The project group AES + F "Feast Trimalchio" (video installation)

[Евгений]

June 19 - August 29, 2010 in CA "Garage" Russian premiere of an ambitious project of AES + F (Tatiana Arzamasova, Leo Evzovicha, Eugenia and Vladimir Svyatskov Fridkesa) "Feast Trimalchio." Devyatikanalnaya video installation will be installed in "Melnikov" gallery "Garage". The exhibition will include large-scale digital paintings that were previously not shown on any of the "world. The Feast of Trimalchio "- the interpretation of surviving in the most complete form chapters of the novel" Satyricon "of Petronius Arbitrator, the great Roman poet, a contemporary of Nero. Fascinating video will allow viewers to dive into the space a modern five-star hotel paradise, with paid accommodation, where he will be witness to such vices as excessive gourmandise, excessive waste and wealth, which became a symbol of Trimalchio himself, the character of the novel "Satyricon." Artists create their work on all the canons of advertising campaigns for luxury brands. People who are in this luxury hotel are divided into two categories: "Gentlemen" and "servants".
"Lord" - dressed in white clothes came from the "golden billion". This creates the association as a modern Eden, and with the colonial uniforms, and sometimes even with the cruise collections of some fashion houses. But, nevertheless, they are not impersonal and you can be easily distinguished university professor from the broker, and secular lioness of an intellectual. "Servant" Trimalchio - young and attractive representatives from different continents, the staff great hotel industry: waiters, maids, cooks, gardeners, guards, masseurs. The plot is almost identical with the real picture of the world, but as the development of the characters sometimes begin to switch roles. Depraved pleasures of this cloudless heaven prone to global disasters, constantly intruding into this artificial world ..
http://www.artinfo.ru/ru/news/main/art.htm
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Friends, I advise to look, interesting and talented .. (EA)

[Евгений]

AES + F: BIOGRAPHIES

Tatiana Arzamasova
Born in Moscow in 1955, graduated from the Moscow Architectural Institute (MARCHI) - State Academy in 1978. Lives and works in Moscow. Was engaged in the conceptual architecture. Winner of the Grand Prix competition co OISTT and UNESCO «Theatre of the Future. Participated in conceptual architecture exhibitions in London, Paris and Venice.

Leo Evzovich
Born in Moscow in 1958, graduated from Moscow Architectural Institute (MARCHI) - State Academy in 1982. Lives and works in Moscow. He was engaged in the conceptual architecture. Winner prize contest OISTT «Theatre on tour in Stockholm. Participated in conceptual architecture exhibitions in Milan, Frankfurt am Main, Paris. He worked as art director and director of animated films, as well as art director of the film "Sunset".

Eugene Svyatskaya
Born in Moscow in 1957, graduated from Moscow Polygraphic Institute (Faculty of book graphics) in 1980. Lives and works in Moscow and New York. Participated in international competitions, posters, exhibitions of book illustration, graphics and posters. Worked as creative director at several publishing houses in Moscow.

Artists united in a group of AEC in 1987. Photographer Vladimir Fridkes joined the group in 1995, and the group became known as AES + F.

Vladimir Fridkes
Born in Moscow in 1956. Lives and works in Moscow. He worked in the field of fashion photography. Published in magazines: VOGUE, Harper's Bazaar, ELLE, Marie Claire, Cosmopolitan, Sunday Times Style and others. Participated in exhibitions: Moscow Photobiennale (1996, 1998, 2002), "Fashion and Style in Photography" (1997, 1999, 2001), "Art Moscow" (2001), etc.
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Curator:

Olga Sviblova

Born in Moscow. The curator, art critic, director and founder of the Moscow House of Photography. Ph.D. Moscow State University (MSU). Olga Sviblova was the curator of numerous exhibitions of contemporary art and photography in Russia and abroad. In 1988 he was awarded the Paris critics at the festival in Cannes for the film "Black Square" of the Russian underground art. It was the curator of Russian Pavilion at 52y and the 53rd Venice Biennale of Contemporary Art.
http://www.garageccc.com/exhibitions/13528.phtml
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Inquiries by phone: +7 (495) 645-05-20

[Евгений]

Interesting information on the site ARTinvestment.RU - (03.07.2010)
Video art, quite frankly, do not Take it to the most investment attractive segments of the art market: auction houses are much more zhaluyut "traditional" works such as paintings or sculptures. However, this type of art, keeping up with the development of computer and communication technology, continues to attract ambitious artists, who see in it a vast field for experimentation.

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The number of video artists whose work is steadily making progress on the secondary market is very small. The reason for this is not just that video art seems much less approachable (and certainly less "interior"), for example, than painting, but also uncertainty about the future collectors of these works - the kind of art highly dependent on technology, as they are known, quickly become obsolete. In the first ten auction results published by Artprice.com, we see only three names: Bill Viola (Bill Viola), Nam June Paik (Nam June Paik) and Mike Kelly (Mike Kelley), the latter being known mainly because of his installation, paintings and photographs. His work "The Game" crib ", which was sold in 2008 at Christie's, the rating takes into ninth place.


Bill Viola
Captivity. Fragment of video installations. 2001
Source: artnet.com

Bill Viola, without doubt, is the most popular video artist in the world. List Artprice has five of his works. Although he had to wait long for recognition at the auction market: the first exhibition of Viola (in the famous New York-based alternative gallery The Kitchen) was held in 1974, and at public auction of his creation first appeared only 28 years later. But this sale was the best for the entire 2002 debut auction market contemporary art. Since then, the work of Viola put up for auction 36 more times - relatively few. But prices are continuing to climb up: for example, video "Witness" (2001), which brought in 2005, 320 thousand dollars, was resold in 2007 for 500,000 (56 per cent increase!). The most expensive of its product (and most expensive video installation in the world) is the "Eternal Return" (2000), can be applied 330,000 pounds (613,000 dollars) at the Phillips in October 2006.


Nam June Paik
Wright Brothers. 1995
Source: artnet.com

In the second place in the list climbed "The Wright Brothers" (1995), father of video art by Nam June Paik. In November of 2007, this well-known installation went to Hong Kong Christie's for 540,000 dollars (twice the lower estimeyta). In May of that year, his "Little Buddha" (2001) was sold for 294,000. Yeah, good was 2007-the first for the market of contemporary art! "Income" Paik was much as 2.24 million euros - as many have brought all of its auctions in the previous ten years. This year too, however, quite good: in the first six months the owners have changed more than thirty works of Korean video artist. Most brought "Rocket to the virtual Venus" (1991), bought at Christie's for 308,000 (number six in the rankings). Another symbolic sum in 2010 - 422,000 for "Captivity" (2001) of Viola. Perhaps we will soon be seen in this segment of the new records.

While the list of the most expensive works of video art looks like:

Bill Viola, pp. 1951. Eternal Return (2000). 613.6 thousand dollars. Phillips de Pury, London, 14 October 2006.
Nam June Paik, 1932-2006. The Wright Brothers (1995). 540.1 thousand dollars. Christie's, Hong Kong, 25 November 2007.
Bill Viola. Witness (2001). 500 thousand dollars. Sotheby's, New York, November 15, 2007.
Bill Viola. Captivity (2001). 421.8 thousand dollars. Sotheby's, London, February 10, 2010.
Bill Viola. Witness (2001). 320 thousand dollars. Christie's, New York, November 8, 2005.
Nam June Paik. Launch the virtual Venus (1991). 308.16 thousands of dollars. Christie's, Hong Kong, May 29, 2010.
Nam June Paik. Little Buddha (2001). 293.9 thousand dollars. Christie's, Hong Kong, May 27, 2007.
Bill Viola. The Return (2008). 280 thousand dollars. Sotheby's, New York, February 14, 2008.
Mike Kelly, pp. 1954. Playing in the crib (2004-2005). 250 thousand dollars. Christie's, New York, May 13, 2008.
Nam June Paik. Enlightenment 78 rpm. 232.2 thousand dollars. Christie's, Hong Kong, May 28, 2006.
 

Material prepared by Julia Maksimova, AI

[Евгений]

Disastrous and comic happening - the brink of modern art.
(Sasha Lilic: Interview with Leo Evzovichem and Eugene Svyatskaya from the group AES + F.)


SL: How did the idea to make this work (editorial note. "Feast of Trimalchio"), why you are interested in this topic?
Leo Evzovich: The idea came because we are very interested in modern hotel, a hotel-resort five-, six-, seven stars. He can work with a sort of metaphor for modern society, and it is not only an issue of consumption, and we are even more interested in the relationship "servants" and "lord", and that the staff of the hotel, these "servants" - mostly from the with a European point of view, exotic cultures: blacks, Asians, Hispanics ... And these modern attitude servants and masters and we are interested in different cultures. And these days postpostkolonializma when "no country with tsentrozapada" begin to dominate, and Europe has raised some fears. This whole project. And the plus of course we are somewhat ironically on the stereotype that we live in "the sunset of Rome.
SL: And you think that this is not true that no sunset? Your irony is directed at the negation of this idea?
LE: We never did not believe, and tried to provoke the viewer to the fact that he had something he thought. There may be any point of view, but we ironically some stereotyping.

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SL: We have your personal position? Or do you simply reflects what is happening in the world, trying to say about the problem?
Eugene Svyatskaya: Of course, we talk about these issues, but do not offer solutions. We do not judge and do not try to give answers to the questions we are more inclined to raise them, to bring people to a certain reality in our reflection.
LE: I think it is more correct position for the artist than the role of some edifying. Hardly anyone has the answers to all difficult questions. In general, the work covers many issues, there are many layers. It is always difficult to explain words component, which acts on the fascinating people, so they began to look at it. Main - This project is a single entity, a continuous history of art and culture, and is referring to the relations of civilizations existing in the world, countries of "first" and "third" worlds. This unrequited perspective, she and the political, social, and simultaneously, rather than something that is separate consumer society. That's one perspective, it's all together.
SL: And the solutions to these problems do you see?
ES: We definitely see it! But in our work that there is no work of Karl Marx.
SL: Maybe, just share your point of view?
ES: It is obvious that the world now is in a transitional stage on the threshold of new transformations. All of this feeling, we are not the only ones. Perhaps this is somehow reflected in work, feeling catastrophic. On the one hand, the desire of mankind to paradise, the dream of a paradise on earth and attempts to implement it, but they always utopian and tragic and disastrous. All this is present here.
LE: But this is both funny ...
ES: Yes, of course we see the absurdity, the futility of all these aspirations. It's a fee for pleasure. All of this is present in reality: the world has recently stayed in a rhetorical position relative to its prosperity and opportunity. Then suddenly the band starts, when all the other hand, is flying to the devil. I wanted to show the fragility of the boundary between complete happiness and catastrophe.
SL: What do you like and dislike in the contemporary art? What he lacks in your opinion?
LE: I think that first of all, lack of modern art. And now it is, in my opinion, the only area of culture, unlike literature, movies, etc., that really describes the present. On the other hand, say that it likes and dislikes - no ... probably impossible, because this very much. Now is not the time when there is any mainstream trend in art. It operates more Personalia artist who shows his view of the world, who then someone takes, someone does not accept.
SL: Can you articulate your creative credo? The purpose of your creativity?
L.E: We basically love to go on such issues, because the audience must understand and read the most different from that of visual range, which we create.
ES: In any case, we can say that doing what is interesting for ourselves, rather than short-term considerations.
SL: While many modern forms of art (installation, video art), there were a few decades ago, people were still divided into two groups: fans of classical art and modern. One simply can not cross the threshold of perception of modern art. How can we overcome this, in your view?
LE: I think that this is rapidly overcome. For example, in Russia 20 years ago this division was most pronounced, was simply an impenetrable wall, now there is nothing insurmountable. Any art in its time was modern. It is very well developed the exhibition, which exhibited, for example, Rubens, along with some contemporary artist, and the parallels are very clear. I think in the European culture of the opposition had never been there, but rather the legacy of some kind of Soviet stamps.
http://artgals.info/name/artists/aesf-15072010/