Marina Gisich Gallery is celebrating its twentieth anniversary in 2020. Instead of hosting a gala dinner, receiving gifts and listening to refined toasts, the gallery decided to pursue the thorny path of an overly ambitious project: during the month of December, about 30 solo exhibitions will be held in the space on Fontanka 121. You may wonder if this is even feasible. Well, why not?
The idea of such a marathon of projects arose from the assertion that the gallery is, first and foremost, its artists. In this context, a standard group exposition might look like a demonstration of achievements, whereas a holiday — a birthday — demands giving everyone the chance to take the floor.
Each day one artist will spend 6 hours in the gallery space. They will keep doing what they normally do: making art, thinking, reading, breathing, writing or sleeping, but most importantly, they will continue to be themselves and face their own challenges, as they do unnoticed every day. From time to time, this invisible work turns into exhibitions or their works go to art fairs and museums. And this wonderful ending always emerges out of ordinary days when the artist is free but not sought after, when the jewel has not yet been discovered, and art is still a mere promise, not a thing.
Individual performances have been common enough in the history of art. Many famous masters worked with their own bodies and documented their everyday existence, but this is different. This project accentuates the difference between the idea of what a private and personal event at a respectable gallery should be like, and the fact that the artists themselves, and especially what they are doing, is ultimately made public.
In 2020, new beginnings are commemorated the same way the world over: everyone, without exception, has been locked in individual solitary cells. From our cells, we send each other holiday wishes, we continue to work in them, we reimagine the world and move forward. The gallery acts as a depository, a huge living library that brews art in its depths — art in the sense of the artists themselves. On its twentieth anniversary, Marina Gisich Gallery wants to say: they are the gallery.
“It is interesting for me to explore the new state of the post-Internet person. He is constantly looking for his individuality, and it is the attempt to assert himself that is of particular value in this continuous process. For me, painting is also an attempt at affirmation, an attempt to be sincere, while remembering that there is no unambiguous and predetermined meaning "
“The history of thought to return torments, like a virus, capturing more and more new territories. Considering myself a thinking and reflexive person, through art I find for myself such new areas and understand more deeply not only the world, but also myself personally".
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About their participation in the HUB: "The performance consists of three parts:
1) Some time passes and the meaning begins to be lost. New wings are needed.
2) Art is a festive sacrifice.
3) Love, hope, quiet glory, deception did not comfort us for long.
These three parts of the performance blend seamlessly into the installation. The general name of the performance is "Alone with Your Thoughts".
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"Perhaps, the main subject of my artreflexia is our civilization.
Civilization, which has huge arrays of culture, rooted in the depths of history and simultaneously manifests itself in the most diverse areas of our fractal today. Reflecting on current problems, I try not to lose my private view of the situation. Without pretending to assess or diagnose what is happening, I am more of a witness and a contemporary who has his aesthetic predilections. Most likely, it is this feeling of simultaneous sensation of immense civilizational experience and almost intangible "now", the influence on the choice of plot, technique and method for my work, for all their diversity, we can say that the collage is dominant here".
For the first time, we are working together with my daughter Martha in public: to solve the ambitious but hardly feasible mission of the project "to draw everyone", and despite the insistence of art dealers to "hire a village of Chinese artists", we propose a different way. Instead of an avalanche-like growth of "production" in the moment, we push back the time horizon for the end of this series for all sorts of dramatic reasons, happily taking advantage of all the advantages of the dynastic business.
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