era.

Society makes a choice of what to preserve and what to oblivion with a certain selectivity that clearly reflects the socio-political state of the generation as a whole. And therefore, we consider it important to talk about architectural monuments such as Russian estates, which are now largely lost, forgotten by all and written off in the past. It is thanks to the Russian estate that one can trace the development of Russian art and culture over 200 years, from the time of Peter the Great to the revolution.

Since sculpture and architecture are two types of plastic art that are in direct dialogue, the idea of ​​the sculptor Gurgen Petrosyan on the transition of the work to another space was realized at the exhibition. On the walls are plans of well-known estates of Moscow and the Moscow Region that are desolate or partially destroyed.

The artist enters the figures of sculptures in the plan-scheme, focusing not on the uniqueness of his works, but on the space in which they are placed. Although the sculpture is all “here”, in front of us, it appears an illusory “there”. Thus, viewers are invited to several exhibitions, in several spaces located, at the same time, in one gallery. The study of relations and connections demonstrates the possibility of "revitalizing" the estates as a cultural phenomenon, shows their character from the outside, offering them their place in art, at the intersection of an unfinished past and a lost culture.

We consider the concept of the Corps, which was the name of the exhibition, in all its diversity. The hull is the outer shell and sometimes the only thing left of some estates. The corps as a body, the sculptural camps of Gurgen Petrosyan, who unfolded his exposition at once in several disappearing architectural monuments. And finally, the corps is a collection of people connected by a common idea, that is, all project participants who, one way or another, were affected by this topic.

* It would be important to mention the fact that one of the presented historical buildings is not a manor by origin, but continues its traditions. Guslitsa creative estate, formerly a textile manufacture of the 19th century, refers to the type of the estate as an art workshop, where the creative aspirations of the owner and the artists surrounding him (such as Abramtsevo Savva Mamontova, Talashkino Maria Tenisheva) were realized. In such estates, art circles gathered and workshops were organized. In this regard, the Creative estate of Guslits is a continuation of the lost culture. In recent months, Guslitsa has survived several raider attacks, with the aim of transferring the building to another owner for use under storage facilities.

On the opening day, participants in the La Gol team will perform at the exhibition, including musicians, performers, theater workers, dancers and artists, constantly experimenting with their vocal abilities, using both traditional concert venues and more informal locations. During the performance in Gallery A3, the following works will be performed: Robert Ashley “She Was A Visitor” (1967), John Cage “Book of Songs, Part 2”, solo for voice 67, Christian Kesten, “G for the Flying Guam Fox”, Parts musical composition of Natalia Pshenichnikova “Well of memory” (“Walks”, “Interviews”)

At the opening, you will see another performance called “The Column” from the participants of the workshop of Liza Morozova 16/17 (Gala Izmailova, Veronika Nikolaeva, Lester Lebedeva, Maria Sargsyants, Katya Bessmertnaya, Ksenia Vasilyeva, Oksana Tropina, Vladimir Kolesnikov, German Stroganov).

“Images and memories awakened by the sounds of construction equipment, walled up in the thickness of time and plaster, are trying to break into the outside world. The viewer is given the opportunity to feel the moment of transition, to feel the connection with what is already forgotten and hidden from our eyes. ”

The exhibition runs from January 26 to February 5, 2017.

Opening will take place on January 26 at 19.00 Admission is free.

The gallery is open daily, except Mondays from 11.00 to 21.00