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Dear Stephen,
Thank you very much for your prompt and friendly response - it is truly valuable to us!
Your story about the origins of "The Timepiece of Humanity" with Khlebnikov really struck me - so much so that I had to reread his text. It's an amazing coincidence.
Let me tell you about the exhibition:
The exhibition is structured as a meeting of several focal figures. First is Francisco and Severin Infante (father and son). Francisco Infante's work "Birth of Verticality" from the collection of Tretyakov Gallery and his son's kinetic installation "Square" will be presented at the exhibition.
Secondly, Nikolai Morozov and Anatoly Fomenko, who were engaged in the development of an alternative conception of history (New ?hronology). Third is the Russian science-fiction writer and publisher Yuri Petukhov (author of the 1990s cult pentalogy "Stellar Revenge," which gave its name to the project) and contemporary artist Alek Petuk (Aleksei Petukhov), co-organizer of the "Coincidental Institute," a community that studies coincidences (in the lines of the CCRU).
The exhibition will feature an installation by Alek Petuk and the Coincidental Institute (of which I am also a member), VOTIW*, based on Alek's earlier work of the same name, a hermeneutic reductionist novel that presents everything outside as a set of first signs that describe the formation of the universe, time and the individual. The external can be the material-object world as well as human history. [these signs are "V", "O", "T", "I", "W"].
As you can see - the theme of the exhibition uses the theme of duplicity, mirroring and coincidence, including the names of the participants, as well as experimental and alternative theories of operating with time.
In the architecture of the exhibition, I suggested using a U-shaped plan based on the Palladian 9-square grid. In one of its intersections (remembering Masolino da Panicale), we located one column supporting a beam.
When I showed the curators your version of the Vitruvian Man - everyone agreed that it was urgent to write to you. It perfectly complements the "birth of the vertical" idea and the Morozov-Fomenko new chronology. Together we have found a place in the exhibition where an image of The Timepiece of Humanity would be very appropriate. The image is 0.4 x 0.4 meters. We also want to accompany it with an audio recording with a Russian literary translation of your text, which states the concept. The visitor will be able to listen to it through headphones.
Your comments will be very valuable to us.
P.S. We warmly support your desire to provide a personal statement(s) to Russia.
P.P.S. About the meeting of your parents--yes, I found information on your site that it happened in the labor camp, but I didn't know that it was located in Ukraine! That's very epic, of course!
Sincerely yours,
YP
À Bientôt
from best regards curatorial team Yaroslav Aleshin and Alek Petuk
2023.04.25
Latest addition to my Ury House dossier, a dossier with the purpose of ending the lies published about Ury House and a dossier with the purpose of establishing the true history of Ury House.
2024.04.20
theartblog.org
Art that can be construed as supporting LGBTQ+ rights at museumpeace.com
2024.04.19
I read Julia Bryan-Wilson's "Impermanent Collections" (Artforum International, September 2021) this morning, soon after waking up but before getting out of bed. I'm pretty sure I haven't read the essay before, although, as a subscriber to Artforum, I've owned this issue of the magazine since September 2021, but September 2021 was also a uniquely critical month in my life as full-time caregiver for my then stroke-effected brother. I'm absolutely sure I paged through the magazine the day I received it, which is what I do every time I receive the magazine, but it seems I haven't paged through the magazine again till last night when I randomly chose to browse through the magazine to help me fall asleep. Anyway, I now feel a strong connection to "Impermanent Collections," and the last two paragraphs of Julia Bryan-Wilson's essay are especially worth repeating.
"In a moment ringing with clarion calls to reevaluate the entire premise of museums, or, more radically, to abandon them altogether, it is worth noting how many queer and trans artists have in the past few decades proposed new kinds of (temporary, unrealized, experimental, minoritarian) institutions. Each of these examples animates a different conception of the queer/trans museum: For Wilson, a recontextualization of clinical material uncovers lesbian erotics; for Khaled, a real act of homophobic injustice is refracted through the prism of an invented person; for Vargas, physical objects are conjured into relation; for Campuzano, mobile displays that imbricate fact and fiction put pressure on how nations construct their own histories. All these projects mobilize, and destabilize, what André Malraux described as the leveling inherent in a "museum without walls" by using acts of queer fabulation. In so doing, they recognize that the museum organizes history not only through objects but through the eloquent space between objects--the gaps within which interpretation takes place. When those gaps are penetrated and held open, other stories creep in.
Critically, such insurgent museums require much less money to run than brick-and-mortar outfits and therefore have no need to pander to funding agencies or to supplicate wealthy board members. For subjects whose identities have been forcibly removed from national histories, surveilled with hostility by the state, and strategically concealed as a means of survival, what, if anything, might the museum offer as a conceptual tool for thinking memory differently? Artists like Campuzano, Khaled, Vargas, and Wilson recruit the language of the museum precisely because they grasp the immense power that word holds. The museum is a regulating apparatus, one that enforces family structures, polices cultural norms, and confers privilege. Significantly, it also possesses the capacity to make worlds out of fragments--a tactic queer and trans people have become adept at. Hence there is something especially fitting about a museum that is inhabited, and exploded, by queer and trans artists. The colonial ideologies that led to the encyclopedic collecting museum are impossible to rally behind, as are the blood monies of trustees that prop up workplace hierarchies. In the end, the queer, transient, artist-imagined, speculative museum might be the only one worth saving."
2024.03.17
The New York Times
Today's Headlines
2024.03.16
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