White on White
The White on White project focuses on the traditional theme of the ornament and develops its contemporary art techniques, which makes it possible to cut out a spark from the collision of two supposedly opposing worlds.
At the level of physics, white is the ability of the surface to reflect the rays of light that enter it, without absorbing anything and not taking away, which can be understood as the ability of pure communication. Similarly, in the traditional world, a white ornament on a white background meant unhindered communication, a combination of microcosm and macrocosm.
The ornament turns into a monad such that, looking at itself, opens tunnels, exits to the whole world. Combining various forms, which meditatively pulsate, pass into one another, the ornament, with the help of certain rituals, comes alive, drops off the ashes of a deadly stamp and manifests its magical essence.
The installation of Yuri Lejderman “Names of Electrons 2” creates a space where there is a talk and experiment with elements in a shaman’s hut or an alchemical laboratory. Striking between the cultures of the West and the East (literally putting Wagner’s opera “Flying Dutchman” into the ears of Eskimos), the work gives the tension of waiting for communication and communication. If the contact occurs, it will appear in the motion of the electrons on the copper plate, and the connected lamp shines.
Installation of Teresa Barabash “Cuba” continues her own experiments with ornamentation as a multilayer, volumetric structure. It introduces the viewer into the very space of the ornament, in the ornament itself, where the echoes of separate layers and levels occur.
The long-awaited link appears to appear in the wall painting of Vartan Markarian, where under the influence of ultraviolet light the ornament opens the next dimension. Yet the overall picture is infinitely bigger in both breadth and depth, and the flashlight, a fragment of true light, does not allow us to comprehend everything. He moves from wall to wall, snatches for small-lighted pieces. Alina Litvinenko’s sculpture seems to intercept its trajectory, which becomes circular, as if it had fallen into the orbit of a large cosmic body.
Curator: Anton Usanov