Untitled - krinzinger projekte - Galerie Krinzinger

DUBOSARSKY & VINOGRADOV12SOCIAL REALISM FOR SALEPatricia Ellis, from the catalog of theTirana Biennial 2001 / FlashArt Oct. 2002Dubosarsky & Vinogradov are designedheroism for the 21st century. Siftingthrough the rubble of Russian mythology,Dubosarsky & Vinogradov are re-mixingfolklore for the next generation. Spin-doctoringa new glasnost: a true power forthe people type of propaganda. Samplingfrom every fad in the book, Dubosarsky &Vinogradov piece together a black marketparadise. Social realism for sale: moreglamorous than ever, a cut above the rest.90IES – ART IS AS SIMPLE AS MOOINGAnatoly Osmolovsky, in: Dubosarsky &Vinogradov, Soros Center for ContemporaryArt Moscow, 1999 (excerpt)The collaborative work of AlexanderDubosarsky and Vladimir Vinogradovstarted in 1994. Before, Dubosarsky wasknown as one of the most active participantsin the Gallery in the Trehprudnyalley, which, being supervised by AvdeiTer-Organian, showed extremely intensiveexhibition activity. Weekly exhibitionsactionshad been grasping the attentionof the Moscow art scene for more thantwo and a half years. However, in 1993the gallery terminated its activity, theauthors’ circle disappeared and each participantstarted to look for his own way incontemporary art. While Dubosarsky exhibitedin the Trehprudny alley his friend andfuture partner Alexandre Vinogradov wasgraduating from the Surikov Institute. Hisknowledge and abitilities obtained in theinstitute were the most influential for thecontemporary project practise. […] In1994 the Moscow situation had beenmarked by the appearance of radical art -an absolutely different art situation, whichlater became extremely famous (sometimesit was also called Moscow actionism).At that time radical art, mostly focusedat highly aggressive and brutal performances,was the most noticeable andpopular method for communication withthe society. In its turn, radical art startingwith the first actions (at the end of 1989)argued with the circle of the Moscowconceptualism that had appeared in theSoviet age. In spite of the declining interestto esoteric conceptualism, it keptquite distinctive influence in the Moscowart context. […] However, contrary to radicalswho created an image of an antihero,of an anarchist terrorist and provocateur,Vinogradov & Dubosarsky tried toconstruct an image of a post-perestroikapositive hero. Their main task was to synthesizea new Russian style, which, on theother side can provoke misunderstanding(misunderstanding is the main attribute ofinterest) in the field of art. This misunderstandingin the situation of total decline oftraditional interpretation schemes, totaleconomic and social state instability couldbe achieved only by demonstrating acomprehensible and simple gesture. […]Critics were trying to find out: what is it?Another turn of sots-art in different socialconditions? Apology of a new Russianstate? Intellectual infantilism, craziness orpossible madness? New aestheticism orsimulitionism? I think that all this interpretationsare similarly probable, they do notreflect the complicated and contradictoryidea of Vinogradov and Dubosarsky, butrepresent the spontaneous and schizophrenicpost-perestroika Russian reality. […]