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ENDURING FUTURISM
FUTUROLOGY, PROGNOSTICISM,
QUASI-TOTALITARIANISM AND 'THE RUSSIAN IDEA'


INAUGURAZIONE SABATO 12 DICEMBRE

DAL 14 DICEMBRE AL 10 FEBBRAIO 2010
ARTIST
ARCHI GALENTZ
ANVAR KADYROV
ELENA KOVYLINA
ILYA KITUP
BERND BRINKEN
PETR BYSTROV
ALEXANDER KORNEEV
ALEXANDR SCHUMOW
GIOVANNI DE DONA
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Enduring Futurism - dispari&dispari project
Enduring Futurism - Installation view at dispari&dispari project

COMUNICATO STAMPA: dispari&dispari project inaugura sabato 12 dicembre 2009 alle ore 18.00, “Enduring Futurism” una mostra curata da Petr Bystrov con l’intento di riflettere sulla influenza esercitata dal movimento Futurista Italiano in Russia. Per l’occasione sono stati riuniti a Reggio Emilia artisti contemporanei di nazionalità Russa le cui opere (video / video-installazioni / sculture / opere sonore / performance / azioni), affrontano alcuni dei temi chiave espressi nel manifesto di Filippo Tommaso Marinetti. Senza nessuna gerarchia, luci, suoni e azioni si sovrapporranno sgraziatamente all’interno dello spazio espositivo generando una visione d’insieme brutale, caotica e discordante, come fu la percezione dello stesso Manifesto Futurista che per alcuni rappresentava idee rivoluzionarie di sinistra e per altri supportava i movimenti totalitari della destra fascista. La mostra è aperta al pubblico fino al 10 febbraio 2010, da martedì a venerdì dalle ore 10.00 – 13.00 / 1500 - 20.00. Sabato e Domenica solo su appuntamento. Per maggiori informazioni visita www.dispariedispari.org

Artisti Invitati: Archi Galentz, Anvar Kadyrov, Elena Kovylina, IlIa Kitup, Bernd Brinken, Petr Bystrov, Alexander Korneev, Alexandr Schumow, Giovanni De Donà.


Enduring Futurism  I - dispari&dispari project
Enduring Futurism - Installation view at dispari&dispari project

ENDURING FUTURISM
FUTUROLOGY, PROGNOSTICISM, QUASI-TOTALITARIANISM AND 'THE RUSSIAN IDEA'

L'anno 2009 segna il 100° anniversario del famoso Manifesto Futurista di Filippo Tommaso Marinetti pubblicato sulla rivista Parigina Le Figaro. In quegli anni, sia il manifesto che l’autore, sono stati percepiti in maniera contraddittoria e ancor oggi si discute sulla posizione di Marinetti come esponente di sinistra o di destra. Inizialmente le sue idee sono state considerate come un appello alla liberazione e alla libertà, ma la stessa energia (proveniente dall'interno) ha generato una sorta di filosofia totalitaria culminante con il concetto di guerra come l'espressione più nobile della natura umana, e la violenza nella società, come il valore più alto.

In Russia, la particolare propaganda di Marinetti - come del resto le sue idee – venne accettata da personaggi come David Burljuk, Vladimir Majkovski e altri cubofuturisti russi i quali inizialmente ne ebbero una comprensione come al cento per cento di sinistra. Tuttavia, nel momento in cui Marinetti divenne l’ideologo fascista che sosteneva il regime di Mussolini, le sue opinioni incontrano una certa censura alla quale seguì la cancellazione del suo nome da tutti i corsi letterali della Russia sovietica.

Enduring Futurismo è un progetto che riunisce una serie di artisti contemporanei russi ed intellettuali, (con l'eccezione del tedesco Bernd Brinke e dell’italiano Giovanni De Donà), il cui lavoro in maniera molto diversa affronta i temi della guerra, la forza, il ritmo, il modello, il culto, la profezia. Enduring Futurismo mette in luce la concreta relazione storicamente sviluppatasi tra i due movimenti, il futurismo Italiano e Russo, che esercitarono una grande influenza nella modernità contemporanea. Questa mostra, accompagnata da una serie di presentazioni e pubblicazioni è destinata ad essere come uno sbarco di truppe sul suolo italiano e su gli altri eventi storici di questo nuova filosofia italiana, che a livello mondiale e stata maggiormente recepita in Russia.


Enduring Futurism  II - dispari&dispari project
Enduring Futurism - Installation view at dispari&dispari project
Enduring Futurism  III - dispari&dispari project
Enduring Futurism - Installation view at dispari&dispari project

ARTIST AND FUTURE: The future is the subject of the most varied speculations. Amongst the discourses about tomorrow we can single out two principal types. The first is based on the logic of our notions about the present day and flows from present achievements and good intentions. The second has its source in the realm of pure fantasy: it has nothing in common with the present, however progressive and developed that may be; it diverges from all our hypotheses, even the most fantastic. It is unimaginable. The bright future promised by the totalitarian regimes was based on the attempt to calculate tomorrow and erect a defense against it; it followed from the achievements of the present moment and included an economic model, a politics, and an ethics. In turn, the moral and ethical character of judgments about the future range from the romantic prognosticism of the scientist, with his talk of hyperboloids and moon buggies, to the enticing hullabaloo of the fortune-teller, who for a price cracks open the door into our unknown. The precarious infrastructure of the unknown is formed by currency exchange rates, weather forecasts, and personal predictions. And yet we know very little about the future in the authentic sense of the word, even the immediate future. The artists who present their works in the project Enduring Futurism show us various versions of what should happen tomorrowControl over tomorrow - including warding off the onset of non-existence - and the virtual beautification of tomorrow are symptomatic of all forms of authority. In the rhetoric of the state, those declared useful for this tomorrow are always designated, as well as those who hinder its emergence - that is, the future as it should be. To this day, scenarios for successful development based on the dogmas of nation, country or state continue to multiply. Perhaps they are non-functioning, totalitarian or quasi-totalitarian, but they preserve within themselves this conceit

The pieces by Elena Kovylina, Abstraction: Russia N1 and Egalité, make explicit this confused, sometimes unconscious claim on the future: the claim to (future) order, (unalterable) hierarchy, and (an indefinitely enduring) regime. At the same time, they visualize the well-known “Russian idea” (whose actual content, however, no one knows for certain): eastern ornamentalism crossed with European regularity. The attempt to manage the future with know-how, visibly and handsomely, is frightening because even outwardly impeccable mathematical constructions in practice inevitably presuppose victims and suffering, the rejection of all superfluous elements. In dialogue with the decorative panel, the video Egalité figures as a contemporary version of the Procrustean bed, alluding to attempts at forcible socialization.

The cult of war tops the hierarchy of civic values and liberties in Marinetti’s Futurist proclamations. It is war that is a blessing and good; war is the specter of tomorrow. The set of issues engaged by Archi Galentz in Globe of Armenia belongs to this problematic: the mutual convertibility of borders, the endless modification of identity, the permanently emerging map of sovereign nations. The aesthetics of Globe has its origins as it were in the classical formula of the world as war (and vice versa), or of the world engulfed in the flames of war – if not a hot war, then a cold war, but a permanent cold war whose outcome has been predicted in countless ways.

Aleksandr Schumow, however, interprets the entire history of the avant-garde precisely as a perverse manifestation of passionarity, of the impetuous will to act. And if the desire to fight, conquer, and emerge victorious is common amongst “ordinary” men, then the avant-gardists (in life as on the surface of the canvas) carve out a strange and decorative behavioral pattern that again leads to bloody and contradictory relations and generates a chaos teeming with events. Such is the picture of the artistic and “everyday” avant-garde proposed by Shumov in the labyrinthine installation SUPREMUS.

The project by Anvar Kadyrov, Booth of Silence, was born out of the desire to change tomorrow for the better, out of a radicalization of spiritual ecology and mental hygiene. This is an uncompromising humanitarian mission that wants to realize itself in the form of a massive new infrastructure whose benefits are for the time being as it were unimaginable. Simultaneously, this project is an uncompromising apology for silence as a phenomenon, as an elemental force.

Ilja Kitup also tells us a story about a tomorrow better than our today. His taste for inventions (the series STAMPATO) is akin to the qualities of those scientists who have little concern for the future applications of their constructions. Instead, the process of creating these innovations itself consumes them.

In his lecture about Beautiful future projects and Mountain of Darkness, Bernd Brincken discusses the historical relationship between “pure” art and realpolitik. His topic is the furious enthusiasm for the invention of all manner of contraptions, engines, and flying machines, which characterized the European totalitarian regimes, and the unprecedented concentration of the future in the present, with its emphasis on a speedy forced march in that direction.

In the performance Left, Left – Right!, Petr Bystrov questions the essential belonging of all forms of creativity. Does creativity belong to order or chaos, to what is already given or to the unknown? This performance also functions as an open discussion of the political foundations of the Futurist project, which began as something revolutionary but then mutated into the aesthetic “doctrine of fascism.”
“Left, left – right!” Thus two pluses make a minus, and two minuses, a plus, in continuous, agonizing, physically painfully rebirth: from rhythmicity to chaos, from regularity to the riot of impulses.

Then again, in his piece My Brother, Aleksander Korneev offers us an image of pure experimentation girded by the logic of “what will be, will be.” This experiment is such that its function has nothing to do with corroborating a theory and certainly not with serving the ideals of civilization. This is a maximally absurd action whose goal is to achieve an improbable result.

Giovanni de Dona, the only countryman of Futurism’s founder in our project, presents Diachronic, a performance during which he reveals an experimental mode for the processing of information by demonstrating a series of sounds and images. This mode is unburdened by a logic that seems singular, immediate, and indisputable.

Petr Bystrov, Moscow 2009



ENDURING FUTURISM

OPERE



ANVAR KADYROV: BOOTH OF SILENCE
ANVAR KADYROV: BOOTH OF SILENCE

Booth of silence project main purpose is erecting sound proof cabins in the centers of biggest cities all over the world in order to start up a newest infrastructure service: protecting people from extra noises caused by urban acoustics, those we all do suffer from at times. Back in summer, we took the following route: Geneva-Rome-Naples-Paris-Barcelona-Moscow in order to seek and explore biggest european cities' most noisy locations, sound meter them and imagine possible architectural solutions in order to booth of silence potential locations. Anvar is right now collaborating both acoustic companies and design offices for having consulted and invented most appropriate outlook for the original cabin as well as its construction decision. 12th of December will see the first B.o S. presentation - not a real object but yet an idea of what supposes to be a massive public service as the project develops. However, the basic intention is starting a booth of silence company as one real functional thing - not only art piece to see; rather social infrastructure to spread. Should the experimental object - equiped, functioning and transportable - be one day perfectly produced, we are looking forward to a space (somewhat 4 to 4 metres) preferably somewhere in the city center where booth of silence can fit in and have a period of work registered - meaning people come making use of it and us monitoring and documenting all. It is not yet defined whether the whole initiative would later result in becoming a mass (or kind of business) project; for now this is an art project of a certain sort.
BERND BRINKEN: LECTURE
BERND BRINKEN: LECTURE

My contribution to Enduring Futurism is a lecture comprising three parts:

• Beautiful future projects - Projects with a futuristic character that were not yet realized - but should be.

• Mountain of darkness - Understanding the future of the past, as part of a social learning process, a dark historic chapter following another futuristic path: The production of the german 'Vergeltungswaffe 2' in World War II.

• Futurist Manifest II - Manifesting a futuristic approach in the (second) future society of today.
ELENA KOVYLINA: ABSTRACT COMPOSITION RUSSIA #1
ELENA KOVYLINA: ABSTRACT COMPOSITION RUSSIA #1

Elena Kovylina's newest series is dedicated to the phenomenon of modern Russian postimperial / totalitarian spirit. This is taken not only as condition of daily life that spread allover but that remains elusive, although one could recognize it's massive impact on politics and even on artistic circle condition. In the era of political censorship (which one in succession?) when terrible things of injustice are often to happen in life, Kovylina would rather appeal to kind of allegory language than to that one of direct assertions. According to her, aesthetics of geometrical abstraction contains violence and links towards totalitarianism of a sort.Hundred years back, in the age of chaos, Otto Dix documented life of deformed by means of figurative paintings, whereas Wassily Kandinsky created abstract compositions naming them alike Premonition of civil war. This is extremely important to be able to find this gesture of premonition in abstractionism. A series of abstract compositions consisting of colored bars of wood (Russia is certainly known an immense timber resource) under subtitle Russia 1, Russia 2, and the like will be presented.

ELENA KOVYLINA: EQUALITY

Elena Kovylina’s Equlaity video piece is a brutal satire on democracy in Russian society today. The video-installation “Egalite” creates a clear image of the many double standards in post-Soviet society, developing the idea of the “Procrustean bed,” that is, a norm that will cause the individual unavoidable pain when he or she tries to fit in. The real difference is that today, you don’t “try to fit in:” instead, participation in contemporary society is an inevitability that has become impossible to avoid. Deliberate social security, the declaration of rights and freedoms, and other slogans and formulas characteristic of Russian society are expressed with visual simplicity, and one might even say that they have gained a human face. But if “egalite” is a century-long project that has continued in Europe since the Enlightenment, its Russian version is very different after the fall of the Soviet Union. Illusory financial equality has been replaced with a so-called civic equality that has become no less utopian than its Soviet counterpart.
ARCHI GALENTZ: HAJK (GLOBE OF ARMENIA)
ARCHI GALENTZ: HAJK (GLOBE OF ARMENIA)

Globe of Armenia (Hajk) is the title of an object that refers back to the basics: to a square, an arc, or a cube. Hajk is a generalized term to name Armenia as cutural community, not certain geographical territory. Wooden cube is glued over with paper on which one can see Armenia state borders in hypotetical historical perspective. Cube is fixed on bearings and rotates freely while letting us observe all its six sides: various scenarios of the development of Armenia's territorial identity are presented this way. However, the certain history that is represented to us on the cube might be seen a metaphor: national history never happens the way of gradual transformations but policy turnaround; a chain of events one has to react. Thus, watercolor technics ain't chosen accidently. Before the inventions of printing machines, architects used to set color planes the way the would drift lots of layers with paint diluted with water. A slang expression to talk it was tear painting. The subject of Hajk lies somewhere between rebundancy - as we are given plenty of prognostications made from a point of an engaged thinker who obviously stands for the country's virtual prosperity - and deficiency in positive opportunities of real politics of nowadays. This is why the Hajk's patterns of political development are being pictured a pessimistic ones: whatever happens to Armenia means territory losses as the only strategical tool to save the autonomy. The Pan-Turksih, American and others gameplans of those who reckon on miappropriations. The point being made is Galentz protest against Armenian lands speculations and territorial pretensions from allover with Hajk representing a certain antiutopia and huge dramaticism.
ILYA KITUP: DRAWINGS

ILYA KITUP: DRAWINGS

Ilya Kitup’s creative imagination has been enchanted by Mars, alien civilizations, and (more specifically) the means of getting closer to them for over a decade. He is not a sentimental dreamer or utopian, however. He is a discoverer, for in the space of his own studio (yes, in his studio!) he manufactures constructions and instruments whose great and, alas, unrealizable function is to fly, roar (i.e., motors), and help humankind to overcome distances measured in light years.
Moreover, these designs never leave the two-dimensional surface, the level of the blueprint, sketch or graphic fantasy. Such is the nature of his machines, engines, and apparatuses. A separate aspect of his mythology is the idea of the intelligent life that still populates Mars, which is testified to by the publications that are allegedly printed there. Obviously, this is a pure invention on the part of the artist, a fantasy that is hackneyed and contrived and not particularly witty. And yet Kitup elaborates it with enviable earnestness. In the series STAMPATO he presents the covers of Martian books (as well as those of “normal” books, i.e., from Earth): a dozen linocuts on colored paper that depict industrial sites there – contours, façades, fragments of some kind. The books published on Mars wage an intellectual war with their earthly counterparts, whose titles are an endless series of abbreviations, primarily the three-letter variety (KGB, DDR, KDW, etc.). The covers themselves are adorned with infantile drawings – airplane wings or a potted plant. The presentation of Kitup’s work at Enduring Futurism is a not altogether ordinary sampling of the work of this primitivist graphic artist. Rather, it is an ode to the talents of researcher, engineer, and mad scientist buried deep within him. Thus the representation of his talent is not limited to the traditional form of a wall on which framed graphic works have been hung, but moves implacably towards revealing the secrets of a kind of virtual design bureau: an idée fixe in the form of diagrams, blueprints, and meticulously detailed plans. This is Kitup the draughtsman, physicist, and mechanic. Kitup as Semyon Lavochkin. Kitup as Andrei Tupolev.



GIOVANNI DE DONA: DIACHRONIC
GIOVANNI DE DONA: DIACHRONIC

Today I was reading Deleuze, talking about Bergson, the duration…(reported on the Evolution Creatrice) he talked about metaphysic that investigate duration, isntead science investigate matter. Time is just a function. I will play this function on a fixed duration. Does this way means I'm doing metaphysical epistemology? Is Diachronic, first of all, first of a new musical instrument, first of a sound manipulator, a player of matemathical function expressed through the earable sound, first of a neo futurist instrument because is vanguard in itself and because concern the Boccioni and Russolo ideas and dreams …. is this the product of a new epistemology based on the consciousness of time, and so of future/past paradigm, its mythology, and perception of being in itself? I have the suspect, working on this, to have created a sort of machine of disillusion of time, based on variations of the repetition. Playing variations you can work with matemathical description of nature, and so create a new kind of order. This is not, in fact, a random noise generator. There are rules, and new grammars to build. The avanguardia produce finally a new order. His contrary is pop: to keep something diffused and resume it in a symbolic act. Here I'm producing a new machine, that permit new actions! I'm not using the copy machine of the polish Warhola went to America: I'm breaking codes. This is, in fact, not a new thing in itself, some of these manipulation can be used in normal post production: but its use in real time is part of a new consciousness, of a new way to look to the subject, to his consciousness. The new subject is product of the global connections, our perception is delayed by the buffer of the net, no more drove by the mechanical paradigm of the piston of the Ford of XX century. Acceleration started years and yers ago, and the Futurists just say that: they provocated to say the truth, and then XX century happened, and the illusion of the ethernal present is closer through our usual Skype conferences. The net delay is the last meter that divide the visrtual from the actual, where our bodyes live. I would say we are here and now, we produced a new nature through the technics, and this is not opposite: is the extreme consequence of the acceleration. I will play accelerations and its contrary in a fixed duration to represent our time, and our consciousness that is no more linked to the old binomius nature/technich, body/machine: we use machines as external improvement of our cognition, and mathematics implemented in machines as we learn measuring fields and stars figures thousand years ago. Music is to create figures to our perception, out there are frequencyes only. No aesthetic outside men perception. Also no ethic. War finally produced the XX century and showed the extreme consequences of science, like the atomic bomb. This was perceived as "progress". Now technics, finally Internet, is produced by science reasearch, motor of the war. I'm not a XXcentury man. I am the man of now, and this is our present, and this machine implement old dreams and intuitions of plastic dynamism and acceleration, and propaganda, and "the art of noise", and would break the regularity of XX paradigms of fixed repetition we can find in all current sftware for music. This because I have a contemporary perception of time, and old paradigms in new machines are destinated to fail: we have computer: let's use them to theyr peculiar ability, to calculate, so calculate time variations in a more complex order than we humans can do, and play with it!"
PETR BYSTROV: LEFT-LEFT-RIGHT
PETR BYSTROV: LEFT-LEFT-RIGHT

is the title of Petr Bystrov music piece conceived and written for boxing heavybag as if it were supposed to be lead drum. The thing is that music party for snare is normally accompanied with symbols for left and right hands to play with. The snare drum is also played accented (louder) on beats that signed >. This is somehow parallel to how combinations of punches are being commanded (from a trainer) when attacking: left-left-right; left-right-left-right, left-left-left, etc. - with the concluding punch being made most powerful of all: accented and, thus, ending the attack. Like this, in LEFT-LEFT-RIGHT Petr Bystrov applies drum technics as well as his rhythm skills to a heavybag in order to 'play' it. Exactly left-left-right (or, in boxing term, double jab followed by right hand lead) is known one basic combination the way young fighters are being taught to come forward and hit the opponent. The first edition of LEFT-LEFT-RIGHT has been recorded in a boxing gym in Reggio Emilia in July 2009. giovanni_de_dona was the one to program sets on drum machine to provide electronic bass drum to which Petr Bystrov responds with his 'hand made' series while wearing boxing gloves and equiped accordingly. A dialogue between man and machine - or electronic device and physical power - was established. This performance regards some fundamental thoughts of Marinetti directed to certain sort of a competition to be held between the man to having endlessly upgraded his physical skills and devices taking their permanent turn to the better as civilization goes further. In its second edition recorded in Moscow (LEFT-LEFT-RIGHT: THE LIVE DUO), a drummer plays snare live from a score while being in a here-and-now dialogue with the boxer working out and punching the heavybag impromptu. Rhythm, strength, tempo and physical ability of a human are being examined in L-L-R whilst listeners facing somewhat musical drama - produced from out an experimental drums - that starts from nascent to then reach certain saturation.
ALEXANDER KORNEEV: MY BROTHER
ALEXANDER KORNEEV: MY BROTHER

The work of Alexander Korneev is a kind of anti-scientific experiment whose purpose is to examine the human capacity to survive. Moreover, the test subject is the artist’s own brother. The emphatic senselessness of this experiment – its inapplicability to the needs of humanity – forces us to draw comparisons with that branch of “modern science” for which the Nazi concentration camps became infamous. Passive victims placed in profoundly extreme situations all in the name of the “selfless” service of science: the savage face of unfreedom. Cruelty, however, is not something that characterizes Korneev as an artist, and we don’t find it in his piece My Brother, either. His gaze is neutral, his mind is cold – he is the ideal doctor. However, it remains unclear what the temperature of the water in which his brother sits submerged really is (it is obviously getting colder) and how long he stays in the water in the end. And why his brother? For one would imagine that it should be possible to free a relative from this duty for whatever reason, even when it is absolutely necessary to conduct such an experiment. Should the artist replace him with himself? No, we don’t find this logic or this noble impulse in My Brother. All that we are left with is a silent young man with a snorkel in his mouth under a layer of water. The latest subspecies of the Amphibian Man. This outline of a colossal record achieved with difficulty and shattering all imaginable reasonable limits, as well the utterly excessive parameters of the action (a scrawny pale man in swim trunks; his long, unending submersion) aspires to conjure in our minds a certain integral image of the victim of the regime and the tortured prisoner of conscience: to sit out one’s term whatever it takes, to emerge victorious in the battle with the elements. Which in this case, moreover, are not raging, but patiently biding their time. The water bides its time. And in the water a man bides his time. His brother.
ALEXANDR SCHUMOW: SUPREMUS
ALEXANDR SCHUMOW: SUPREMUS

Supremus is the title of a magazine edited and published by Aleksandr Schumow during last thirteen years. Several issues went out in dedication to this or that celebrated events in Switzerland and Russia, such as dada anniversaries and celebrations. At the same time, Supremus entitles a certain figure identical to the artist persona as a sort of superego. His installation's scenarios often presume kind of interprenetration between some level of real and desirable, with latter being fulfilled with aspiration for certain perfection in the artist's own world of dream. Rather installed and consisting of huge number of elements, his opuses are being viewed as shocking of their confessionary nature at times. This is most definitely what artist intends to do with his spectator when inviting him into the world of 'daily avantgarde' based on chaotic associations that would provoke and release one's fantasies deliberately.



 

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ENDURING FUTURISM
dispari&dispari project
Anvar Kadyrov, Bernd Brincken, Elena Kovylina, Archi Galentz, Ilja Kitup, Giovanni de Dona, Petr Bystrov, Aleksander Korneev, Aleksandr Schumow.
Petr Bystrov
Via V.Monti 25, Reggio Emilia
Sabato 12 dicembre 2009, ore 18.00
Fino al 8 febbraio 2010
da martedì a venerdì dalle 10.00 - 13.00 / 15.00 - 19.30
sabato e domenica solo su appuntamento
+39.335.6097304
+39.0522.557344
info(at)dispariedispari.org
www.dispariedispari.org
www.enduringfuturism.org