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Reproduction
Taisiya Korotkova
April 20 — May 15, 2012
Triumph gallery
Triumph gallery
The Triumph Gallery presents a new seasonal project, METHOD.
The gallery’s two halls will feature artists working in the same media or using similar techniques and visual methods.
The gallery’s two halls will feature artists working in the same media or using similar techniques and visual methods.
Living Matrix
French semiologist Roland Barthes wrote that a writer never sits in front of a completely blank sheet of paper. Due to centuries of writing practice, something has already been written on this sheet; the process itself contains its outcome—words, sentences, formulations, plots, and resolutions. The task of an experienced writer is to recognize this speech of the past text and contrast it with their own voice, without the delusion that it, too, is constructed from multiple layers of the reader’s experience. The contemporary painter finds himself in a similar position. A primed canvas is not empty at the beginning of a work. In the end, it may turn out that the languages embedded within it have completely absorbed the initial impulse to create something new.
French semiologist Roland Barthes wrote that a writer never sits in front of a completely blank sheet of paper. Due to centuries of writing practice, something has already been written on this sheet; the process itself contains its outcome—words, sentences, formulations, plots, and resolutions. The task of an experienced writer is to recognize this speech of the past text and contrast it with their own voice, without the delusion that it, too, is constructed from multiple layers of the reader’s experience. The contemporary painter finds himself in a similar position. A primed canvas is not empty at the beginning of a work. In the end, it may turn out that the languages embedded within it have completely absorbed the initial impulse to create something new.
Students
2011
Board, gesso, tempera
50 × 65 cm
2011
Board, gesso, tempera
50 × 65 cm
Students
2011
Board, gesso, tempera
50 × 65 cm
2011
Board, gesso, tempera
50 × 65 cm
Living Matrix
French semiologist Roland Barthes wrote that a writer never sits in front of a completely blank sheet of paper. Due to centuries of writing practice, something has already been written on this sheet; the process itself contains its outcome—words, sentences, formulations, plots, and resolutions. The task of an experienced writer is to recognize this speech of the past text and contrast it with their own voice, without the delusion that it, too, is constructed from multiple layers of the reader’s experience. The contemporary painter finds himself in a similar position. A primed canvas is not empty at the beginning of a work. In the end, it may turn out that the languages embedded within it have completely absorbed the initial impulse to create something new.
French semiologist Roland Barthes wrote that a writer never sits in front of a completely blank sheet of paper. Due to centuries of writing practice, something has already been written on this sheet; the process itself contains its outcome—words, sentences, formulations, plots, and resolutions. The task of an experienced writer is to recognize this speech of the past text and contrast it with their own voice, without the delusion that it, too, is constructed from multiple layers of the reader’s experience. The contemporary painter finds himself in a similar position. A primed canvas is not empty at the beginning of a work. In the end, it may turn out that the languages embedded within it have completely absorbed the initial impulse to create something new.
In fact, the series is built on the transgression of boundaries. The mechanics of childbirth are often invisible to us, taking place in sterile laboratories, sealed off from outsiders. Thanks to Korotkova, we glimpse a number of highly professional and/or purely personal processes. Moreover, the series' heroines, the expectant mothers, are subjects, not objects, of the choice to have children. They are not the playthings of external forces or grounds for generalization.
In fact, the series is built on the transgression of boundaries. The mechanics of childbirth are often invisible to us, taking place in sterile laboratories, sealed off from outsiders. Thanks to Korotkova, we glimpse a number of highly professional and/or purely personal processes. Moreover, the series' heroines, the expectant mothers, are subjects, not objects, of the choice to have children. They are not the playthings of external forces or grounds for generalization.
There are mothers, but no fathers, nor any masculinity at all—the male characters lack any facial hair. The women inject themselves with hormones, transplant an embryo, and carry a child for someone else ("The surrogate mother," we note parenthetically, is perhaps the most touching image in the series, evidently because every mother, from time to time, feels like a surrogate, an appendage to the developing fetus). The mothers are surrounded by gender-neutral beings. And in Russian art, this approach is undoubtedly revolutionary: nothing like this has been attempted before Taisiya Korotkova.
There are mothers, but no fathers, nor any masculinity at all—the male characters lack any facial hair. The women inject themselves with hormones, transplant an embryo, and carry a child for someone else ("The surrogate mother," we note parenthetically, is perhaps the most touching image in the series, evidently because every mother, from time to time, feels like a surrogate, an appendage to the developing fetus). The mothers are surrounded by gender-neutral beings. And in Russian art, this approach is undoubtedly revolutionary: nothing like this has been attempted before Taisiya Korotkova.
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