Museum of Proletarian Culture, Salute
- Sculpture (Sculpture)
3 parts, each ap. 70 x 70 x 16 cm
Arseny Zhilyaev
His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s. Sdelay sam or “do it yourself” is a work in progress described by the artist as a research in the tradition of the Soviet and post-Soviet culture of non-professional worker’s folk art. “Usually ordinary people in the Soviet Union had no opportunity to frequently change the furniture according to their taste. But they could do it by themselves! It was during that period that workers’ amateur creativity flourished, exemplified in techniques such as woodcarving, hammered ironwork or amateur furniture design. It was part of free time, type of creative hobby. It was called ‘creative relaxation’. The strict division between work and leisure during the era of late socialism made this creativity possible. It was an extremely democratic art and this is what still inspires me today.”
Arseny Zhilyaev is arguably one of the most influential contemporary Russian artists of his generation. For Zhilyaev, his medium of choice is the exhibition itself. His practice is deeply rooted in the study of presentation and display of artworks, histories and social processes. His multi-faceted installations combine historical fact with fiction in imagining new possibilities and futures. Inspired by Soviet and Marxist Museology, Zhilyaev often turns to Russian Cosmism and its philosophies of the universal museum. To trace Zhilyaev’s work, one should span from the avant-garde of the 1920’s to the ‘shock therapy’ of the 1990’s in Russia. As a member of the young generation of Russian artists, Zhilyaev looks at the changes of his country through the 20th century to compose his works. With a specific attention of art’s relations to politics, education and pedagogy, Arseniy Zhilyaev reflects on the different roles of the museum and exhibition making. Despite the current use of art as entertainment, Zhilyaev wants to rethink the museum as an educational institution connecting art and history.
Colors:
Related works sharing similar palette
© » SOUTH CHINA MORNING POST
He wants Hong Kong to fall in love with theatre and he’s doing everything he can to make that happen | South China Morning Post He wants Hong Kong to fall in love with theatre and he’s doing everything he can to make that happen Performing arts in Hong Kong Hong Kong theatre wunderkind Tom Chan is the youngest and only producer to stage a long-running musical show in the city...
© » KADIST
Tarek Atoui
2017For The Reverse Sessions , the artist reversed the order in which instruments are usually created, taking the sounds of a collection of ethnic musical instruments from The Dahlem Museum as the starting point...
© » ARTS EQUATOR
Gloomy outlook for Vietnamese cinema, literature scene: workshop (via Tuoi Tre News) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo: Tuoi Tre December 27, 2018 Attendees at a national workshop held in Hanoi on Wednesday to discuss the multitude of issues plaguing the Vietnamese film and literature industries were not shy about voicing disdain for the current state of literary and cinematic art in Vietnam...
© » KADIST
Rossella Biscotti
2014Rossella Biscotti’s “10×10” series investigates the relationship between demographics, data processing, textile manufacturing and social structure...
© » KADIST
Paz Errázuriz
1986La manzana de Adán (La Palmera, Santiago) by Paz Errázuriz is part of the celebrated series La manzana de Adán (Adam’s apple) that spans 5 years (1982-1987) of documenting the lives of transgender sex workers in La Jaula and La Palmera brothels in the Chilean cities of Talca and Santiago...
© » KADIST
John Houck
2013Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...
© » KQED
Forget Tamales: Venezuelan Hallacas Are the Best Christmas Dish | KQED Skip to Nav Skip to Main Skip to Footer ¡Hella Hungry! Sorry, Tamales: Venezuelans Say Hallacas Are the Ultimate Christmas Dish Alan Chazaro Dec 15 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link Victor Aguilera demonstrates his technique for tying up Venezuelan hallacas at a KQED live event on Dec...
© » KADIST
Judith Hopf
2018Hopf’s works reference the effects that developments in economics and technology have had on our bodily and mental composition...
© » ARTS EQUATOR
“Closer” at Both Sides, Now: What Do We Choose to Remember? | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Zinkie Aw for Both Sides, Now October 29, 2018 By Loo Zihan (1430 words, six-minute read) “What will we forget? What do we hold on to? What will we remember? What do we let go of?” These were the questions posed by a volunteer in Mandarin to my 67-year-old mother at a void deck in Chong Pang...
© » AFC
Zombie Figuration Isn’t a Thing: A Critical Autopsy with Antwaun Sargent About AFC Board AFC Editions Donate Art F City Zombie Figuration Isn’t a Thing: A Critical Autopsy with Antwaun Sargent by Paddy Johnson and William Powhida on August 4, 2020 Explain Me + Podcast Tweet Jordan Casteel, “Within Reach”, New Museum installation view, 2020...
