Authorship boundaries in the shadow of chance. 3 noc 2022 — 3 dec 2022
Authorship boundaries in the shadow of chance. 3 noc 2022 — 3 dec 2022
Ksenia Vekshina, Evgenia Ignatova, Curator — Luiza Abzalova
“Co-creation of the author and chance. Where does the border lie in this union and how does the division of forces occur?
The main thing that the viewer can feel when confronted with the presented works is the escape of the author's statement, hidden behind "accident".
The main thing that the viewer can feel when confronted with the presented works is the escape of the author's statement, hidden behind "accident".
In my curatorial project, I focus on the border between the influence of the author's will and chance, trying to determine the degree of control possible when creating a work of art.
When you analyze the word "art", "skillful" you inevitably come to the definitions of "man-made", "not natural", "created specially". In ancient cultures, the "better" was the art, the more control was present in it. In classical aesthetics and high art, the random factor has always been perceived as undesirable, as leading to disharmony, chaos, uncertainty, disorder. Art has always sought to get rid of randomness in favor of orderly, balanced. But is there art where control is deliberately released?
With this project, I propose to consider the work of two artists beyond the boundaries of authorship and see how, and in what situations, they trust the circumstances when creating their works. I invite the viewer to find differences and draw parallels in the author's approaches to the creative process, and thereby try to get closer to understanding how the author's will and what is beyond his control correlate in art.”
The author shares authorship with the case. Evgenia uses her primary photographic practice, a photogram is a method of obtaining a print in a single copy on light-sensitive paper without the use of lenses. By controlling the light and the coloring process, the artist leaves the reins to chance, using unstable chemical reactions that do not comply with the development protocol.
Its "author" is presented here as one of the mechanical elements of the creation process. Evgenia considers photography precisely as a material to start a dialogue, and not as a separate medium.
But it is the medium in which Ksenia Vekshina works that reveals the same phenomenon from the other side. Technologically, work with glass must be very precise: chemicals, glass quality, firing temperature and time - everything is of fundamental importance and is controlled by the master. The author, on the one hand, controlling and knowing, on the other, waiting for an unknown result, is one and the same person. Ksenia works with glass carefully, slowly and meditatively, perceiving the uncertainty of the result as a certain philosophy of her work, inseparable from the process, not resisting it, but not indulging only chance in everything.
Xenia's works, originally abstract in their essence, remind us of natural phenomena: ice, sky, water. They enter into a dialogue with Eugenia's photograms, created from the silhouettes of real objects or phenomena, but which have become even more abstract than the non-objectivity of glass objects.
The transformation of images from concrete to abstract and vice versa occurs without the will of the author - beyond the boundaries of his influence, this is not a product of his intellectual choice.
At the same time, both artists initially deliberately abandoned symbolism and any narrative in their works. So, the choice of the medium itself or the material for work is the main author's choice in creating works, after which the second participant in the process enters - an accident that fixes the momentary triumph of the moment in artifacts.
When you analyze the word "art", "skillful" you inevitably come to the definitions of "man-made", "not natural", "created specially". In ancient cultures, the "better" was the art, the more control was present in it. In classical aesthetics and high art, the random factor has always been perceived as undesirable, as leading to disharmony, chaos, uncertainty, disorder. Art has always sought to get rid of randomness in favor of orderly, balanced. But is there art where control is deliberately released?
With this project, I propose to consider the work of two artists beyond the boundaries of authorship and see how, and in what situations, they trust the circumstances when creating their works. I invite the viewer to find differences and draw parallels in the author's approaches to the creative process, and thereby try to get closer to understanding how the author's will and what is beyond his control correlate in art.”
The author shares authorship with the case. Evgenia uses her primary photographic practice, a photogram is a method of obtaining a print in a single copy on light-sensitive paper without the use of lenses. By controlling the light and the coloring process, the artist leaves the reins to chance, using unstable chemical reactions that do not comply with the development protocol.
Its "author" is presented here as one of the mechanical elements of the creation process. Evgenia considers photography precisely as a material to start a dialogue, and not as a separate medium.
But it is the medium in which Ksenia Vekshina works that reveals the same phenomenon from the other side. Technologically, work with glass must be very precise: chemicals, glass quality, firing temperature and time - everything is of fundamental importance and is controlled by the master. The author, on the one hand, controlling and knowing, on the other, waiting for an unknown result, is one and the same person. Ksenia works with glass carefully, slowly and meditatively, perceiving the uncertainty of the result as a certain philosophy of her work, inseparable from the process, not resisting it, but not indulging only chance in everything.
Xenia's works, originally abstract in their essence, remind us of natural phenomena: ice, sky, water. They enter into a dialogue with Eugenia's photograms, created from the silhouettes of real objects or phenomena, but which have become even more abstract than the non-objectivity of glass objects.
The transformation of images from concrete to abstract and vice versa occurs without the will of the author - beyond the boundaries of his influence, this is not a product of his intellectual choice.
At the same time, both artists initially deliberately abandoned symbolism and any narrative in their works. So, the choice of the medium itself or the material for work is the main author's choice in creating works, after which the second participant in the process enters - an accident that fixes the momentary triumph of the moment in artifacts.