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something will be lost
Evgeny granilshikov
January 22 — February 16, 2014
Triumph gallery
Triumph gallery
The video artist Evgeny Granilshchikov works with authentic, everyday reality by playing with cinematic form, exposing the medial fragility of that reality. In the project Something Will Be Lost, Granilshchikov examines modern social-political situations where they intersect with imagined lyrical characters. Social phobias, traumas and difficulties in communication are key themes in this project.
The characters find themselves in situations in which adequate interpretations of the reality surrounding them are required. A linguistic rupture also reveals itself here, a small fault, syncopes that are subject-forming mechanisms. Literally, we are talking here of a language that from the outset comprises disparities or the opportunity for alternative interpretations. Authenticity and imitation swiftly change places and this, it appears, entirely slips past the subjects unnoticed.
Phobias
2013–2014
Freeze-frame from video
20”
2013–2014
Freeze-frame from video
20”
Phobias
2013–2014
Freeze-frame from video
20”
2013–2014
Freeze-frame from video
20”
The characters find themselves in situations in which adequate interpretations of the reality surrounding them are required. A linguistic rupture also reveals itself here, a small fault, syncopes that are subject-forming mechanisms. Literally, we are talking here of a language that from the outset comprises disparities or the opportunity for alternative interpretations. Authenticity and imitation swiftly change places and this, it appears, entirely slips past the subjects unnoticed.
In Granilshchikov’s work the "wholeness" is from the outset lost. Instead of films, short videos or a series of photographs, we see ruins, fragments. There is an open structure to the work, and the viewer is offered the role of archaeologist. Several dozen screenshots — they are almost a film. This film has lost its duration, but preserved other cinematic codes, such as sequential dramatic development or a plot. The result is that we see the transparency of the method and, at the same time, a narration that lays claim to truth.
In Granilshchikov’s work the "wholeness" is from the outset lost. Instead of films, short videos or a series of photographs, we see ruins, fragments. There is an open structure to the work, and the viewer is offered the role of archaeologist. Several dozen screenshots — they are almost a film. This film has lost its duration, but preserved other cinematic codes, such as sequential dramatic development or a plot. The result is that we see the transparency of the method and, at the same time, a narration that lays claim to truth.
In his work Phobias, an imagined film is constructed out of nine photographs and one 20 second film found on YouTube. Phobias tells not so much of a fear of flight as of the trauma of the media itself, specifically of a fear of the length and narrative quality of a film.
In the silent' film Sweet Cigarettes, on the screen for the majority of the time the viewer sees the movements of the red light of a smoldering cigarette, and the sounds and conversations of the subjects are presented in the form of subtitles.
Each work in the project Something Will Be Lost slips free of unambiguous interpretation, and this creates a certain suspended condition in which both the author and the subjects tread a fine line, continually experiencing a sense of vulnerability.
In the silent' film Sweet Cigarettes, on the screen for the majority of the time the viewer sees the movements of the red light of a smoldering cigarette, and the sounds and conversations of the subjects are presented in the form of subtitles.
Each work in the project Something Will Be Lost slips free of unambiguous interpretation, and this creates a certain suspended condition in which both the author and the subjects tread a fine line, continually experiencing a sense of vulnerability.
In his work Phobias, an imagined film is constructed out of nine photographs and one 20 second film found on YouTube. Phobias tells not so much of a fear of flight as of the trauma of the media itself, specifically of a fear of the length and narrative quality of a film.
In the silent' film Sweet Cigarettes, on the screen for the majority of the time the viewer sees the movements of the red light of a smoldering cigarette, and the sounds and conversations of the subjects are presented in the form of subtitles.
Each work in the project Something Will Be Lost slips free of unambiguous interpretation, and this creates a certain suspended condition in which both the author and the subjects tread a fine line, continually experiencing a sense of vulnerability.
In the silent' film Sweet Cigarettes, on the screen for the majority of the time the viewer sees the movements of the red light of a smoldering cigarette, and the sounds and conversations of the subjects are presented in the form of subtitles.
Each work in the project Something Will Be Lost slips free of unambiguous interpretation, and this creates a certain suspended condition in which both the author and the subjects tread a fine line, continually experiencing a sense of vulnerability.
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