LANDSCAPE LENGTH Automatic translate

Landshaft (German: Landschaft, type of terrain, from Land - land and schaft - suffix expressing interconnection, interdependence). Literally can be translated as "image of the edge."

For the first time the word landscape was spoken in the 9th century in Germany; when translating the “Evangelical Harmony” from Latin, the word regio - district, country, was replaced by lantscaf, which means “one holy land, (promised land), territory ordered according to plan”. In the future, the semantic meaning of this concept was greatly transformed, keeping within the administrative-territorial framework. By the sixteenth century, landscape (landscape) painting began to develop, depicting “typical” types of land. By the beginning of the 19th century, the landscape was interpreted as the territory surrounding the observer, which can be examined with a single glance, and which differs from neighboring sections by characteristic individual features.

Today, there are various approaches to the interpretation of the concept of “landscape”: one equates it with the environment, which exists independently of the people living in it, the other proceeds from the culturological nature of the landscape, describing it as a “system of ways of representing, structuring and symbolizing the environment." English anthropologist Tim Ingold interprets the landscape as "the world in the form in which it is known and presented to its inhabitants." Thus, we can talk about the landscape, as an important element of our attitude, necessary for the awareness of our own location in the socio-cultural space. Therefore, it is precisely the cultural aspect of this concept that has become the subject of research in this project.

According to the modern Russian geographer V.L. Kagansky, the cultural landscape in Russian popular culture is incoherent and fragmented, represented by separate disparate places; most of the land surface is literally nothing and culturally semiotic does not exist. He believes that places are given purely externally (for example, as points of discovery of old spinning wheels, the residence of cultural heroes, the place of action of works of art and myths). Kagansky notes that the idea of ​​a cultural landscape in popular culture is often superficially sacralized, that is, there is a tendency to perceive the environment primarily as something truly “beautiful”. As examples, he cites the sacralization of the "author" landscape, for example, the landscape of Tolstoy, Dostoevsky, Chekhov, Shishkin. On the other hand, mass culture ignores such generalized images of the cultural landscape, as, for example, in Plotonov’s “Pit” or Tarkovsky’s “Stalker”, although they represent the domestic landscape deeply and adequately.

One of the most important characteristics of the Russian landscape is certainly its length. It is important to take into account that in relation to space, extension is the same as duration in relation to time: its content, its condition, its reality. Space is nothing more than an abstraction of extent, existing independently of objects occupying or crossing it. Space exists only because bodies are extended.

The exhibition was the result of a collaboration of two exhibition halls - Gallery A3 and the Kostroma Gallery, where it will be presented alternately. The works of Moscow and Kostroma artists build a kind of collective portrait of the modern landscape in its length between the two ancient cities

Alexander Akhanov, Alexander Bekasov, Evgenia Buravleva, Pavel Belyaev, Tamara Vekhova, Alexey Dyakov, Magomed Kazhlaev, Boris Kocheyshvili, Daria Konovalova-Infante, Sonia Infante, Alexey Mukhin, Vera Petrova, Alexander Platonov, Egor Plotnikov, Natalya Sitnikova, Natalya Smirnova Irina Soglchaeva, Vladimir Tyurin, Tatyana Chursina

The exhibition runs from September 22 to October 2, 2016.

Daily, except Mondays from 12.00 to 20.00

Buravleva E.E. End of communication. 2014, oil on canvas, 150x150

Pavel Belyaev. Start. 2010

Plotnikov Egor. Snow. 2012-13, oil on canvas, wood, papier-mâché, acrylic, 200x270, object 101x51x28