"THE RIVER OF TIME DOES NOT TOLERATE ICE"
"VEGETABLE VERSUS CITY"
EXHIBITION CYCLE FOR THE 25TH ANNIVERSARY OF THE GALLERY
Marina Gisich Gallery in the Projects space will present a unique project-revision of its own history and archives called “The River of Times Does Not Tolerate Ice,” which will develop and reassemble throughout the year, bringing together the works of more than 30 artists represented by the gallery.
The curator and friend of the gallery, Alexander Dashevsky, will assemble the authors' works around several subjects ("Teacher, double, monkey", "This is my cottage!", "Garden against the city") to create a kind of hiding place from the exhibition space-a warehouse theater where the works will wink at the viewer and each other, reflecting on 25-the gallery's summer anniversary and the changes of fashions, paradigms, generations and cultural landmarks over a quarter of a century.
The River of Time Project Does not Tolerate Ice is a series of exhibitions about the questions that art in a commercial gallery answers (has answered and may continue to answer), how to show it, and what relationships it enters into when it crosses the gallery threshold in one direction or another. How ideas about fashionable, respectable, expensive, prestigious, modern, daring, permissible change. About how a ray of fame and demand wanders over the heads of artists, about how oblivion is replaced by demand, and annoying inappropriate junk becomes an invaluable legacy of a classic in a matter of months. And how the works are whispered in the darkness of the gallery storage.
The project is built in the form of three iterations, within which the curator collects three different narratives in the exhibition space, using the works of approximately one list of artists.
The final third part is called "The Garden versus the city." It is dedicated to those who see the act of acquiring art as a social statement. Those who wish to broadcast their views, taste, values, perspective and focus to their contemporaries and descendants. Those who assemble a large whole from individual works, those who return the corrected art history to the professionals and the audience with their own hands. For those who see collecting as a mission, a challenge, a vocation, a duty, a destiny. And generously, orbi et urbi, tells about his journey.
At the same time, it is an exhibition about the stage where everyone involved in the field of art performs. It is about a discrete proteic space that constantly gathers and loses its cultural identity. About a city that becomes an auditorium, about its inhabitants, to whom the artist's and collector's messages are ultimately addressed.
Text: Alexander Dashevsky