 The first part of the exposition is a video EVIL EARTH created in 2018, which will be displayed at the OVCHARENKO gallery. A performance EVIL EARTH that precedes this artwork was created in collaboration with Irina Shulzhenko and was shown to the State Theatre of Nations. One of the leading Gogol Center actresses Svetlana Mamresheva and the head of the vocal ensemble of the Electrotheatre Arina Zvereva, as well as two percussionists Renata Saitova and Ulyana Shcherbakova participated in the project. 展览的第一部分是2018年创作的视频《邪恶的地球》，将在OVCHARENKO画廊展出。在这幅艺术作品之前，由Irina Shulzhenko合作创作的《邪恶的地球》在国家剧院上演。果戈里中心的主要演员之一Svetlana Mamresheva和电子剧院的主唱Arina Zvereva，以及两位打击乐手Renata Saitova和Ulyana Shcherbakova参加了这个项目。  EVIL EARTH is an image inspired by anxiety: the modern form of the world, echoing in our hearts with an anxious sense of loss of this very modernity. This is the land that has reared under our feet, forcing us to dance a rather bitter dance and this is a dance of loss of coordination. The rhythm of a drum roll is a desperate gesture of salvation, opposing with an antiresonance to the deafening and imposed rhythm of anxiety. 邪恶的地球是一个由焦虑所激发的形象:世界的现代形式，在我们心中回荡着这种现代性缺失的焦虑感。这是我们脚下的土地，迫使我们去跳一种相当痛苦的舞蹈，这是一种失去协调性的舞蹈。鼓声的节奏是一种绝望的救赎姿态，与震耳欲聋的焦虑节奏形成反共振。   EVIL EARTH part II 邪恶的地球第二部分 The second part of the exposition is located at Vladey Space and is a series of paintings created over the past three years. Alimpiev's figurative style of painting is similar to iconography: each painting shows a face turned to another one as if to the sun; a face with a smile collapsed into a dot; a face held by a rhetorical hand gesture, pronouncing the word "kiss" - becomes a beginning of a new series and is repeated many times. 展览的第二部分位于弗拉迪空间，是过去三年创作的一系列绘画作品。阿里姆皮耶夫的绘画风格类似于肖像:每一幅画都是一张脸转向另一张脸，就像转向太阳;一张带着微笑的脸变成了一个点;通过一个修辞性的手势，发出“吻”这个词，一张脸就成为了一个新系列的开始，并被重复多次。  Once found, each image in the series becomes an imperial imago, a rule for itself and for the rest. A face reminding another one of his power through his sublimated imprint meets the same power opposite him, unleashing a game of refinements. This not yet solidified, still lasting iconography, allows the depicted gestures, touches, smiles to sway, flow and swell.  “First - there is an iconography of perspective and emotions - a work similar to one of an actress during rehearsal. There is a refinement of something “eternal” in this face - finding a static, stapling it. Soaring admiration for your own invisible smile or a bitten lip that pulls the landscape of a face into a dot, like making the sign of the Cross. The found iconography becomes the starting point for repeated drawing, peering is its engine. As you move from drawing to drawing - drawing-peering, drawing invisible meridians on a melting face, washing away everything dense and heavy from this face - a second refinement occurs. Refinement of acceleration. This is a refinement of the orbits along which the gaze, which is reminiscent and at the same time modern to the observed phenomenon, will move. It will move - it will not burn out in the atmosphere, it will not ricochet in the vacuum. This gaze follows a path that ends with a meeting - a meeting with My Drummer, a meeting with Leningradskaya, a meeting with the residual and sublimated - like lightning, which is always a memory. And always is modern”.  “首先，这是一幅透视和情感的图像——类似于一位女演员在排练时的作品。这张脸有一种“永恒”的精致——找到一个静态的，把它钉住。对你自己看不见的微笑或被咬过的嘴唇高涨的赞美，把一张脸的风景画成一个点，就像画一个十字。所发现的图像成为重复绘制的起点，对等图是其引擎。当你从一幅画移到另一幅画——仔细观察，在一张融化的脸上画出看不见的经络，洗去这张脸上所有厚重的东西——第二次精化发生了。精致的加速度。这是对轨道的一种改进，使视线沿着轨道移动，这使人联想到，同时也使所观察到的现象具有现代感。它会移动——它不会在大气中燃烧殆尽，它不会在真空中弹跳。这种凝视的轨迹以一次对话结束——与我的鼓手的对话，与Leningradskaya的对话，与残留和升华的对话——就像闪电一样，永远是一种记忆。永远是现代的”。 © Victor Alimpiev This article is published by exclusive AN-ART SPACE, the artist authorized to publish, without permission, please do not reprint. |
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