«TRANSMUSEUM»
19.X.2018 – 02.XII.2018
TRANSMUSEUM
Igor Gusev and curator Anna Aliyeva presented the project "Transmuseum," created based on The Odesa Fine Art Museum. The project is based on the reflection on the meta-museum – a common place for storing and displaying artworks, which is the subject to time not only as a physical object but also as a semantic one. The prototype of the meta-museum's image becomes The Odesa Museum of University – the research and methodological base at the Faculty of History and Philology. In the 1920s, due to the museum's reorganization, its collection was divided between 3 state museums: the current museum of Archaeology, the Museum of Western and Oriental Arts, the Odesa Fine Arts Museum.
The exhibition is based on the principles of the invasion of the works of Igor Gusev in the main exhibition of the Odesa Fine Arts Museum. The objects of the museum's famous paintings are deconstructed using the glitch effect, the familiar to the admirers of the artist's mark, which he successfully uses to rethink classical art. For installing the museum's exhibition, Gusev uses antique frames from the Museum of Western and Eastern Art - frames that were also once in the university museum.
As a material, art has a decline stage. It crumbles, smolders, turns into dust. Paint fades, pencils fades. When artworks disappear as an object, - the memories, descriptions, comparisons, and ideas remain. They float just like clouds, weightless, ephemeral, elusive.
The modern Odesa artist Igor Gusev reflects on this issue. His formation path went from the punk art of the new wave of the 1990s to postromantic reflections on new media. In the fall of 2018, Gusev presented his project: "Transmuseum," displayed in the rooms of classical art in the Odesa Fine Arts Museum's
The modern Odesa artist Igor Gusev reflects on this issue. His formation path went from the punk art of the new wave of the 1990s to postromantic reflections on new media. In the fall of 2018, Gusev presented his project: "Transmuseum," displayed in the rooms of classical art in the Odesa Fine Arts Museum's
Exhibition TRANSMUSEUM
The installation by Igor Gusev, which is located in the center of "Transmuseum" - is a memento mori of material art. We can see the symbolic frame of the work in the decay stage: smoldering frames, bare wood under gilded paint, others absorb the dust of dark rooms into the cracks in plaster.
We see the work's symbolic skeleton on the path of decay: smoldering frames, some expose the tree under gilded paint, others - absorb the dust of dark rooms with cracks in plaster. Works of art are transformed not only physically, exposed to time, but their meaning also mutates depending on the context, geography, the development of art theory, philosophy.
As a post-romanticist who emerged from the hyper textuality of postmodernism, Gusev works with the historical context of works of art, rethinking it in the category of metaxу - the structure of sensations between the limit on the one hand and infinity on the other, the transcendent reality.
He seeks to turn the finite into the infinite, the static into the dynamic, expand the traditional ways of cognition the classic art. In creating his art, Gusev uses his essential artistic technique - stretching the painting's space-time continuum, the so-called glitch effect. The glitch effect is used in contemporary art, and it is based on the image of a digital transmission error. The image is deconstructed and disintegrated into fragments, giving rise to color spectrality. A bizarre distortion of the visual field occurs, which gives rise to a new aesthetic category of the digital world.
We see the work's symbolic skeleton on the path of decay: smoldering frames, some expose the tree under gilded paint, others - absorb the dust of dark rooms with cracks in plaster. Works of art are transformed not only physically, exposed to time, but their meaning also mutates depending on the context, geography, the development of art theory, philosophy.
As a post-romanticist who emerged from the hyper textuality of postmodernism, Gusev works with the historical context of works of art, rethinking it in the category of metaxу - the structure of sensations between the limit on the one hand and infinity on the other, the transcendent reality.
He seeks to turn the finite into the infinite, the static into the dynamic, expand the traditional ways of cognition the classic art. In creating his art, Gusev uses his essential artistic technique - stretching the painting's space-time continuum, the so-called glitch effect. The glitch effect is used in contemporary art, and it is based on the image of a digital transmission error. The image is deconstructed and disintegrated into fragments, giving rise to color spectrality. A bizarre distortion of the visual field occurs, which gives rise to a new aesthetic category of the digital world.
With the use of soft deconstruction of the exposition, the artist objectifies images of famous paintings from the collection of The Odesa Fine Arts museum and antique frames from the Museum of Western and Eastern Art. Around 150 years ago, those artifacts still formed a single ensemble, but history has dispersed them across different spaces. "Transmuseum" makes the active connections between them again, uniting images and objects in a joined area. Placing works in contemporary discourse, the artist shows how, given the possibility of digital production, the act of creation initiated by the artist remains.
Predominantly, the space that Igor Gusev chose for his artistic transformation and understanding in the area of city museums – is the aesthetic base of many generations of Odesa artists. The history of museums in Odesa begins in 1865-1866, when "The Society of fine arts" and The University Museum established. The University museum played the role of educational support platform at the Faculty of History and Philology. Its collection consisted of archeological artifacts, casts from samples of antique sculptures, engravings, and paintings. In the 20s of the ХХ century, due to the university's reorganization, the collection was distributed between three city museums – the current Museum of Archeology, the museum of Western and Eastern Art, and the Odesa Fine Arts Museum.
Predominantly, the space that Igor Gusev chose for his artistic transformation and understanding in the area of city museums – is the aesthetic base of many generations of Odesa artists. The history of museums in Odesa begins in 1865-1866, when "The Society of fine arts" and The University Museum established. The University museum played the role of educational support platform at the Faculty of History and Philology. Its collection consisted of archeological artifacts, casts from samples of antique sculptures, engravings, and paintings. In the 20s of the ХХ century, due to the university's reorganization, the collection was distributed between three city museums – the current Museum of Archeology, the museum of Western and Eastern Art, and the Odesa Fine Arts Museum.
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