Translation. Region: Russian Federal
Source: Moscow Government – Government of Moscow –
The Fabric of Art: How the Triennial Participants Were Selected
The triennial is a competition program that takes place every three years. This year, the triennial reveals a theme with a poetic and multi-layered name: “Diversity of connections. Threads, breaks, connections.” Hence the interesting division into sections and halls, which in itself is figurative and excites the imagination of the visitor
“The first hall is dedicated to the breaking and restoration of connections, the second one explores the connection of opposites. The third hall represents the biological connections of man with nature, and the fourth one is addressed to the internal connections with oneself,” lists Anna Karganova, the curator of the triennial.
There are only eight halls for the competition program and another five for the non-competition program.
The selection of participants for the fifth triennial took eight months — from February to October 2023. Artists from Russia and abroad (Belarus, Moldova, Kazakhstan and other countries) sent 175 works. After a careful selection, the jury included more than 80 works in the competition program: seven large-scale installations for the park area, 32 modern textile objects and 43 traditional tapestries. Most of the works are exclusive, the artists created them specifically for the triennial.
“This year the competition is held in four nominations. These are “Best Work in Traditional Tapestry Technique”, “Best Art Object in the Interior”, “Best Art Object in the Park”, “Best Student Work”. Therefore, most of the works presented at our exhibition were created specifically for it,” the curator explains.
Not just wool and linen: experimenting with materials
The main condition is handwork. The material can be textile, traditional, or completely unexpected. Reinforcement mesh, aluminum wire, jute rope, plastic fishing line, polyethylene, paper and dried flowers create new connections, forms and interweavings. This is a laboratory. For example, Natalia Kosovets in the “Collection of Memories” wove a hand-collected herbarium into the canvas, preserving the warmth of sunny days.
Programming language, forest and cotton
In his monumental six-meter “Jacquard”, Argentinean Julian Pesse reflects on how humans and mechanical mediators interact in creativity. “This is a reference to Joseph Marie Jacquard, who invented the Jacquard loom and revolutionized weaving. The work of the Argentine artist is the result of experiments at the intersection of textile art, printing and the binary number system,” reflects the curator of the triennial Anna Karganova. Joseph Marie Jacquard’s device was the first programmable machine, hence the binary number system. The work is black and white: the two colors mean 1 and 0 in the programming language.
Belarusian artist Khristina Vysotskaya in her work “Souls of the Forest. Connections” presents the forest as a living space where trees are connected to each other. She draws an analogy between the forest ecosystem and the single digital and information field in which modern man exists.
“This installation reveals a world where trees are connected by invisible threads. It is a symbol of energy and information. Materials: cotton, wool, acrylic, yarn, metal,” adds the curator.
18 thousand nails and a web of meanings: installation by Olga Kiseleva
From the non-competition program, it is worth noting the large-scale project “The Network We Live In”. The installation resembles a fishing or hunting set, but refers to different meanings. The network in the modern world is a means of communication: the World Wide Web, social networks. The archaic network has a double meaning: for the victim, it is captivity and death, and for the hunter, it is a guarantee of survival and caught prey. The digital network has the same duality: it connects people on different ends of the planet and separates those sitting next to each other. It serves for career growth and development and for creating dependence at the same time. The viewer will find the answer to the question: what network are they in and what does it mean to them.
The installation of the exhibit became a test and an experience of self-knowledge. In Olga Kiseleva’s work, we implemented a special meditative process of creating the installation. It consists of sequentially tying and pulling threads through a special structure. Each thread is fixed on nails. It took 18 thousand of them! ” Anna Karganova shares.
Microstories: When Small is the Beginning of Big
The Micro — Intersection Point project has collected over 100 miniature works. The exhibits here are no larger than 20 by 20 centimeters, and most often — 10 by 10 centimeters. This is a laboratory for experiments. What the artists cannot yet embody in a large format, they do in miniature. It is worth paying attention to Tatyana Fedotova’s work Dance with Matches — a round dance of textile matches: life as a dance and a dangerous game.
Textile Guardians of the Park: Dialogue between Art and Nature
The exhibition extends from the Bread House building onto the street, into the park, emphasizing that it is also part of the exhibition space of the Tsaritsyno Museum-Reserve. Opposite the Bread House stands Pavel Elfimov’s “Mammonteus” — a woven figure of a fantasy prehistoric animal made of coarse jute rope. A few steps away stands the flexible and touching “Accordionist” by Elena Molchanovskaya made of artificial rattan. The central square is decorated with “Star Called Sun” by Natalia Klimova — an art object made of metal, plywood and colored ribbons. In this work, the artist explores the ancient beliefs of our ancestors.
Near the Bolshoy Bridge, attention is drawn to “Creation” by Tatyana Patina and Maria Bondarenko – a monumental hand pulling threads from the ground. The foundation of the historical Mylnya was transformed by the work of Katerina Lime-Blossom “hints of integrity” – writing with a small letter is not a typo, but an idea. The interweaving of yarn connects the past and the future.
The Milovida pavilion features the installation Under Water by Evgenia Evart. It is made from recycled plastic. The artist studies water as the basis of life and draws attention to the fact that plastic pollutes water bodies everywhere. Fish made from plastic bottles, swimming on polyethylene waves, express the author’s anxiety.
On the surface of the Upper Tsaritsyn Pond, Alexandra Ostrovskaya’s “Portal II” sways. The landmark is the island with the Mermaid Gate. During the time of Catherine the Great, plays were staged here, and folk festivals were held here, and the artist suggests that this could be the portal connecting worlds and eras.
The optimal route through the park exhibition: start your tour from the Greenhouse Gate (entrance no. 9), moving along the natural relief of the park. Each work occupies a well-thought-out place in the landscape, revealing itself to the viewer in a certain sequence.
Parallel threads
A parallel program has been prepared as part of the triennial: some of it is for professionals, but most of the events are for everyone. Guests can expect lectures, master classes, and creative meetings. Of particular interest are the excursions. The schedule will be available on the museum’s website and in social networks. And in the fall, an inclusive project will start — special master classes in hand weaving for teenagers with mental disabilities.
No longer a craft
The curators note that over the 14 years of the triennial’s history, the artists have become significantly “younger,” which indicates a growing interest in textile art among emerging artists.
“For quite a long time, textiles had the status of something handicraft. And if we take the development of the triennial, the types of works that we exhibit have changed very much. Now there are a lot of spatial works, a lot of compositions with high relief, there are textile sculptures. And all this suggests that we have moved very far away from the traditional perception of textile art. And this is great, in my opinion,” concludes Anna Karganova.
The triennial can be visited from May 16 to November 30. To see the exhibition in the Bread House, you will need a ticket, but you can walk around the park freely.
Please note: This information is raw content directly from the source of the information. It is exactly what the source states and does not reflect the position of MIL-OSI or its clients.
Please Note; This Information is Raw Content Directly from the Information Source. It is access to What the Source Is Stating and Does Not Reflect
https: //vv.mos.ru/nevs/ite/153814073/