Untitled - krinzinger projekte - Galerie Krinzinger

Because worth regrets is the fact that thefeeling of soul that gave to individualabsolutely unique position in relation tothe world, that gave him system ofcoordinate and definite mapping wherewas possible to act consciously, has goneaway. There wasn’t any creature withwings, and nothing palpable on thewhole, nothing that could be touched,fixed on the sensible film, weighted, ormagnetized, and what is even moremysterious there was nothing that couldbe really conceptualized. Though, therewas feeling of something that presentedsecretly but was not in a haste to revealand if revealed not to all.Maybe this is the very position/dispositionin relation to the world that can beunderstood only if to calculate its latitudeand longitude for which though doesn’texist any formulas and any appliance, andthat one has to attain itself. And in thissense, perhaps, a bit abstract, I believenecessary to reanimate this notion for theneeds at least of this text. If we speakabout paradise, God damn!Now coming to the point we shouldanswer the question: what artisticproblem is brought about by thisexhibition?The Paradise features the Moscow artand the Moscow artists, those whodemonstrated in the 90ies the maximumactivity and who was acknowledged andvalued by the Russian and internationalart system.This time was not easy at all for theRussian art. It met the problem that thedirect message has become impossibleany more. From one hand, the nationalthematic was exhausted by the verystrong and fruitful nonconformists of the80ies (Bulatov, Kabakov, Collective ActionGroup) plus the reality of this years inRussia was much powerful than any art;from the other hand, artists in Russiacouldn’t juxtapose anything to the veryelaborated western discourse which hassorted out all the contemporary artisticresources to numerous shelves andboxes mainly for the internal usage.Whatever emerging Eastern artist startedto do it was surely reproached in unoriginalityand inferiority, was told thatsomething similar exists yet. And whatwas really dramatic that this was baretruth.For instance, as committed critic, I shouldnow describe the works at the exhibitionand specify the western artists who haveinfluenced or even preceded them andthe well known tendencies they reflect.What I’m not going to do because Ibelieve that this is a secondary issue.I count that of the first importance is anevident contradiction intrinsic in theMoscow art. It bears signs of consciousunderstanding of its inferiority and at thesame time unquenched will and energy toprove its right for the own voice. The contradictionthat is even more obvious onthe background of its recognition.Strangely, the contradiction doesn’tdevaluate but contrary to that valorizesefforts of Russian artists of the 90ies andthis fact can be explained only by admittingthat common critical mapping isinfluenced by some fluctuatingphenomenon which I define as Soul. That7