©Courtesy of Artists & Diskurs Berlin

 

 

IT MAY SOUND UTOPIAN / Nr. 6

 

 

Inna Artemova - Agile Acceleration

15.04. - 28.04.

 

 

curated by Eleonora Frolov 

 

 

 

Please scroll down for the German version!

 

Inna Artemova's expansive installation 'Agile Acceleration' is posing a question: 

"HOW DO WE WANT TO LIVE IN THE FUTURE?"

 

In the world premiere of the opera 'Violet Snow' ('Violetter Schnee') in 2019, the Russian writer Vladimir Sorokin anticipated the effects of a state of emergency on human existence even before the outbreak of the current pandemic. Society is isolated, sealed off, life paralyzed by a snowstorm, the world order shaken. People experience grueling uncertainty, isolation and are being thrust back at themselves. Time seems to standstill. A year later, we experience how a virus, just like that snowstorm, is tearing people out of their normal lives and displacing them en masse from the cities. Invisible particles provoke the future and accelerate progress. How will we live in the future, and what will our living space look like?

 

The Italian geologist Antonio Stoppani wrote as early as 1873 that there was "a new telluric power that could rival the great forces of nature in terms of strength and universality". In this context, he spoke of the "Anthropocene Age".

 

Inna Artemova draws visionary ideas for her imagery from her memory and imagination. In the expansive installation 'Agile Acceleration' she plays out the architectural vision of a future city as a common living space in a thought experiment: in the metropolis, in the country, vertically, horizontally, evolutionary, modular, agile, and changeable. The city as a way of life adapts to our needs and not the other way around; it is always on the move.

Modular cubes float vertically, leave the picture and arrange themselves in space. Being agile, they change their position and adapt to new requirements. Seemingly unpredictable, they follow very specific algorithms to shape a sustainable, humane city. We are watching the process of creation.

 

The city reflects how a society organises itself. Existing hierarchies have been dissolved by working from home and replaced by networks. According to Niklas Maak, gigantic ruins of modern society are forming in the cities. Urban architecture has often been transformed in the wake of disasters, it has become more hygienic and more resource-efficient. Environmentally friendly and bio-based concepts are being discussed for the future.

 

In a field test, Inna Artemova designs an agile landscape as a prototype city of the future: flexible, mobile, networked, and self-organized. A call to challenge the complexity of our present and to courageously reinvent the city of the future.

 

- Eleonora Frolov, curator 

 

 

Inna Artemova says: "The perspective of the drawings and lines is directed towards the viewer, who is positioned in a marked position in front of the entrance door. This allows them a spatial immersion in the emerging fictional world. At the same time, these drawings and lines dissolve the existing space in its previous form and open up new visual and mental spaces.

 

On view are utopian landscapes. The square spatial bodies that are central here not only represent a basic geometric form; they also stand for a fundamental spatial form of human coexistence. Their floating state can be read as a metaphor for an aspired utopian ideal state. It also represents a mental openness to new possibilities of living together."

 

Inna Artemova, born in Moscow, studied architecture at the Moscow Architectural Institute (Marchi). For her diploma project, she received the 2nd prize from the Russian Federation. In 1998 she moved to Berlin and started to focus on her work as an artist in the field of painting and drawing. Recently, Inna Artemova has participated in: the Lahore Biennale, Pakistan (2020), and in 2019, the Kyrgyz National Museum of Fine Arts presented her works in the solo show "Landscapes of Tomorrow". She has had numerous solo and group exhibitions in Germany, Austria, and Italy. Additionally, her works were shown at international art fairs in Germany, the Netherlands, Switzerland, Denmark, the US, and Japan. Inna lives and works in Berlin.

Eleonora Frolov is an international exhibition maker and works for galleries and for private collections. In her curatorial practice, Frolov examines digital transformation and the new possibilities it opens up for global networking, creating new, accessible, technology-based art, knowledge, and documentation spaces. Most recently, Eleonora Frolov curated an Art Biennale in Worpswede, dedicated to failed technological and social utopias of Russian Modernism and 'The sea used to be here, with Anastasia Khoroshilova.

 

Frolov exhibitions have a clear thematic focus, such as iconoclasm, among others. 'You shouldn't make a picture 2014, 'The rest' 2015, 'A picture is not a picture is a picture 2016 and 'Once the sea was here' Anastasia Khoroshilova, as well as Matthias Koch's 'Normandy - Atlantic Wall' 2017. She worked with Luc Tuymans, Guenter Weseler, Dieter Hacker, Carla Guagliardi for exhibitions and artist books.

 

 

 

Inna Artemovas raumgreifende Installation „Agile Acceleration“ stellt die Frage: „HOW DO WE WANT TO LIVE IN THE FUTURE?”

In der Uraufführung des Stückes „Violetter Schnee“ nimmt der russische Dramatiker Vladimir Sorokin 2019 die Auswirkungen eines Ausnahmezustandes auf das Menschsein noch vor dem Ausbruch der gegenwärtigen Pandemie vorweg: Die Gesellschaft ist abgeschottet, das Leben ist durch einen Schneesturm lahmgelegt, die Weltordnung erschüttert. Die Menschen erfahren eine zermürbende Ungewissheit, Isolation und das Zurückgeworfensein auf sich selbst. Die Zeit scheint still zu stehen. Ein Jahr später erleben wir, wie ein kleines Virus, analog zu jenem Schneesturm, die Menschen aus ihrer Lebensnormalität herausreißt und massenhaft aus den Städten verdrängt. Unsichtbare Teilchen provozieren die Zukunft und beschleunigen den Fortschritt. Wie werden wir in Zukunft leben, und wie wird unser Lebensraum aussehen?

Der italienische Geologe Antonio Stoppani schrieb bereits 1873, es gäbe "eine neue tellurische Macht, die es an Kraft und Universalität mit den großen Gewalten der Natur" aufnehmen könne und spricht in diesem Zusammenhang vom "anthropozänen Zeitalter".

 

Inna Artemova schöpft aus ihrer Erinnerung und subjektiven Vorstellungskraft visionäre Ideen für ihre Bilderwelten. In der raumgreifenden Installation „Agile Acceleration“ spielt sie in einem Gedankenexperiment die architektonische Vision einer künftigen Stadt als (Zusammen)Lebensraum durch: in der Metropole, auf dem Land, vertikal, horizontal, evolutionär, modular, agil und wandelbar. Die Stadt als Lebensform passt sich unseren Bedürfnissen an und nicht umgekehrt, sie ist immer in Bewegung.

Modulare Würfel schweben in der Vertikalen, verlassen das Bild und bauen sich im Raum auf. Agil verändern sie ihre Position und passen sich neuen Anforderungen an. Scheinbar unberechenbar folgen sie doch ganz bestimmten Algorithmen, durch die eine nachhaltige menschengerechte Stadt geformt wird. Wir schauen dem Prozess bei der Entstehung zu.

Die Stadt bildet ab, wie eine Gesellschaft sich organisiert. Durch Homeoffice haben sich bestehende Hierarchien aufgelöst, an ihre Stelle sind Netzwerke getreten. In den Städten entstehen gigantische Ruinen der modernen Gesellschaft, sagt Niklas Maak. Die Architektur der Stadt hat sich in der Folge von Katastrophen schon oft transformiert, sie wurde hygienischer, Ressourcen sparender. Für die Zukunft werden umweltfreundliche und biobasierte Konzepte diskutiert.

Inna Artemova gestaltet in einem Feldversuch eine agile Lebenslandschaft als Stadt der Zukunft, flexibel, beweglich, vernetzt und selbstorganisiert. Ein Plädoyer dafür, sich der Komplexität unserer Gegenwart zu stellen und mutig die Stadt der Zukunft neuzuerfinden.

- Eleonora Frolov, Kuratorin

 

 

 

 

 

 

 

©Courtesy of Artists & Diskurs Berlin

 

 

Artists Websites

 

 

 

REAL, SYMBOLIC, IMAGINARY

 

 

Due to the increasing spread of COVID-19 REAL, SYMBOLIC, IMAGINARY  postponed to a later date. We will continue to update the information on this website as well as through our social media channels.

 

 

Zinu KIM

Jeewi LEE

Ka Hee JEONG

Alexej PARYLA 

Lorina SPEDER 

Via LEWANDOWSKY 

LI Zhenhua

 

 

‘I began with the Imaginary, I then had to chew on the story of the Symbolic ... and I finished by putting out for you this famous Real’ – Jacques Lacan

 

The title of this project Real, Symbolic, Imaginary, is inspired by Jacques Lacan’s three psychoanalytic orders. These fundamental dimensions need to be discussed not only in the aspects of psychical processes but also in understanding the real-life of North Koreans.

 

While South Korea is understood in various perspectives with its active interaction around the world, North Korea is often seen unilaterally and passively through mass communications or clips from foreign visitors. There have been several recent exhibitions abroad on North Korea, in Gwangju and at the Busan Biennial. Artworks from North Korea were presented, and some were even by a North Korea defectors. Most of the time, North Korea’s political issues, ideology and armaments are what catch the eye of the outer worlds. However, the general populations’ lives, their dreams, families, love, and friendships, are barely known. The DISKURS Berlin project aims to turn away from what is known, reported and sensationalized and turns instead toward the people, the mundane and the daily lives of North Koreans.

 

Hence, political ideology will be excluded from the project. The invited artists from South Korea and Berlin will explore materials from North Korea collected on a research trip by Jung Me Chai, they include linguistic books, modern comics, medical books, movies and television series. The artists will use these source materials and their artistic practice to present the audience with original artworks that actively interprets the daily lives of North Koreans, escaping from current perceptions of the country. Moreover, they will enter into a critical examination of these concepts and open up a dialogue that moves beyond monolithic narratives.

 

Last year Berlin celebrated 30 years since the fall of the Berlin Wall. Through its history, Berlin is now seen as a symbol of freedom and liberal expression.

Real, Symbolic, Imaginary expects the positive synergy between the exhibition and the symbolic place Berlin.

 

The project Real, Symbolic, Imaginary attempts to transport an emancipatory alternative into the public consciousness in this critical era. It will be a platform where two worlds of North and South Korea meet and understand each other for the better.

 

Jung Me Chai

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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