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On the contrary, the artist emphasizes the lack of any magical character in his performances, offering them as a kind of secular, urban-animist shamanic ritual of construction. In this performance, the artist will also reflect on his impressions of Vladivostok. Holmstrand was particularly influenced by the objects on display at the Arsenyev Museum, which inspired him to create the textile sculptures for the performance. His practice as a sculptor and creator of visual images is multifaceted and includes several different stylistic approaches.
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You may also like these apps He is additionally intrigued by the aspect of time in the process of knitting, and the sensation that something is growing organically with every added eyelet. The latest exhibition at Zarya Center for Contemporary Art invites visitors on a journey through Vladivostok and the Eurasian landmass in search of new ways of exploring spaces where historical, political, economical and spiritual dimensions intersect.
This is why we put such an emphasis on exploring the local context. Together, the three events — the two openings and the symposium — make up their own international mini-biennale, dedicated to the practice and politics of geographical imagination. Zarya CCA is designed to bring to the Primorsky Krai the highest achievements of contemporary culture in Russia and beyond, while fostering artists and the local art scene.
Since the second half of , ZARYA CCA has operated the only artist-in-residence program in the Far East, offering artists from different cities or countries the opportunity to realize projects in Vladivostok, with a focus on regional culture and the geographical context. This project aims towards a common heritage and to that extent expands to include new partners, such as the Dutch Art Institute, together with the Athens-based nonprofit gallery State of Concept and the Nam June Paik Memorial Museum in Seoul.
https://harlianonpgep.ga Leif Holmstrand works across genres, creating installations, objects and performances, as well as musical or literary compositions. Throughout his work, the artist makes frequent reference to shamanism and its contemporary rethinking. As in the majority of his previous performances, here Holmstrand develops a system of rules that will be followed throughout the duration of the action.
The gestures produced by the artist vary, though they share the same objective: through interaction with set materials—in this case, household waste, garbage, textiles and clothing, threads, ropes, etc.
Гоголь Николай Васильевич (Gogol' Nikolai Vasil'evich)
The artist will leave the performance open-ended. This means the object might be complete, or it might remain in a state of construction, or it might even envelop its creator, ultimately ensnaring him within its complex structure. The selection of these specific materials is not accidental. Holmstrand confesses that since childhood he has been obsessed with fabrics, knots, ropes, weaving and knitting, which symbolize both a defense like a cocoon and a trap or a threat.
He is additionally intrigued by the aspect of time in the process of knitting, and the sensation that something is growing organically with every added eyelet.
In many of his works, Holmstrand uses different kinds of garbage, collected in the city. The artist consid ers this waste to be a reflection of urban life, allowing it to be read like the materialized voice of local culture, as well as abandoned, unwanted little bodies. The rhythmic text is almost entirely transformed into sounds that seem to lack any relationship to language, with each of the various sections of the piece having their own distinct sound. This poetry-as-music accompanying the performance becomes a kind of melodious incantation, charms comparable to shamanic ritual.
On the contrary, the artist emphasizes the lack of any magical character in his performances, offering them as a kind of secular, urban-animist shamanic ritual of construction.