Exhibition "Manifestation", Gallery Random, Moscow, 2014


In 2013, less than three months in Volgograd, there were three terrorist attacks, which killed 42 people. Author of the project, a native of this city, for 5 years went to the University by bus that exploded during the first attack. This tragedy was abroad, who shared the history of the city at the before and after.

The project consists of three rooms: the first related to a natural disaster, plague birds in August 2013 in Moscow, in the author's interpretation of this sign, foreboding evil events. Here the artist refers to himself as the carrier of a mythological consciousness.

The second room - a series of papers on the socio-political unrest in various countries since the incident birds plague made using pigment painting. Works made with black pigment, but without the direct involvement of the author - images appear under rolling in pigment, as a metaphor for manifestations of political processes for the time being hidden. Video documentary pigment painting on display, along with the finished work. The author connects the destabilization of the socio-political situation around the world with one big process of global change, whose value will only increase.

The third room - installation reproducing the first few minutes after the terrorist attack on the station Volgograd.


"The artist recognizes his impotence before the course of events and, moreover, argues that attempts to individualize efforts regarding the tragedy of this scale are meaningless. And in society, from one year to passively standing under attack another political showdown, there is only dry dust without the will to change. "Valentin Dyakonov.


"The Fountain", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Street", pigment painting, glass, pigment, 40x40 cm., 2014

"Dogs", pigment painting, glass, pigment, 40x40 cm., 2014

"Grieving Mother", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Seated Man", pigment painting, glass, pigment, 40x40 cm., 2014

"After", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Field", pigment painting, glass, pigment, 40x40 cm., 2014

"Picket", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Staircase", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Girl", pigment painting, glass, pigment, 40x40 cm., 2014

"Railstation", pigment painting, plexiglass, pigment, 100x100 cm., 2014

"Throw", pigment painting, plexiglass, pigment, 40x40 cm., 2014

"Throw 2" pigment painting, glass, pigment, 40x40 cm., 2014

Room №1


Room №2

Room №3


Vladimir Potapov did not want to part with the painting, but had to choose - Cezanne spoke of truth in painting, and now the truth is that it is not in the picture, and has to deal with this beautiful paradox of the liar.


Potapov looking for an answer as if he does not know. He brought a picture of the captivity of the traditional technique, showed paintings as incomplete medium. With this understanding of reality is transformed into an imperfect illusion in a bad lie. Volodya gathering of young painters and figured out why the painting is dead, and they have not. Took a series of videos from the knowledge involved, questioned them about the painting as a problem, no one objected. Justification of practices, even dubious, like art, is based on the consent of the main. No one in contemporary art with the main disputes.


In previous projects Potapov collected illusory space in synthetic perception, connecting the boundaries of painting with the experience of the body. The viewer relate their movement with the image, try on the body of Cyclops, found the eye, exhumed the remains of the picture - the illusion of space. Illusion returns not as a curse of mimesis, but as a design meeting. True art opened in experience primerivaniya another body - the body-eyed artist. Reminiscent of Parisian salons photographic mid-19th century or death Kashchei enclosed in a duck, etc. Still reminds policy orthodoxy - Today scenic illusion is not necessary to expose in her, and so no one believes. Do not believe, but the cross. Remains mythology production art, tradition environment, canvas, paints, - all this romantic hallucinations to which the art market not only gives a lift to its cynical buyers phantasms, as the rest of the audience crowded around the arena. The audience is a madhouse, and as long as the illusion is bought, deconstruction, as haloperidol, excess will not.

I see the contrast of the image, loose fragments of the project Vladimir Potapov "manifestations". Hard-colored spots without halftone image is reduced to monochromatic spots, nothing more.


This work, which was only a painting of colorful dry pigment. It excludes non-contact body painting artist, subtracts from handmade painting. He sees the similarity of their way of painting with dry film development photos - you will not see until posyplesh pigment. Pigment points to a gap between the image carrier and the imaginary signifier, reporting on extra-linguistic understanding of the image and a new ontology of the illusory world.


Instead of pigment could be earth, dust, anything - understanding this fact makes the pigment in the red clay, which in the language of the Pentateuch is simultaneously matter, the language of man in general. Only caveat is that it's not about the video sculpture, and about painting.


The artist, even if he works with painting, not because the artist that knows how to draw, but because it works with the image as something initially invisible. From painting breaks when it is exposed medial base shines reality, genuine fetish art. The reality of art for human sex - a great excuse to talk than the object itself.


This place is hidden in the visible transformation. Pure potentiality that can turn into anything, as unmanifested picture or the surface of Vladimir Potapov, prepared for sowing pigment. This is the most speculative thing in art. From there come nightmares and daytime beauty. Masturbate on it - honorable. Malevich's manifesto for the exhibition 0.10 called "From Cubism to Suprematism. New pictorial realism. " His "Red Square" is subtitled "Picturesque peasant realism in 2 dimensions." But in reality beauties come at night, nightmares and daytime, as in Volgograd.


Potapov did a project about reality. In this project, the medium of painting speaks on his own behalf. Technique that he documents in his video, with painting and pigment binding only basis. Appeal to the pigment - a revision of the bases of painting, its techniques and rules. Pigment opens a visual sign of the unconscious reality. But what is the reality?


Volodya says - birds, they die, I'm interested in their death, it's more than a deadly microbe that is a metaphor for renovation of art and politics, etc. After that, we're almost ready to take sea as the work of the artist. That is the art of today is trying to overcome its medium, the image itself does not mean anything. Painting is not required to be a virtuoso, but it should make a fancy watch. It must return to us a presence in reality, and if it is a reality hallucinations, we must be present in it, but it is not in us.


Alexander Evangely

material taken from the site