|
Subject: с англ на ит7 очень срочно до 30/11 нужно перевести 1300 зн - для заявки на Венец.Биеннале! помогите плиз - в долгу не останемся ! “It is not the marine topic which has always been the object of my interest,
but a certain topographical view of expanse.”
Victoria Ionina, RNA Foundation is honoured to propose a specially commissioned,
grand-scale outdoor installation by Alexander Ponomarev for
the Venice Biennale 2009.
For the 2009 Venice Biennale the artist has a vision of this beautiful ‘Submarine’
rising in the water creating a delicate new Venetian seascape that
reminds us poignantly of the history of Venice as a maritime city, as well
as the history of art, poetry and ideas.
Submarine, Venice 2009 will capture a vision of Venice itself. It is a vision
of Venice described so beautifully by Mrs Oliphant in the Makers of
Venice (1888).
Before embarking on his career as an artist Ponomarev was educated as
an engineer in Odessa and was a merchant seaman and marine engineer
until the early 1980s when illness forced him to quit his job. Embarking
on his career as an artist he developed an independent style which took
account not only of aesthetics but of maritime conditions. In his double
capacity as sailor and artist, Ponomarev aspires to “conquer space” and to
draw inspiration from the elements of air, water and light and from their
interactions with the man-made object, whether the hulk of an abandoned
vessel or a material installation. For Ponomarev Venice can be a
canvas for his work more than any other city in the world. In Venice
In addition to his artistic and intellectual concerns Ponomarev is a conscious
objector to any ideological constraints which society may try to
impose upon the artistic process. Consequently, Ponomarev contends
that the work of art must remain a neutral tract just as the Arctic and
the Antarctic must remain a no-man’s land outside of national and commercial
claims. Indeed, Ponomarev’s major projects and sequences such
as Wreck Art, Submarine Art, Maya:The Lost Island, and The Wave,
Windshield Wipers and Shower installations at the Venice Biennale and
Surface Tension at Cuetoproject in New York in 2008 are transnational
in purpose and focus, appealing to a universal, ecological consciousness
and not to a single political, moral or social constraint.Once again, reference to the ocean helps us understand Ponomarev’s neutrality,
because, even if the course of any voyage is planned in accordance
with the expected ports of call — Odessa, Naples, London, Havana, New
York — the waters between these geographical points are international,
unaffiliated and free. For the same reason Ponomarev is drawn to the
rigor and anonymity of technology epitomized by the motor of an automobile
or the wireless apparatus of a submarine.
The philosophical justification for his projected Museum of the Antarctic,
drifting against the current of contemporary national and commercial
pressures, is founded on both forms of neutrality, territorial and
technological.
The nature of Ponomarev’s artistic vision and practice means that this
work for Venice must be developed in partnership with local Venetian
patrons and the communiy and City of Venice.
A fully illustrated exhibition catalogue with texts by the artist, curator
and partners will be published by the RNA Foundation to accompany
the exhibition. Alexander Ponomarev’s Submarine in Venice will be produced by The
RNA Foundation a young non-profit organisation, founded by curator
Victoria Ionina.
RNA (Russian New Art) is an international organisation with offices,
workshop facilities and production departments in Moscow, St Petersburg,
London and New York. Our goal is to serve as a window on, and
bridge to, Russian contemporary art by establishing a platform and medium
for Russian artists to work and exhibit; and to serve as a communications
network between Russian artists and galleries, sponsors, and
organisations representing their activities worldwide.
Russia has given birth to many of the artistic traditions of the modern
era, and the artistic progeny of many of these movements can be found in
a contemporary Russian art world that is vibrant, confident and internationally-
minded. RNA provides intercontinental support to many of the
most powerful and creative personalities in the Russian art world, helping
them realise the collaborative potential between museums and art
galleries, dealers, auction houses, curators, critics and the artists themselves.
We have already established a number of workshop studios, which function
as multi-media platforms for contemporary Russian artists, both
established and emerging, as well as providing a space for Russian musicians,
writers, poets, and philosophers. These studios serve multiple uses,
as a workshop space, production gallery centre gallery space, and forum
for educational seminars and lectures.
RNA is dedicated to supporting the artist’s vision with our organisation
offering artists studios and workshop facilities rather than the traditional
white-walled showrooms. Instead we give our artists the professional
production support necessary to facilate exhibitions and commissions
that offer a much broader context for the presentation of their art, from
churches and cathedrals to canals and the sea. Equally we are interested in our artists work being seen by the widest possible
audiences and in the presentation of work that really immerse the
visitor not just in the work’s external appearance but in all its dimensions.
RNA founder Victoria Ionina (born Moscow 1981) has worked as a film
producer and as artistic director of a chain of Moscow clubs at a time
when the club environment was very exciting for young people in Moscow.
Artist performances, interior design and multi media art displays
were always part of her club environments and in 2005 she founded the
Gas Group of artists based at the celebrated Gas Holder club whee she
has staged artistic events, concerts and even round-table discussions on
philosophy and psychology. In 2007 she curated the acclaimed Miru Mir
(Peace for Peace) exhibition at the Art Moscow contemporary art fair. In
2008 she launched the RNA Foundation which is already representing
over 20 of the most cutting edge artists from Russia today. Mary Mc Caughey, English Garden Lounging
Mary Mc Caughey, English Garden Lounging is supporting RNA with
the development, production and marketing of this project. She has curated
exhibitions and created events for Tate Britain, including Nature to
Advantage Dressed with AES+F (the first exhibition of Russian contemporary
art in a UK public gallery, Beijing Winter Garden Lounge Nights
for Louise Blouin Institute, The Turner Prize After-Parties and events
such as The Art of the English Garden and English Garden Lounging at
Hotel des Bains during the Venice Biennales. Alexander Ponomarev, whose grandfather was a Hero of the Battle of Stalingrad, graduated from the USSR Nautical Engineering College in 1979. His subsequent career as a seaman left an indelible mark on his artistic output, dominated by epic aquatic installations, none more spectacular than Maya: The Lost Island (2000) where, with the help of the Russian Fleet and an army of smoke cannisters,
Ponomarev provoked the disappearance of an island in the Barents Sea. His psychedelic, light-flashing, sing-song submarine surfaced in the Tuileries Gardens during Paris FIAC in 2006, then in Moscow during the 2007 Biennale. Ponomarev also starred at the 60th Lisbon’s Expo-98 and the hugely popular Russian Pavilion at last year’s Venice Biennale, before enjoying his first New York solo show in May 2008. When not crossing oceans, Ponomarev is most at home in France. Shortly after erecting a 100ft periscope beneath the dome of a Baroque Church in Paris during the 2007 Festival d’Automne, he was named Chevalier de La Legion d’ Hommeur by France’s Minister of Culture. Intellectual exploration also shapes Ponomarev’s work. As a graduate student at the All- Union Institute of Marine Transportation in Moscow in the 1980s, he studied computerized information systems and logistics and attended the classes of the philosopher Georgii Shchedrinovsky, discussing Marx, Descartes, Galileo, Fun- Shui and Shu-Tao. He learned and developed system and reflex theories, discovered the abstract art of Wassily Kandinsky, Malevich and Tatlin and moved closely with Erik Bulatov, Fransisco Infante, Vladimir Nasedkin, Viktor Nekrasov, and Valerii Orlov. Foreign influences on Ponomarev include Leonardo da Vinci and Rembrandt, Caravaggio, Giotto, Michelangelo, Poussin, Raphael, Velazquez as well as Ingres and Watteau. Ponomarev enjoys the grandiose gestures of Michelangelo and Aivazovsky but is also captivated by the intimate and the lyrical as in Watteau’s fêtes galantes and Aleksei Bogoliubov’s delicate seascapes. Closer to our time, Ponomarev also admires the spatial explorations of Calder and Cristo and the heavy metal sculptures of Chamberlain and Judd.
|
