Exhibition of Alexandra Paperno "Love to itself among the ruins" automatic translate
с 14 Ноября
по 13 Декабря
Государственный музей архитектуры имени А.В. Щусева
ул. Воздвиженка, д.5/25
State Museum of Architecture named after A.V. Shchuseva, Smart Art and Alfa-Bank present the solo exhibition of the Moscow artist Alexandra Paperno “Love to herself among the ruins”. The exposition will open in the Ruin outbuilding - the former building of the stables at the Talyzins’ estate on Vozdvizhenka, which by the end of the 20th century fell into decay and turned into a real ruin, which was carefully restored with the conservation of all preserved structural and decorative elements, and since 2017 it has been working as an exhibition space of the Museum of Architecture. This is the fourth project organized by Smart Art (represented by Anastasia Karneeva and Ekaterina Vinokurova) and aimed at supporting young Russian artists, two of which are supported by Alfa-Bank.
Ruin was for Paperno the starting point in the preparation of the project and the central plot around which the entire exhibition is developing. Ruin is not only about a disappearing or disappearing place, it is also the most important image for the culture of the New Time. It became a symbol of a concentrated past, melancholy and longing for the “golden age”, expressed and cultivated the aesthetics of slow decay, became almost the main backdrop for European painters of the 18th and 19th centuries. By the 20th century, the charm of the ruin and the ruin-as-idea did not disappear anywhere, only the image and the specific “ruined” state extended not so much to architecture as to large ideological and political projects, and wider to a culture that repeatedly decayed and rebuilt.
It is just in time that it works with this cultural context, with situations where culture and civilization suddenly become a conditional set of strange rules, codes, the meaning of which has long been lost. She looks for these moments of breaking ties and presents them with all her tenderness and irony, working with different artistic means.
For example, the graphic series on the first floor is an image of most of the so-called "canceled constellations." In 1922, the International Astronomical Union approved a modern list of 88 constellations; it was decided that the list would be final and no new constellations would be added. The number 88 has no cultural or scientific significance — it is random. The constellations not recognized by the International Astronomical Union have been canceled, with more than 50 names on their list. Or what seems to be an ideal abstract painting, in which we are accustomed to peer, enjoy color and dynamics, in fact - multiplied triple gray luminaries (triptych "Gray Sun").
On the third floor of the museum is a series of works on one of the most stable pillars of civilization - education, and in particular, art, which has long been turned into a set of repetitive rituals, "productions": in the series of still life photographs Paperno exposes the ideal compositions for a lesson in art school, and it actually seems to be shards, a dry residue of a large culture.
The centerpiece of the whole exhibition will be a broken pillar - a sculptural object that penetrates the three floors of the “Ruin” and represents a breaking pillar. The idea of the work arose from a real story that happened to the French artist Gustave Courbet, when he, as Commissioner for Culture of the Paris Commune, led the demolition of the Vendome column. The Paperno column is an ironic sign, an absolute shifter in relation to a ruin that spreads horizontally, spreads, deepens and grows into the surface. Here, the white column establishes the vertical axis as if a toy collapse, while the column - by the way, like the ruin - is one of the most stable symbols of European culture, enters into a strange relationship with Ruin, tightening individual groups of works, making space itself shake up and free themselves from the burden of meaning, their own history and “acquired” cultural contexts.
The general partner of the exhibition is Alfa-Bank, which for many years has been actively promoting the development and promotion of contemporary art both in Russia and abroad. “The exhibition of Alexandra Paperno continues the tradition of supporting culture and art, which has existed since the founding of Alfa-Bank. By participating in such projects, we help promising Russian artists to translate their ideas and gain wide recognition, ”notes Maxim Pershin, Alfa Bank Board Member. Earlier in 2017, with the support of the bank, the debut exhibition “Empty Knowledge” by Darya Irincheeva was held in Moscow.
The official opening of the exhibition is supported by Simple, responsible for the atmosphere and mood of the evening.
Curator of the exhibition: Ekaterina Inozemtseva.
About the artist:
Alexandra Paperno was born in 1978 in Moscow. In 2000 she graduated from Cooper Union for the Advancement of Science and Art in New York where she studied with Dory Ashton, Robert Breer and Hans Haacke. The first solo exhibition was held in 2004 at the National Center for Contemporary Art (NCCA, Moscow). Among her latest solo exhibitions are: “Canceled Constellations” (Galerie Volker Diehl, Berlin, 2018), “On the device of the sleep of the Sixth Five-Year Plan” (Smena Center for Contemporary Culture, Kazan, 2015). Participant in numerous group exhibitions, including: Prague Biennale of Contemporary Art (2005), “Dreaming Russia” (Albertina Museum, Vienna, 2013), 5th Moscow Biennale of Contemporary Art “More Light” (2013), “Milk Without a Bottle” (Volga branch of the National Center for Contemporary Art, Nizhny Novgorod, 2014), Cinema Re-Film (Cinema Circular Film Panorama, VDNH, Moscow, 2015), Observatory (Special Astrophysical Observatory of the Russian Academy of Sciences, Nizhny Arkhyz, 2016), 4 Oral Ural Industrial Biennale Th ”(2017),“ The First Triennale of Russian Contemporary Art ”(Garage Museum of Contemporary Art, Moscow, 2017),“ Moenlight Sonata ”(Kunsthal 44Møen, Myung, 2018),“ General Rehearsal ”(Moscow Museum of Modern Art, 2018 ), “Change your mind? No big deal! ”(MAMbo Museum, Bologna, 2018). He lives and works in Moscow.
The State Museum of Architecture named after AV Shchusev was established on January 1, 1934, simultaneously with the establishment of the Academy of Architecture of the USSR. The museum’s collection includes more than 1 million items: this includes architectural graphics, including the largest Russian and Soviet architects, a collection of dimensional drawings of Russian architecture, models and models, as well as paintings, fabrics and tapestries, unique furniture, prints and lithographs, gravestones, art metal, objects of decorative and applied art. The museum’s photo library is one of the most extensive collections of photographic materials on architecture and urban planning in the world. Today, the Museum of Architecture is located in the former Talyzins’ estate of the 18th-19th centuries, and includes three exhibition spaces: the Enfilade (the main manor house), the Sovereign’s Apothecary order (monument of the XVIIth century) and the Ruin (the outhouse of the manor house).
Smart Art is an art consulting company that works closely with Russian artists and is committed to the development of the contemporary art market. The purpose of Smart Art is to increase the recognition of artists, for which the company offers comprehensive promotion programs and educational initiatives. Smart Art mediates between young artists and the new generation of collectors and provides new platforms for their interaction. Implemented projects: the exhibition of Sergey Sapozhnikov in the space of the Udarnik cinema, a personal project of Darya Irincheeva in the Moscow office of Christie’s and Sveta Shuvaeva auction house in the Moscow Museum of Modern Art.
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