Ru En

Behind The Encounter Scenes

Behind The Encounter Scenes
Curator: Sergey Ogurtsov
Dates: April 17 — May 21, 2012
Venue: Gallery 21

How do we discern pieces of art? How do they form a special type of gaze that is different from day-to-day one? How their meanings retain even in a different historical context? It seems that these questions are posed to three different levels: the formal decisions of the artist, specificity of viewer’s perception and the systemic criteria of the art. But if these perspectives have a common point — an artwork — then the basic visibility conditions should be included in its structure.

Everyday life can be viewed through. It is replete with flows of knowledge and actions, communications and images; and affects to the extent inaccessible to representation and reflection. Visibility catches viewer’s gaze in the sphere of invisible forces — similar to a clash of indicative systems and to the ability of imagination, in particular of the language and the subject. They can become apparent only simultaneously, at the encounter moment. Thus the encounter moment becomes the transfer from life to the art, from an object to an art work.

The encounter is a „transfer of the real number of elements to the relative unity of artistic action” (S. Shuripa). The artwork is structured as a language of such an action; the object appears to be a moment of the situation preset by the form of the artwork. Its conditional character is predetermined by the everlasting border to the non-artistic, its stability is predetermined by the dynamics of an artwork components, from chaos of molecules to reverberations of discursive polysemy.

If the event by definition is impossible to construct, the encounter scene, in which the artwork becomes public, is formed by two main forces: the artist’s will for imagination and the institutional systems laws. These forces determine the political sphere accessible to art. The clash of the subjectivity and the system, art and life is caused by the fidelity to the encounter the moment; it separates these notions and places any artistic action into the sphere of ethics. However, behind the recurring encounter scenes in the artwork its object remains in the point of simultaneity of „there” events and „here” language, the actuality of a random sign and aleatory reality references.

Sergey Ogurtsov