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"Sopromat" gallery "Triumph", Design Centre ARTPLAY, 2013

Curated by Vladimir Potapov, Jana Smurova

Today, the work of art can be any thing: paper bag, picked up on the street, or a high-tech polymer laboratory «Nasa» - untouchable left, artistic appropriation did not leave any chance for anyone seekers. Any thing, regardless of origin, physical \ chemical parameters, age, expiration date, your destination can be signified as a work of art, or used as a component part. If you look back and trace the evolution of the material in the art, it can be said briefly: classical art interested in eternity and that is why the relevant requirements imposed on materials - strength, wear resistance, durability, etc. These qualitative characteristics served as the basis for dividing materials noble and all the others, their function as a building material for a long time remained unchanged. Steadfastness classical canons did not leave attention to the fact that the material to see as such. Benvenuto Cellini titanic battle with bronze sculptures in creating a cult of Perseus in Florence, almost led to his own death, or meticulous instructions and recipes for the manufacture of paints and paper described Cennino Cennini in his Libro dell'Arte, are among the many examples of the daily struggle the artist with the material. From these relations can easily be distinguished position of the material - it was a subordinate, it dictated. In this position, the material was dissolved and lost its authenticity, so it happened depersonalization.

Modernism seriously and permanently changed the status of the material in the arts. Under the banner of triumph of scientific knowledge and dialectical materialism it is much diversified range of materials, simultaneously eliminate its metaphysics, as well as add a personal experience of the artist. Crystal Palace by Joseph Paxton in London, built for the World Exhibition of 1851, anticipated many contemporary achievements of the 20th century and became a symbol of winning the fight with the material at the same time elevating him to the podium. Conceptual objects of "ready-made things," Marcel Duchamp radically changed the perception and attitude toward artistic material as such. Physical confrontation has given way to the intellectual.

Postmodernism first introduced the practice of dematerialized art blurred the lines of tangible and intangible, orbited pure idea and legalized total appropriation. There was a lot of scenarios the relationship of the artist with the material from meticulous scientific study similar to the medieval scholastics rides forms of interaction. Known work «Bodies of Air» Piero Manzoni 1961 - balloons filled with breath of the artist and the "foundation of the world" in 1962 in which he exhibited the planet Earth as his own work, clearly demonstrate the scale of accomplished reforms. Other extreme can be considered as the ratio of Beuys to the felt and fat, once saved his life and around which he created a personal mythology. Another example is an international patented blue Yves Klein, "which opens to the viewer and the artist's true space."

But the main achievement of postmodernism is that it has transformed the former art history in consumables and replaced its linear logic of the beam on the tangled rhizome.

Materials that are used today in modern art, very different from the previous analogs, the essence of which is determined by the location on the shelf "products for the artist," where they are silent and obedient, ready to fulfill any wish. Modern materials manifest themselves immediately to its origin, destination, design, functionality, so the role of the artist rather boils down to finding the right context, history, or a combination. The struggle with the material in classical art was the main component of the product, the victory it provides exceptional skill of the artist, but today this skill in his arsenal is not mandatory. Dictate the author ended and now we can say that relations have become equal and partner. And it can be argued that the artist often plays the material, its role is secondary for the first time, it looks more like a function of the conductor than the sculptor craftsman or creator. Here appendage artistic design is often only a symbolic conductor. The main responsibility of the author is reduced to streamline and control, carrying the risk of material to disappear and to be excluded from work.

What is material is now in addition to that from which he made the artifact? Firstly, the material has long been an artist himself, particularly in castling "artist instead of the product," or in conjunction curator-artist, where the exhibition curator as one big installation authoring. Second, the material can be and the exhibition itself and any artistic event included, for example, in the Biennale. Third: the dematerialization of the artefact, planted conceptualism, has found a new nature - information where network space has become his main repository. Passive spectator thanks hepiningu become an active participant of the artistic process and art of complicity recent years has renewed and scaled this experience.

Today, as the classical material is to turn in a blank sign. The gap between him and the meaning of the artist turned to delay the process of rapprochement. Visibility values ​​of the material now due utopia denotation. Linguistic reality leaves room for at least the identification of the material that leads to the complexity of operating the material within the product \ installation and reading \ interpretation of the final result.

Presented the exhibition was called "Sopromat" accidental. It is the science that studies the ability of solid structures without destroying withstand any external stresses. The subject is a fundamental discipline of general engineering training, the study of which will not escape no student of a technical college. However, all the long history of art is a good example of that man's struggle with the resistance of materials is the responsibility of not only technical minds. Today's "Sopromat" is the practice of interaction with the material, methods of its disclosure, suppression and positioning, in which the author's private statement balances between the opposition material painter.

 The exhibition "Sopromat" is the practice of interaction with the material, methods of its disclosure, suppression and positioning, in which the author's private statement balances between the opposition material painter. This exhibition with an open ending, it ends with a question, does that mean that the material is converted and the appointed artist as a work of art, was defeated and lost their freedom, or vice versa, becoming a work of art, the material found freedom and found its best purpose.