International Workshops “Russia + Switzerland”, Zapasny Palace,
6 pieces of glass xx, 8 pieces of glass xx, 3 pictures xx, 4 pictures
xx, coloured scotch tape, superglue.
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
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which is withdrawn from the game and thereby allows this game
“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.