Evgeny Granilshchikov. ‘Munich’. 2016. Video still. Courtesy of the artist
Evgeny Granilshchikov. ‘Munich’. 2016. Video still. Courtesy of the artist
Evgeny Granilshchikov. ‘Ghost’. 2016. Film still. Courtesy of the artist
Evgeny Granilshchikov. ‘Ghost’. 2016. Film still. Courtesy of the artist
Evgeny Granilshchikov. ‘Ghost’. 2016. Film still. Courtesy of the artist
Evgeny Granilshchikov. ‘Empire'. 2016. Video still. Courtesy of the artist
Evgeny Granilshchikov. ‘Empire'. 2016. Video still. Courtesy of the artist
exhibition is over
The exhibition presents new works by Evgeny Granilshchikov. It was based on material closely connected to the contradictory and turbulent events that have gripped the whole world over the last year.
Alarm and social instability give rise to the fragility of artistic expression. Describing his inner state as a ‘ruined landscape’, Granilshchikov strives to reconstruct it in the museum space, using brief videos as metaphors of the disruption and fragmentation that arise from what had once seemed whole. The lovers’ euphoria of ‘Munich’ is succeeded by the anxiety of ‘Empire’ and a state of utter perplexity in the film ‘Ghost’, where the hero is the artist’s own alter ego. Taken together, his works are the author’s attempt to see himself from second remove, as if looking at a fictional character, and to record his intuition.
In Granilshchikov’ work a poetic substance glues separate items together into a single semantic system, and we are confronted by the artist’s singular universe, as yet unnamed. All we see is the impulse to haphazardly reassemble a reality that has been torn apart and destroyed, and the spectator is obliged to pick his way through these ruins, as if restoring lost connections ‘after destructions’.
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