"Flying" paintings with images suspended in space with a white frame is a Ilya and proposed new Emila Kabakov that beyond a formal question us on the below images ...
First in first instance, what brand are the images we show Ilya and Emilia Kabakov, images that speak for a land of plenty, where everything seems calm, happiness and abundance ...
A choice of subjects, peasants, workers in their work, happy faces, descriptions of a glorious world ... image of an idyllic world where finally the world would be perfect and that there would be no need to escape, to fly ... This déjà vu refers to another reality ...
A certain aesthetic vocabulary specific so-called Socialist Realism defined as when the First Congress of Soviet Writers, which was held in Moscow in August 1934
"A truthful and historically concrete representation of reality in its revolutionary development. In particular it must contribute to the transformation of the ideological education of workers in the spirit of socialism. "
This definition of what should be the socialist art had consequences that we know, at first to acknowledge in particular the avant-garde Russian petit-bourgeois formalism, to subject art for political purposes, to exploit. The result was to deploy a soothing artistic production, frozen in the canons enacted by the totalitarian regime that was Stalin's USSR ... Ilya and Emilia
Kababov thus appropriate this imagery. Important detail, Ilya Kabakov, Young was forged in the ideological mold and was artist status in the USSR for many years ...
But back to the paintings in this series, these images float
then, but not only. Some of them are truncated beyond the scope, others overlap, So where are deformed, placed upside down. The Kabakov put us immediately in a conflict of scrutiny. First of all this fragmentation, this slip out of context for some, these overlays and the anamorphic ...
First in first instance, what brand are the images we show Ilya and Emilia Kabakov, images that speak for a land of plenty, where everything seems calm, happiness and abundance ...
A choice of subjects, peasants, workers in their work, happy faces, descriptions of a glorious world ... image of an idyllic world where finally the world would be perfect and that there would be no need to escape, to fly ... This déjà vu refers to another reality ...
A certain aesthetic vocabulary specific so-called Socialist Realism defined as when the First Congress of Soviet Writers, which was held in Moscow in August 1934
"A truthful and historically concrete representation of reality in its revolutionary development. In particular it must contribute to the transformation of the ideological education of workers in the spirit of socialism. "
This definition of what should be the socialist art had consequences that we know, at first to acknowledge in particular the avant-garde Russian petit-bourgeois formalism, to subject art for political purposes, to exploit. The result was to deploy a soothing artistic production, frozen in the canons enacted by the totalitarian regime that was Stalin's USSR ... Ilya and Emilia
Kababov thus appropriate this imagery. Important detail, Ilya Kabakov, Young was forged in the ideological mold and was artist status in the USSR for many years ...
But back to the paintings in this series, these images float
then, but not only. Some of them are truncated beyond the scope, others overlap, So where are deformed, placed upside down. The Kabakov put us immediately in a conflict of scrutiny. First of all this fragmentation, this slip out of context for some, these overlays and the anamorphic ...
"Flying" Our position viewer requires us to try to guess what disappears, what is hidden to us to break the blow to redress these anamorphic or see the location of these images.
A certain relationship with cinema is also involved in this series. This shift, these hidden parts can assimilate an off-screen, or when a change of plan or even a fade. The white background of the canvas becomes the screen on which images come and go ...
For these large white areas, they push even further the process already used in the series "Under the Snow"
For these large white areas, they push even further the process already used in the series "Under the Snow"
" Under the Snow "
" Under the Snow "was still the paintings 'realistic' in the sense that the images appeared behind the snow, part of nature. In "Flying," there is a confrontation of realism to abstraction. These floating images can be viewed as playing with geometric shapes, can be read as constructivist paintings. These paintings relate directly to Malevich.
"Pictorial Realism of a boy with a backpack
Malevich Malevich, the Constructivists, Futurists, the Suprematists, Vertov and the Kino-Pravda projetèrent that their hopes of transforming art, world, life, through the revolution of 1917 ... The
Kabakov we reassign the fate of this avant-garde. Vanguard méconnurent they banned because it was the system of arts education in the USSR ...
They confront us, therefore, part of the history of Russian art but also to the revolutionary hopes and terrible disillusionment that followed.
"Flying" By choosing that revisits some cliches, lithographs of Socialist Realism in painting, Kabakov also raise the question of the current status of the image ...
These images of paintings that appear to going beyond the scope of this screen what the white background of the canvas, the images that mask or cover for others as fire ...
Would it not interchangeable flow of images that scroll across our screens ...
Deformations, anamorphic ...
note, an image can lead to another, seem to tell us Ilya and Emilia Kabakov ...
ILYA & Emilia Kabakov
FLYING THE PAINTINGS (flying tables)
MARCH 17 - April 17, 2010
Gallery Thaddeus Ropac
Debelleyme75003 Paris 7 Rue
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