Translartion. Region: Russians Fedetion –
Source: Moscow Government – Government of Moscow –
An exhibition has opened in the GROUND Solyanka gallery and workshop “Forward to Zlotnikov!”, presenting a new look at the artist’s legacy.
Yuri Zlotnikov is an abstract artist, one of the classics of Russian contemporary art, creator of his own visual language. His works are kept in the State Tretyakov Gallery, the State Russian Museum in St. Petersburg, the National Center of Art and Culture Georges Pompidou in Paris and other major cultural organizations.
The exhibition “Forward, to Zlotnikov!” is complex: its creators define it as a search for an impulse that sets in motion the mechanism of perception and knowledge of the world, as a large-scale study based on the art of Yuri Zlotnikov. His works are shown together with works by Russian and foreign contemporary artists – this takes viewers away from the idea of a lone innovator, which is assigned to the master, and denotes the continuity of ideas and interdisciplinary searches. And the image of the world through the prism of Yuri Zlotnikov’s works is complemented and expanded by scores for the ANS synthesizer by Olesya Rostovskaya and the installation “Machine Vision” by media artist Kamila Yusupova.
As for the architecture of the exhibition, notes Katya Bochavar, director of the GROUND Solyanka gallery and workshop, it is organized quite uniformly: almost all of the master’s works on display are located on a white support, with the exception of large paintings.
“And since the texts written by curator Nikita Spiridonov explain the artist’s works themselves, the themes that Zlotnikov worked on, and explain his worldview and perception in general, then, as it seems to me, it is very important at this exhibition not only to look, but also to read the text,” emphasizes Katya Bochavar.
“Signal System”, Cybernetics and Sculpture
The research exhibition is a timely and important stage in the study of the work of one of the greatest authors of contemporary Russian art, says Nikita Spiridonov.
“The starting point here is the art of Yuri Zlotnikov. However, following the call in the title, the dramaturgy can also be built in reverse: through the practices and poetics of other authors, the perception of Zlotnikov’s own art is deconstructed and reassembled,” the curator of the exhibition reasons.
The starting point for the research is the “Signal System”, which is at the crossroads of these vectors. Yuri Zlotnikov himself formulated its essence as follows: “The study of psychophysiological motor experiences, the nature of the subject’s reactions to color and form, the interaction of “artist – image – viewer” and subsequent impacts is the meaning of my work…”.
The term “signal” refers to cybernetics, an interdisciplinary science of transforming and transmitting information in complex control systems, which, in turn, borrowed it from psychophysiology. The artist emphasized the influence of cybernetics in his texts and statements. It is known, for example, that while working on “Signal System” (1957–1962), Zlotnikov communicated with Nikolai Bernstein, who was in charge of one of the laboratories of the Central Institute of Labor in the first half of the 1920s, where he was developing the foundations of biomechanics. Researchers of the artist’s work do not have a unified opinion on what exactly he gleaned from the texts and reasoning, but his practice sometimes seems worthy of its own laboratory and speaks of Yuri Zlotnikov’s exceptional passion and persistence not only in aesthetics, but also in science.
In the hall “Psychophysiology of visual perception” a special place is given to Zlotnikov’s still little-studied projects – sculpture and design theory. He worked on the principles of industrial workshop design in parallel with the “Signal System”.
“The idea was to extrapolate the Signals problematic to the needs of industrialization of that time – the project addressed the mental state of a person at the moment of production. Like the psychotechnical experiments of the Russian avant-garde, it was supposed to help a worker tune in to the production process in the factory shops, a schoolchild – to perceive and assimilate educational material in the classroom, and so on. However, later Zlotnikov cooled towards design and became disillusioned with its potential. According to Alexander Zlotnikov, Yuri Savelyevich claimed that the mundane is detrimental to the perception of art: if a worker sees a mural next to his machine every day, he will most likely stop noticing it,” says Nikita Spiridonov.
The sculptural works, not realized on a large scale during Zlotnikov’s lifetime and presented as models, establish a continuity with Yakov Chernikhov’s “Architectural Fantasies” — graphic compositions with an emphasis on “a sense of form, line, plane, volume, a sense of rhythm.” And although most of Chernikhov’s works remained projects, their flat architecture echoes the elements of lines and arcs of spatial objects in the gallery-studio hall. Thus, the visual patterns of Zlotnikov’s series enter three-dimensional space and now share it with the viewer, provoking movement and the search for a more perfect point of perception.
The exhibition runs until April 22. Tickets can be purchased on mos.ru.
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