Work Never Stops

November 9, 2017 — January 21, 2018
Tyumen Museum and Education Association

A variety of meanings behind the idea of a carpet and the process of its creation formed the basis of the project.

 

 

 

 Photo: Tanya Akhmetgalieva. Clotho. 1st Ural Industrial Biennial of Contemporary Art. 2010

Name for the project Work Never Stops is a paraphrased title of Eliza Bennett’s work called A Woman’s Work Is Never Done. By using the technique of embroidery, she challenges the pre- conceived notion that “women’s work” is light and easy, and shows its effects. Hand carpet weaving, whether performed by a woman or a man, is a long, complex and time-consuming process. Creating carpets one after another, they weave their “carpet of life”. Generations of weavers change, but their work remains immutable and never stops. A variety of meanings behind the idea of a carpet and the process of its creation formed the basis of the project.

New Literacy refers to the problem of borders between work and leisure in today’s technological world. For “shockworkers” of creative labor these borders are shifting. Just like weavers measured their time with carpets made, they measure time with projects. However, at the end of one, the pro- duction of the next begins, while the need to represent the project through the image of oneself in social and network spaces negates the boundary between private and public, work and leisure. Therefore, the metaphor of work that never stops is so relevant for today.

In various mythologies, subjects related to threads and weaving occupy a special place. All the goddesses of Destiny and Time were spinners and weavers. In ancient Greek mythology these were Moirai, among them Clotho was the one who spun the thread of human life. In the Roman, they correspond to Parcae, who determined fate of a child by spinning, measuring, and cut- ting the thread off. Myths about Ariadne’s saving thread, Arachne’s eternal weaving, and Penelope’s weaving and undoing the shroud all belong to the same line. For them, time stops and work never does.

For centuries, carpet has been an integral part of human life. For many countries, it has been a whole layer of history, traditions, and culture. At different times, its purpose varied, but mostly it served to decorate and insulate the house. Gradually, it became a subject of art and luxury. For all Soviet families, a photo in front of the carpet was an indispensable ritual. We still identify it with interior from the Soviet past. As a sign of a bygone era, the carpet on the wall leaves an empty space, but its image remains an imprint in the memory.

Bright original Tyumen carpet is easily recognized, floral ornament on a black background referring to the motives of earthly and paradise gardens. The Tyumen carpet is the starting point for this exhibition project. It is the basis on which different levels of meaning developed in works of contemporary artists intertwine. The exhibition is designed in accordance with the principle of a classic ornamental carpet with a pronounced central part. It represents a labyrinth converging into a black cube at the center. There, the invited elder female performer knits and crochets the Mandelbrot set (in a project by Where Dogs Run), thereby outlining the border of the void, each time expanding it. The exhibition sections — Deconstruction of Tradition, Archetype of Place, ritual, Process/Time, labor — do not have precise borders and flow from one exhibition space to the other. Video installations are presented along the edges of the labyrinth and close the whole space up into a whole composition.

Weaving and carpet act as universal symbols of tradition which con- temporary artists seek to rethink or deconstruct, either as a form or as symbols and architypes of the place embedded in it. Fabric preserves memory, and artists reveal personal or family aspects of it in their works. Carpet can be a means of defining borders between private and public space that artists call into question and try to shift.

For some, handicraft is a kind of meditation, where the process itself is more important than the result. The ritual of repetition and extended time of creating an artwork open temporal boundaries that are measured by the process of the author’s work. Often handicraft acts as a universal tool for visualizing time. Yet, storing information about the universal tradition, it universalizes and anonymizes the author.

Time is measured by rituals that each of us performs. The exhibition offers different views on the speed of its flow, modes of interacting with it, and ways to resist oblivion.

 

Curator: Svetlana Usoltseva

Participants: Faig Ahmed (Azerbaijan), Tanya Akhmetgalieva (Russia), Eliza Bennett (UK), Anastasia Bogomolova (Russia), Farhad Farzaliyev (Azerbaijan), Alisa Gorshenina (Russia), Michele Giangrande (Italy), Irina Korina (Russia), Varvara Kuzmina (Russia), Vladimir Logutov (Russia), Zhenya Machneva (Russia), Alexandra Mitlyanskaya (Russia), Roman Mokrov (Russia), Nadenka creative association (Russia), Timur Novikov (Russia), Murat Palta (Turkey), Provmyza group (Russia), Timofey Radya (Russia), Farid Rasulov (Azerbaijan), Veronika Rudyeva-Ryazantseva (Russia), Svetlana Spirina (Russia), Olga Subbotina and Mikhail Pavlyukevich (Russia), Leonid Tishkov (Russia), Alexey Tregubov (Russia), Dmitry Tsvetkov (Russia), Where Dogs Run (Russia)

PHOTO

Exhibition view. Photo by Daniil Savinykh

Exhibition view. Photo by Daniil Savinykh

Exhibition view. Photo by Daniil Savinykh

Exhibition view. Photo by Anna Marchenkova

Irina Korina. From the Temporary Phenomena series. 2016
Installation: paper, acryl, plexiglas, metal
Courtesy of XL Gallery, Moscow

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Anna Marchenkova

 

 

Olga Subbotina, Mikhail Pavlukevich. Bear For Sale series. 2016
Textile, applique
Courtesy of the artists

Photo by Daniil Savinykh

 

 

Exhibition view. Photo by Anna Marchenkova

 

 

Timofey Radya. Improvements in the Hood. 2012
Series of photographs
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Farhad Farzaliyev. JEHIZ. 2017
Textile, embroidery, 135 × 135 cm
Courtesy of the artist

Photo by Daniil Savinykh

 

 

Anastasia Bogomolova. Landscape. 2016
Installation: photographs, objects.

Courtesy of the artist

Photo by Daniil Savinykh

 

 

Nadenka Creative Association. Happy Holiday! All the Best of Rights! 2016
Street installation dedicated to March 8 holiday
Textile, hand-made embroidery
Courtesy of the artists

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Daniil Savinykh

 

 

Eliza Bennett. A Woman’s Work Is Never Done. 2012
Installation: photo, video, 08´16˝

Courtesy of the artist

Photo by Anna Marchenkova

 

 

Roman Mokrov. Photos in Front of the Carpet. 2007–2013
Series of photographs
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Daniil Savinykh

 

 

Alisa Gorshenina. We Are Of The Same Blood. 2017

Installation: textile

Courtesy of the artist

Photo by Daniil Savinykh

 

 

Varvara Kuzmina. Erase and Rewind. 2017
Installation: photos
Courtesy of the author

Photo by Daniil Savinykh

 

 

Olga Subbotina, Mikhail Pavlukevich. Bear For Sale series. 2016
Textile, applique
Courtesy of the artists

Photo by Daniil Savinykh

 

 

Exhibition view. Photo by Anna Marchenkova

 

 

Zhenya Machneva. The Route. 2013
Tapestry, 65 × 650 cm
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Daniil Savinykh

 

 

Svetlana Spirina. We, Who Never Arrive. 2015
Performance video documentation, 8´16˝
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Alexey Kharlamov

 

 

Murat Palta. The Ultimate Fight. 2016
Printing on art paper, 100 × 60 cm
Courtesy of the x-ist Gallery, Istanbul

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Daniil Savinykh

 

 

Where Dogs Run. Knitting And Crocheting a Mandelbrot Set. 2006 — present
Performance, installation
Courtesy of the artists

Photo by Daniil Savinykh

 

 

Leonid Tishkov
The Knitling. 2002
Installation: textile, video, letraset
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Farid Rasulov. Fragile 1. 2015
Object, 140 × 100 × 30 cm
Courtesy of the YAY Gallery, Baku

Photo by Daniil Savinykh

 

 

Exhibition view. Photo by Anna Marchenkova

 

 

Michele Giangrande. Scrawls. 2015.

Carpet, silk, 70 × 150 cm, 100 × 150 cm
Courtesy of the Sparta Curators Collective, St. Petersburg

Photo by Anna Marchenkova

 

 

Timur Novikov
The Happiness In The Gardens. 1993–1994
Atlas, printing, 214 × 168 cm, 218,5 × 170 cm
Courtesy of the artist’s family

Photo by Anna Marchenkova

 

 

Exhibition view. Photo by Alexey Kharlamov

 

 

Faig Ahmed. Untitled. 2014
Handmade wool carpet, 150 × 240 cm
Courtesy of YAY Gallery, Baku
Photo by Anna Marchenkova

 

 

Dmitry Tsvetkov. Fruits. 2010–2015
Objects, silk, wool, velvet, Brabant lace, garnets
Courtesy of the artist

Photo by Daniil Savinykh

 

 

Exhibition view. Photo by Daniil Savinykh

 

 

Vladimir Logutov. The End of the Industrial Era. 2012
Video, 03´50˝
Courtesy of the artist

Photo by Daniil Savinykh

 

 

Tatyana Akhmetgalieva. Clotho. 2010
Installation: textile, embroidery, threads
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Alexandra Mitlyanskaya. FACE BOOK. 2017
Video installation
Courtesy of the artist

 

 

Leonid Tishkov. Unmarked. 2017
Installation: Tyumen carpet, found clothes, wood
Photo by Anna Marchenkova

 

 

Provmyza. Eternity. 2011.

Video installation, 35´
Performer — Veronika Starostina. With support of OpenSpace project, and Nokia. Produced by provmyza13
Courtesy of the artists

Photo by Anna Marchenkova

 

 

Provmyza. Eternity. 2011

Video installation, 35´
Performer — Veronika Starostina. With support of OpenSpace project, and Nokia. Produced by provmyza13
Courtesy of the artists

 

 

Alexey Tregubov. Creak. 2017
Interactive installation, 3 × 4 m
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Alexey Tregubov. Creak. 2017
Interactive installation, 3 × 4 m
Courtesy of the artist

Photo by Anna Marchenkova

 

 

Veronika Rudyeva-Ryazantseva. Not Here And Not Now. 2017
Video, 05´26˝. Produced with support of Cyland
Courtesy of the artist

Photo by Daniil Savinykh

 

 

Veronika Rudyeva-Ryazantseva. Not Here And Not Now. 2017
Video, 05´26˝. Produced with support of Cyland
Courtesy of the artist

 

 

 
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