Kyiv. Ya Gallery Art Center
06.06.2012 – 02.07.2012
"To write "real" means to fall into the trap of symbolic, while multiplying senses" - Szilvashi wrote in his essay "In the Surroundings of the Minus". In his new project "Framing" the author continues systematic exploration of space that he started in the installation "Reality. Black, White, Green" in Ya Gallery art center in 2010. The author constantly steps away from the two-dimensional understanding of painting and presents it in volume. Framing is objects on the walls - pitch paintings made of material ambiguous in terms of meaning and symbolism, an infernal substance - companion of punishment and atonement, entered Ukrainian art with the help of the author. Old baroque frame - a portal between the past and the future and spectators - colorful objects in space, dramatically interact with each other, as always in Szilvashi's works, on the verge of visual art and philosophy.
SEEING THE IMPOSSIBLE
The turtle moves its paws slowly, but Achilles will never catch up with her. Words deviate from the informative unambiguity, dubiousness of the purpose and are directed at the lacunae of the pauses.
There is no message in the work of art. Neither is one in the medium. There is something else. Something born in the presence of a viewer. In a meeting. On this stage, framed with anything - "white cube's" white walls, decorations of daily life, logics of knowledge... Possible answers lie beyond order and linearity of determinism. Because there is a difference between showing/telling of the familiar and - search of the unknown.
Emptiness of the space is not emptiness.
Objects' surfaces are only markers indicating what is beyond the boundaries of visible and can be changed only with time of personal experience. Empty space's shimmering is a part of a surface of a complex structure, unfolding in space and time in the situation of interaction between material, form, body, color and look. There was nothing before this moment - everything is created now, between surfaces, space and the look. Intersection of views - because both space and objects are looking at the viewer. Creating conditions for incredibly intense meditative work unfolding with time. Possible under certain circumstances. Without mutual imposition. It is not creation of sense, not "intellectual design", but work with non-articulated sediment, the "reverse perspective of the sense".
In the world where reality disappeared in hallucinatory digital "picture", and true is doubted, it, the true, leaves for the silence zone. W. Benjamin in his text "The Task of the Translator", speaking of poetry translation, doubts the very idea of an original-oriented translation. Untranslatability, Benjamin writes, is a distinctive feature of the original. Authenticity is impossible to translate.
There is no center and no periphery. Mobility of connections between the elements of the objects is similar to echo spinning in space attempting to find the source of the sound. The vision coincides with the event of watching. And with its own limit. With what had never been and will never be, but is always present. Leaving the boundaries of the "cave", bodies appear on the horizon of an event with zero level of communication, resisting the speedy reading. Establishing own perception regime, where territory of the paradox is active.
Achilles, burdened by a purpose, will never catch up with the turtle!