Too much as not enough, vol. 1
Laura Dekker, Marina Alexeeva, Ivan Plusch, Ivan Tuzov, Lee Edwards, Alexander Dashevsky, Andrey Gorbunov, Maria Arendt, Alexander Shishkin-Hokusai, Vita Buivid, Vitaly Pushnitsky and others
Too much as not enough, vol. 1 - is the first exhibition in an upcoming yearly cycle of research in contemporary miniature art practices in Shtager Gallery and Elephant&Castle experimental space.
feat. Amir-Nasr Kamgooyan, Laura Dekker, Marina Alexeeva, Vita Buivid, Lee Edwards, Ivan Plusch, Alexandr Dashevsky, Andrey Gorbunov, Maria Arendt, Alexandr Shishkin-Hokhusai, Vita Buivid, Ludmila Belova, Vitaly Pushkitsky, Ivan Tuzov and Alexandra Mazur-Knyazeva.
Opening May 18, 19.00 with a lecture by associate curator Denis Maksimov on Duchamp, acceleration, radical forms of presentation, experimentation & ‘too much as not enough’ series.
Artist, curator, dealer, provocateur and polymath Marcel Duchamp is a Pandora of art history for some and John the Baptist of modern and contemporary art for the other. Among many disruptions of the order and normality of what was set to be called ‘art’, in 1935 he created Boîte-en-valise, or box in a suitcase, a portable miniature monograph including sixty-nine reproductions of the artist’s own work. In the following years, he created other editions of the boxes, with varying content and luxurious touch, including special edition for the long time friend Peggy Guggenheim. Is it a portfolio of artist’s work or individual piece of work, or maybe both? As enigmatic as ever, Duchamp was not meaning to provide a definite answer.
An inaugural exhibition at Shtager Gallery in London unites under the same roof in a compact space not only one, but multiple group and solo ‘exhibitions’. The conceptual gesture of Duchamp is peculiar in the contemporary context of commercialisation, gentrification and scarcity. How many narratives and stories can strategically fit in a small experimental space?
Duchamp anticipated and contributed to the institutionalisation of many forms of presentation within and beyond artistic field with his radical and daring innovations. Curriculum Vitae and personal statement are the standard of self-presentation now. The radical nature of his heritage is timeless and in the currents of crises in contemporaneity becomes actual and even urgent. Attention deficit alongside the culture of acceleration lead to us to necessity to be more effective in literally all aspects of the modern life. The functions of the museum, gallery, artist-run and independent project spaces are merging with each other in search of new meaning as the social and political conditions of artistic production are evolving towards new, seemingly tougher, but possible just different frontiers. Revisiting in this context the most influential ideas of the age of manifestos is more than necessary.
Portable exhibition is presented here in a form of an intellectual vortex: it drags the viewer into its own laws of matter, gravity and light. Just like it is in the space of contemporary media, where the increasing number of simultaneous voices create more autonomous images of subjective real.
By placing the artists in an experimental, multiversal and hardly comprehensible conversation, a strategic cacophony, there is an emergence of the question about what we observe in the constantly accelerating societies: is too much the new not enough?
text by Denis Maksimov
Temple of Futures Thinking
a solo presentation of Avenir Institute
16 June, 2017 – 22 June, 2017
Storming. Total public art installation in 43 flat plywood sculptures
10 October, 2017 – 10 October, 2017
Fabric of the City. Bauhaus-100
28 November, 2019 – 12 December, 2019