Exhibition "BONA VIVO" Automatic translate
с 30 Сентября
по 1 Ноября
Всероссийский музей декоративно-прикладного и народного искусства
ул. Делегатская, 3
September 28, 2015 in the All-Russian Museum of Decorative, Applied and Folk Art in the framework of the 6th Moscow Biennale of Contemporary Art, the BONA VIVO project starts.
Good life… we pronounce this phrase and look forward to an instant understanding, seeing in it a universal concept despite the variety of subjective associations. Suppose that for people who regularly attend exhibitions of the latest Russian and international art, such as this, the concept of a good life includes: harmonious relationships in the family and with friends, financial independence, freedom of self-realization, the ability to travel, the availability of information, a rich cultural environment, outdoor activities healthy ecology etc. Acceptance of the listed values by default is considered a condition for starting a dialogue, but most often such a dialogue immediately turns into a dispute, because the age, gender, social differences of the interlocutors question the existence of the only acceptable good life. The name of the exhibition in Esperanto (this language is a vivid example of mankind’s unsuccessful rush for unity and universalism) indicates the natural desire of people to equip their lives on a general basis and the unattainability of such an arrangement.
Any conditions of a good life can be embodied only in specific interiors decorated with certain objects. That is why the curators declare the special importance of sculptures and paintings that have obvious object characteristics for the chosen topic. The works of all authors demonstrate the universal features of everyday objects - they borrow the form of everyday things (lamps, bouquets of flowers), hint at the inhabitants of the interiors (clothes), use images decorating and marking up the inhabited interiors (patterns of carpets and wallpapers, navigation design) - and at the same time not limited by their functionality, giving freedom of viewer imagination. In other words, a number of unstable interiors are built in the museum’s halls, blurring the differences between private and public, and combining the external and functional characteristics of the house, leisure places and commercial establishments. The curators did not try to repeat real rooms, the uniqueness of which does not imply freedom of interpretation, instead creating arenas where associations could collide, hybrid objects were compared with objects that surround us in everyday life, and the viewer’s wishes were embodied in unexpected form.
Anna Highfish / Astrid Wagner / Johannes Schweiger