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Die Schere im Kopf
Alexander Dashevsky
January 27 — March 19, 2023
Triumph Gallery
Triumph Gallery
A hallmark of Dashevsky’s artistic method is large-scale works of complex form that combine elements of painting, object, and installation.
Alexander Dashevsky’s artistic practice encompasses a range of media, although he is best known to a wider audience primarily as a painter. For many years, the artist has been experimenting with the conceptual and formal possibilities of contemporary painting, exploring non-obvious expressive means and the principles of its existence, as well as the kinds of relationships it can establish with the surrounding world.
A hallmark of Dashevsky’s method is large-scale works of complex form that combine elements of painting, object, and installation. Fragmented, composite, and volumetric, his works physically intrude into the viewer’s three-dimensional space, doubling, subverting, and appropriating it. The subjects he engages with are often shaped by allegorical structures that critically reflect on contemporary social reality.
A hallmark of Dashevsky’s method is large-scale works of complex form that combine elements of painting, object, and installation. Fragmented, composite, and volumetric, his works physically intrude into the viewer’s three-dimensional space, doubling, subverting, and appropriating it. The subjects he engages with are often shaped by allegorical structures that critically reflect on contemporary social reality.
Alexander Dashevsky’s artistic practice encompasses a range of media, although he is best known to a wider audience primarily as a painter. For many years, the artist has been experimenting with the conceptual and formal possibilities of contemporary painting, exploring non-obvious expressive means and the principles of its existence, as well as the kinds of relationships it can establish with the surrounding world.
A hallmark of Dashevsky’s method is large-scale works of complex form that combine elements of painting, object, and installation. Fragmented, composite, and volumetric, his works physically intrude into the viewer’s three-dimensional space, doubling, subverting, and appropriating it. The subjects he engages with are often shaped by allegorical structures that critically reflect on contemporary social reality.
A hallmark of Dashevsky’s method is large-scale works of complex form that combine elements of painting, object, and installation. Fragmented, composite, and volumetric, his works physically intrude into the viewer’s three-dimensional space, doubling, subverting, and appropriating it. The subjects he engages with are often shaped by allegorical structures that critically reflect on contemporary social reality.
The artist’s new project, bringing together works from different years alongside new pieces, is built on the principle of multiple readings. The exhibition’s ambivalent structure is a paradoxical puzzle in which different paths of interpretation of the same body of works are equally valid, even as they lead in entirely different directions.
Formally, Die Schere im Kopf unfolds as a complex narrative dedicated to reflections on various modes of memorialization constructed around an unnamed trauma. The exhibition is organized so that the viewer moves within a narrative framework, passing through stages of coming to terms with loss, following the model proposed by Elisabeth Kübler-Ross.
Loss—one of the central motifs of the exhibition—takes on different forms: physically missing fragments of works, images of lost details and traces of damage, as well as erased or omitted parts of texts. This trajectory speaks to the painful and mechanical formation of a new normality, to forgetting, and to the transformation of past history into a memorial and an object of unreflective nostalgia.
Formally, Die Schere im Kopf unfolds as a complex narrative dedicated to reflections on various modes of memorialization constructed around an unnamed trauma. The exhibition is organized so that the viewer moves within a narrative framework, passing through stages of coming to terms with loss, following the model proposed by Elisabeth Kübler-Ross.
Loss—one of the central motifs of the exhibition—takes on different forms: physically missing fragments of works, images of lost details and traces of damage, as well as erased or omitted parts of texts. This trajectory speaks to the painful and mechanical formation of a new normality, to forgetting, and to the transformation of past history into a memorial and an object of unreflective nostalgia.
The artist’s new project, bringing together works from different years alongside new pieces, is built on the principle of multiple readings. The exhibition’s ambivalent structure is a paradoxical puzzle in which different paths of interpretation of the same body of works are equally valid, even as they lead in entirely different directions.
Formally, Die Schere im Kopf unfolds as a complex narrative dedicated to reflections on various modes of memorialization constructed around an unnamed trauma. The exhibition is organized so that the viewer moves within a narrative framework, passing through stages of coming to terms with loss, following the model proposed by Elisabeth Kübler-Ross.
Loss—one of the central motifs of the exhibition—takes on different forms: physically missing fragments of works, images of lost details and traces of damage, as well as erased or omitted parts of texts. This trajectory speaks to the painful and mechanical formation of a new normality, to forgetting, and to the transformation of past history into a memorial and an object of unreflective nostalgia.
Formally, Die Schere im Kopf unfolds as a complex narrative dedicated to reflections on various modes of memorialization constructed around an unnamed trauma. The exhibition is organized so that the viewer moves within a narrative framework, passing through stages of coming to terms with loss, following the model proposed by Elisabeth Kübler-Ross.
Loss—one of the central motifs of the exhibition—takes on different forms: physically missing fragments of works, images of lost details and traces of damage, as well as erased or omitted parts of texts. This trajectory speaks to the painful and mechanical formation of a new normality, to forgetting, and to the transformation of past history into a memorial and an object of unreflective nostalgia.
Another way of perceiving the exhibition is built around the image of a sailing ship. It is referenced by the characters, appears in poems, and fragments of rigging emerge throughout the exhibition space. The metaphor of the ship—a romantic, biblical, and modernist symbol—allows the enfilade of gallery rooms to be read as a series of reports on a vessel in distress, and on a state in which terror gives way to apathy, despair to hope, while prayers and vows coexist with curses and exclamations.
These "reports" deliberately contradict one another, offering different accounts of the scale, circumstances, and meaning of what is taking place: at times as a catastrophe of universal proportions, at others as routine, or even as a minor, almost comic incident. By the end of the exhibition, the viewer loses trust in the narrators, abandons the idea of establishing a single truth, and, like one of the exhibition’s central figures, ultimately loses their bearings.
These "reports" deliberately contradict one another, offering different accounts of the scale, circumstances, and meaning of what is taking place: at times as a catastrophe of universal proportions, at others as routine, or even as a minor, almost comic incident. By the end of the exhibition, the viewer loses trust in the narrators, abandons the idea of establishing a single truth, and, like one of the exhibition’s central figures, ultimately loses their bearings.
Another way of perceiving the exhibition is built around the image of a sailing ship. It is referenced by the characters, appears in poems, and fragments of rigging emerge throughout the exhibition space. The metaphor of the ship—a romantic, biblical, and modernist symbol—allows the enfilade of gallery rooms to be read as a series of reports on a vessel in distress, and on a state in which terror gives way to apathy, despair to hope, while prayers and vows coexist with curses and exclamations.
These "reports" deliberately contradict one another, offering different accounts of the scale, circumstances, and meaning of what is taking place: at times as a catastrophe of universal proportions, at others as routine, or even as a minor, almost comic incident. By the end of the exhibition, the viewer loses trust in the narrators, abandons the idea of establishing a single truth, and, like one of the exhibition’s central figures, ultimately loses their bearings.
These "reports" deliberately contradict one another, offering different accounts of the scale, circumstances, and meaning of what is taking place: at times as a catastrophe of universal proportions, at others as routine, or even as a minor, almost comic incident. By the end of the exhibition, the viewer loses trust in the narrators, abandons the idea of establishing a single truth, and, like one of the exhibition’s central figures, ultimately loses their bearings.
The German idiom Die Schere im Kopf (literally, "scissors in the head"), which gives the exhibition its title, serves as the leitmotif for a third layer of its dramaturgy. By deliberately leaving "blank spots," the artist creates a sense of persistent yet carefully veiled incompleteness.
As the viewer moves into a realm of ambiguity and evasion, they begin to suspect the presence of a hidden meaning within the exhibition—one obscured by the gaps, losses, and cavities intentionally embedded in both the works and the overall display. This alternative mode of reading encourages the search for latent, even obscene meanings and elusive hints, planted where they may, in fact, not exist at all.
As the viewer moves into a realm of ambiguity and evasion, they begin to suspect the presence of a hidden meaning within the exhibition—one obscured by the gaps, losses, and cavities intentionally embedded in both the works and the overall display. This alternative mode of reading encourages the search for latent, even obscene meanings and elusive hints, planted where they may, in fact, not exist at all.
Testament
2019
2019
Testament
2019
2019
The German idiom Die Schere im Kopf (literally, "scissors in the head"), which gives the exhibition its title, serves as the leitmotif for a third layer of its dramaturgy. By deliberately leaving "blank spots," the artist creates a sense of persistent yet carefully veiled incompleteness.
As the viewer moves into a realm of ambiguity and evasion, they begin to suspect the presence of a hidden meaning within the exhibition—one obscured by the gaps, losses, and cavities intentionally embedded in both the works and the overall display. This alternative mode of reading encourages the search for latent, even obscene meanings and elusive hints, planted where they may, in fact, not exist at all.
As the viewer moves into a realm of ambiguity and evasion, they begin to suspect the presence of a hidden meaning within the exhibition—one obscured by the gaps, losses, and cavities intentionally embedded in both the works and the overall display. This alternative mode of reading encourages the search for latent, even obscene meanings and elusive hints, planted where they may, in fact, not exist at all.
In this project, Alexander Dashevsky reflects on the poetics of the deliberate transformation of language and its visual, formal, and narrative components in a situation where the desired freedom of artistic expression is replaced by the art of eloquent silence. Like a semantic constructor, the artist reassembles fragments from his projects of the past ten years so that, in retrospective perspective, they form a coherent narrative. The finale of this story unfolds before our eyes.
Die Schere im Kopf is a reflection on the aesthetics of auto-aggression and muteness, on how the language of contemporary art twists and turns among the sharp teeth of history.
Curator: Polina Mogilina
*Tickets available online and at the Moscow Museum of Modern Art box office
Die Schere im Kopf is a reflection on the aesthetics of auto-aggression and muteness, on how the language of contemporary art twists and turns among the sharp teeth of history.
Curator: Polina Mogilina
*Tickets available online and at the Moscow Museum of Modern Art box office
In this project, Alexander Dashevsky reflects on the poetics of the deliberate transformation of language and its visual, formal, and narrative components in a situation where the desired freedom of artistic expression is replaced by the art of eloquent silence. Like a semantic constructor, the artist reassembles fragments from his projects of the past ten years so that, in retrospective perspective, they form a coherent narrative. The finale of this story unfolds before our eyes.
Die Schere im Kopf is a reflection on the aesthetics of auto-aggression and muteness, on how the language of contemporary art twists and turns among the sharp teeth of history.
Curator: Polina Mogilina
*Tickets available online and at the Moscow Museum of Modern Art box office
Die Schere im Kopf is a reflection on the aesthetics of auto-aggression and muteness, on how the language of contemporary art twists and turns among the sharp teeth of history.
Curator: Polina Mogilina
*Tickets available online and at the Moscow Museum of Modern Art box office
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