16.05.2013 – 02.06.2013, Triumph Gallery
The idea for the 'Rehearsal Time' exhibition is based on the themes of mistake and repetition, which each of the participating artist broaches in their own way.
After the modernist utopias of the last century, the main value today has become the concept of time itself, its movement, its flow, its irretrievability. Proust’s lost but still sensed and, in the end, regained time has been replaced by an elusive, fleeting time, the time of our own era, a time that cannot be converted into something reliable and tangible for man. In the era of imperceptible time, a time with no prospects, what is valued is time that is stolen, time that is procured and returned through considerable effort.
Repetition is a loop, a territory of temporal surplus where time is caught in a trap. After all, the very idea of time is an idea of nonrecoverability. A literal repetition is a scar on the body of time, so a repetition returns to us all that is fleeting and that cannot be returned. If we add here the potential opportunity for a mistake, then time becomes tangible, effective. But on the other hand, the idea of a literal, enforced repetition – that is already a mistake, a breakdown in the condition of a historical process.
In Sofia Gavrilova’s series of photographs, it is as if we are touching on the process of production itself, with its temporal and topological intervals. The results of her work are one hundred, at first glance identical shots of one and the same landscape: a beach, the English Channel, a rainy, heavy sky. Slight movements of the camera and the sequence of the shoot create a narrative (between each two neighbouring shots about five minutes of real time have elapsed). Closer to the middle of the series, in the centre of this ascetic landscape, people appear. This slight violation raises thoughts on the theme of chance in conceptual art. And it becomes clear that we are talking here not only about a despairing gesture made by the artist.
The film of the author of this text is called “Fugue.” It’s based on just one sound, and it doesn’t just focus on the problem of time or its loss – on the contrary, it places man in the temporal flow as if that flow was akin to a water current. The sound film, recreating the logic of a Hollywood film of 1946, indicates that historical time has stopped moving forward, as was the case at the end of the 19th century. In this sound installation, the issue of modernity, a return to history and social memory, with its refined amnesia, is raised.
The assertion of a new ideological form (whatever it might be) is the main theme in Polina Kanis’s video work. It creates a system of relations within which each performs his or her function without becoming overly interested in the affairs of the other participants. Here it is the details that are important, the specific distance between the characters and their attitude towards what they are doing. It creates an ideal result for the work (in the form of the photographic image received, in which Polina, sitting on a horse, raises a flag) and there is video documentation, a video recording of the working progress. The relationship between the photograph and the video documentation raises the issue of the real or of a world in which ideological constructs collapse like a house of cards.
Alex Korsi’s object is a table with crockery on it. A stain on the tablecloth and a slight disorderliness indicate that people have been sitting at this table, they have been talking, eating and drinking wine. But there is also a certain object on the table, a small box, that stands out, that stands outside this logic of a feast. From the box, which remains closed, we can hear a quiet sound, something like a rustling. This work is about something unsaid or unspecified in relations between people, but more important is its authenticity, the authentic presence of people at this table.
It’s possible that when the participants in the feast were holding their informal conversations, they noticed (with their peripheral vision) the small object and their attention was drawn to this perturbing sound. But the object, by some higher law, must remain out of focus, and in the relations between the people, something must remain unsaid.