June 1998
International Workshops “Russia + Switzerland”, Zapasny Palace,
Tsarskoe Selo “Museification-3” Photo installation




Materials:
6 pieces of glass xx, 8 pieces of glass xx, 3 pictures xx, 4 pictures xx, coloured scotch tape, superglue.

Installation:
Fragments of various surfaces inside and outside the Palace (walls, floors, balustrades, doors) are highlighted with pieces of glass framed with coloured scotch tape. Next to these fragments precise photocopies of them are installed – full-scale and framed in the same manner.
At the start the six-partite work by Elizaveta Morozova makes one to recall the classic examples – the works by minimalists which bring to light the pure logic of being of the work of art (following Rosalind Krauss, one may note that here the conceptual opposition architecture/non-architecture was used. It was explored by Sol LeWitt, Bruce Nauman, Christo and Richard Serra.)
Various fragments of “Zapasny” Palace were subjected to “museification” – parts of the floors, walls, stone parapet. At first the viewer feels some confusion: the fragment is split, but if one of its halves doesn’t differ from the “non-museified” floor or wall surface, the other half is clearly out of context. It is glass and a tiny frame that prevent us from ascertaining the nature of this difference. The frame outlines the fragment, but by that also masks its edge, that very margin where the secret of this differentia is hidden.


The understanding of the “secret” becomes however the starting point of the new intrigue, in this case unsolvable – one part of the fragment is a (colour-distorted) photocopy of the other part. The work embraces a double duplication, a two-level sign structure: as a whole the fragment appears as an indexical sign of the context (the floor or the wall) - it is rendered as such by the gesture of limitation and accentuation – at that one part of the fragment is an iconic sign of the other. Paradoxically, the frame not only brings in the differentia but also points at the identification of a copy with an original, a sign with a referent. It points at the elimination of the boundary between the two.
The main theme of this work, which seems absolutely transparent, optically accessible and “obvious”, is the invisible. Part of the wall or parquet hidden under the image is its key element, which is withdrawn from the game and thereby allows this game to happen.

“Festival. Workshops. Russia + Switzerland. Theatre, music, visual arts. Installations by “Emergency Exit” group”. Andrei Fomenko, “The World of Design”, no. 3, 1998, pp. 70-73.

“This is one of the most poetic works I have ever seen”.

“Non-spactacularity: pros and cons”, Andrei Fomenko, “Art Moscow Magazine” # 43-44 (¹2-3/2002), p. 72.





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