EXHIBITION "REVISION OF BORDERS" Automatic translate

The world has set in motion, its usual outlines are rapidly losing certainty. Rethinking the limits of the possible, the awareness of the fragility of existing borders, once again actualizes the discourse of sociocultural identity.

The changes taking place transform not only the internal Eurasian space familiar to us. Traditional concepts associated with the West and the East are becoming irrelevant in relation to increasingly westernized Asia and oriented Europe, which inevitably leads to a rethinking of the “European” and “Asian” components of the Russian cultural field. The often used apophatic construction of “we are not them” is clearly not enough to clarify the meanings that fill the Eurasian space.

Various artistic practices, being a synthesis of personal, author and transpersonal, traditional, can become those markers that outline future contours of renewed boundaries.

The project combines the objects of Aladdin Garunov and the painting of Andrei Volkov in one space.

Born in the mountain village of Dagestan, in his work Aladdin refers to the sacred space of Islam, the spiritual practices of his native land. He paradoxically collides the tools of modern Western art - the readymade, object, video with traditional, even archaic elements of painting, sign, calligraphy and carpet.

Aladdin Garunov, “Untitled”, 2002, 55x55, rubber

Aladdin Garunov, “Untitled”, 2012, 67x67, rubber

Andrey Volkov, who was born in Moscow, is connected with the East through his grandfather, A. N. Volkov, known as the “Master of the Pomegranate Tea House”. Andrei explores the possibilities of modern, pointless painting, indirectly turning to the Russian avant-garde, comprehending the transformation of his plastic heritage at the turn of the century in Russia and Europe.

Andrey Volkov, “Untitled”, 2012, 130x130 cm, oil on canvas (2)

Andrei Volkov, “Birthday”, 2013, 150x107, oil on canvas

Goska Bialek , a British artist of Polish descent, currently working in Russia, offers minimalistic installations, paying attention to the textural expressiveness of the wooden structure, thereby recalling the archetypes of Eurasian culture, the ideas of the Polish and Russian avant-garde.