Artist: Dmitri Prigov

Curator: Dimitri Ozerkov

Venue: Universita Ca’ Foscari, Dorsoduro 3246 (Calle Foscari)

Challenging the viewer from the moment they step through the dark curtains, this exhibition by Dmitri Prigov thrusts the viewer into a tense, threatening environment. Initially faced by a shrouded man banging on a manuscript and shouting in Russian, we are however acutely aware that the sounds around us are not solely accounted for by this image. Our curiosity grows, and as we step through the second set of curtains we are faced by what appears to be the true(r) source of the aggressive noises, as two men sit in chairs shouting at one another. But once again, we do not have the ‘full’ story. Casting our glances back over the forbidding curtains behind us, we move forward to continue this tense experience with the third man, who retells a story in an increasingly emphatic tone.

While this corridor of tension is intriguing, despite all attempt to linger and watch the entire sequence, it is hard to remain within the curtains for any length of time. Instead, one longs for the white space beyond the final projection. And yet even on escaping this channelled aggression, the graphic drawings and installations of Prigov are infected with the tension and anger embodied in the initial videos. While both absurd and at times disconcerting images, the noise that resonates through this exhibition, as well as our memory of the initial projections feeds into the graphic works, with sight, concealment and above all discomfort coming to the fore as the major themes expressed in Dmitri Prigov.

Jennifer Owen

Artist: Dmitri Prigov

Curator: Dimitri Ozerkov

Venue: Universita Ca’ Foscari, Dorsoduro 3246 (Calle Foscari)

Challenging the viewer from the moment they step through the dark curtains, this exhibition by Dmitri Prigov thrusts the viewer into a tense, threatening environment. Initially faced by a shrouded man banging on a manuscript and shouting in Russian, we are however acutely aware that the sounds around us are not solely accounted for by this image. Our curiosity grows, and as we step through the second set of curtains we are faced by what appears to be the true(r) source of the aggressive noises, as two men sit in chairs shouting at one another. But once again, we do not have the ‘full’ story. Casting our glances back over the forbidding curtains behind us, we move forward to continue this tense experience with the third man, who retells a story in an increasingly emphatic tone.

While this corridor of tension is intriguing, despite all attempt to linger and watch the entire sequence, it is hard to remain within the curtains for any length of time. Instead, one longs for the white space beyond the final projection. And yet even on escaping this channelled aggression, the graphic drawings and installations of Prigov are infected with the tension and anger embodied in the initial videos. While both absurd and at times disconcerting images, the noise that resonates through this exhibition, as well as our memory of the initial projections feeds into the graphic works, with sight, concealment and above all discomfort coming to the fore as the major themes expressed in Dmitri Prigov.

Jennifer Owen

Posted 1 year ago & Filed under Dmitri Prigov, Venice Biennale, LINE magazine, Line, LINE,

About:

A Virtual Biennale is a project produced by the LINE Magazine collective.

It seeks to document the Biennale through a coherent online format, where hierarchies are significantly flattened and the work exists purely in images. By transferring the physical to the virtual, the online Biennale emphasises the Fair's existence as a spectacle, which much like Venice, exists primarily in our imaginations and through the frame of the lens.

2011's Venice Biennale is titled 'Illuminations' and is curated by Bice Curriger. It seeks to 'unveil hidden truths.' Taking this idea as our lead, we hope to elucidate the truths that remain implicit within the Biennale and shed light on them through this webpage and a forthcoming edition of Line Magazine titled 'The Illuminated Artist'.

Over the next few weeks a series of interviews, reviews and critical essays will be added alongside these images. The texts will question the function and purpose of the Biennale in the age of globalisation, the social and political nature of some art showcased and the responsibility of its makers, curators and audience. It will also expose and question the corruption of funding, prizes and sponsorships at the Fair.

Members of the LINE collective:
Rachael Cloughton, Emily Burke, Kathryn Lloyd, Joao Abbott-Gribben, Jemma Craig, Jennifer Owen, Laura Stocks, Matthew Macaulay

Line Magazine was founded in 2010 by Rachael Cloughton and Thomas Carlile: linemagazine.tumblr.com / www.linemagazine.co.uk

© Rachael Cloughton 2011

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