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Artists

Motolyanets Semyon

Year2014
MaterialAcrylic on canvas, automobile tires. Size varies
SizeD-90 cm
300 000 ₽
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Описание

In his works, Semyon creates a mythologized space – a space of words, a communicative system. “Everything speaks,” wrote Jacques Rancière in “The Aesthetic Unconscious.” Motolyanets’s works also speak. His writing, as a silent and at the same time talkative speech, is the result of the artist’s journey through the labyrinths and passages of the surrounding world. As a collector, a flaneur, he “collects traces of the lived experience and rewrites the hieroglyphs depicted by the very configuration of dark and ordinary things. He returns to the insignificant details of the world’s prose their double, poetic and symbolic power.” Banal plots: a girl in the subway, a tram, a view from the window – are mythologized through the text and thus reveal the hidden.

 

Myth as a message deforms, and this deformation is both visual (the text literally prevents looking) and semantic. The stolen language returns to the wrong place, replacing and substituting meanings and deviating from both truth and fiction. Play as the essence of language emphasizes estrangement from the norm. The serious becomes a game and vice versa – the game acquires the highest degree of seriousness. Surprise with some admixture of hatred – sincerity of the depiction of tense existence. Motolianets, through irony, carries out work on the exaltation and overthrow of images and meanings. Gilles Deleuze characterized irony as the art of depth and height, which appears where the reversal of opposites occurs.

 

Ambiguity and balancing on the edge of the real and the unreal – the word game that the artist started, are outside of any norms, outside the prudence of practical life. Gaston Bachelard quotes Rilke in The Poetics of Space: “The clouding of reason that is characteristic of us must be considered as part of our work.” Semen’s works are those same cloudings, when the sensual and emotional first take precedence over the rational, but then the latter breaks out in the form of an indignant exclamation.

 

Text: Lizaveta Matveeva