30.5.10

Private Moon in Zurich


Sihl river, view from Sigi-Feigel- Terrasse
May 27th - August 24th 2010

13.5.10

GASTRÄUME. KUNST AUF ÖFFENTLICHEN PLÄTZEN ZÜRICHS



LEONID TISHKOV, «DER PRIVATE MOND», 2003
SIGI-FEIGEL-TERRASSE , BARBARIAN ART GALLERY
27 May - 27 August

Unter dem Titel «Der private Mond» schlägt der russische Künstler Leonid Tishkov, der von der Galerie als „Neo-Romantiker einer postindustriellen Gesellschaft“ beschrieben wird, die Aufstellung einer Leuchtskulptur in Form einer Mondsichel vor, gefertigt aus Kunststoff, Metall und LED-Elementen, gegebenenfalls auf einem Stab montiert. Die Plastik will die Geschichte des Mondes erzählen, der eines Tages vom Himmel auf die Erde fällt, dort von einem jungen Mann freundlich aufgenommen wird und so „unsere Einsamkeit im Universum überwindet und viele von uns miteinander verbindet“.
Der Jury gefällt die einfache Poesie der Arbeit, die subtile Dekonstruktion romantischer Stereotypen im Grossstadtdschungel. Sie rät jedoch, die technische Machbarkeit und Fragen nach der Sicherheit gegen Vandalismus zu prüfen, bevor eine allfällige Installation ins Auge gefasst wird. Als alternativer Standort werden die Bäume vis-à-vis der Sigi-Feigel-Terrasse oder der Brückenbogen erwogen.

First South-Russian Biennale_Rostov_2010



Solveig: The Landscape of My Memory
Installation, 2004: salt, glass, video, sound, 230 x 200 cm

Memory is a desert which we populate with the imaginary
In the landscape of my memory, one can see snow-covered fields and mountains, a small figure of a boy skiing along the shore of a frozen lake, and the traces of his skis in the snow. Following those traces, I travel into the past, restoring my ideal universe in which childhood is a time of spiritual depth and endless dazzling white snow. The vast sky above is like a window into childhood on which frosty patterns live, the northern lights glow, and huge stars fall. Snow is the time, the white imaginary landscape in which I settle my personal memories. It is there, at that hardly visible line of the snowy horizon, that the earthly and the transcendent spheres meet.




My Mother's Dress / Dematerialization
of Memory
10 photographs, 60 x 85 cm
Video, 3'
2006

After my mother's death I was left with her clothes: dresses,
scarves, blouses, underwear. The lonely dresses hung in the
wardrobe, silent on their wooden hangers. One of them
was the conservative black woollen dress of a primary-school
teacher. A colorful one of crepe de Chine was what she wore
on holidays. What was I to do with all that had been left after
her passing? Recalling how my mother had shredded old
clothes into strips to make carpets, I cut her dresses to ribbons,
to one endless ribbon, and spooled it into a ball. I cut
everything into "fringes," as my mother used to say.
Thus the clothes were dematerialized, converted into balls,
like atoms wound from electrons that hold
the nucleus of matter inside. "What beautiful material —
I shall make myselfa dress out of," my mother would say.
In the title of my work, "dematerialization" plays
on the similarity of the Latin roots for "matter" and "mother."
When I was done all that remained were the shadows
of dresses on the closet walls, bare hangers on nails, heartache
and a velvety photo album. And many colourful atoms
thatnow make up my reality, a peaceful
home fortified by love and memory.
Opening 21th May in Rostov Museum of Art

http://biennaler.ru/