Features of Intuition
Curated by: Ami Barak
Tim Parchikov. Camargue. 2006
Tim Parchikov. Naples. 2007
Date: May 16 – June 21, 2015
Venue: MMOMA, 17 Ermolaevsky lane
A tribute to the poet Aleksey Parchikov
The Moscow Museum of Modern Art presents the exhibition of a young Moscow artist Tim Parchikov Features of Intuition, which brings together several of his projects: Foundation Pit, Suspense, Impossible Puzzle, Iceland. Runes, Shooting Room, Moscow Negatives, and Burning News. His art incorporating photography, video and neon – a medium novel for the author – explores historical, social and metaphysical context of the today’s world.
The Suspense project commenced in 2003 in Moscow and is still underway during Tim Parchikov's journeys around the globe, including his recent stay at the Swatch artist residence in Shanghai. The project focuses on an unresolved conflict, an inconclusive situation, a bunch of vague unfathomable anxiety. Suspense marked the cinematography after the World War II, almost immediately taking on a new meaning in the contest of the second wave of existentialism, and fitted perfectly to express that unconscious anxiety that was overwhelming the post-war world. Parchikov’s project of the same name is a visual manifesto of a new ‘lost’ generation of young people who at the turn of the century gained total freedom of information and movement. The illusion of total communication, together with the loss of integrity of the value orientation system, has led them to loneliness and endless search for the lost identity. During this trip, any stop and any encounter with reality is suspense.
In the Moscow Museum of Modern Art exhibition the photographic part represented by Suspense is supplemented, on the one hand, by the installation Mene, Tekel, Upharsin , on the other hand, by the video installation Shooting Room. Mene, Tekel, Upharsin reproduces the mysterious inscription that appears in Rembrandt’s Belshazzar's Feast, depicting a passage from the Book of the Prophet Daniel in which, during a banquet, a fiery inscription appears on the wall in front of the Babylonian king and predict the fall of his kingdom. Tim Parchikov decontextualizes the prophetic words and turns them into a glowing neon advertisement. The video installation Shooting Room places the viewer in an execution chamber with no way out.
The project Impossible Puzzle is the result of the artist’s work in Iceland. Having discovered in waste Icelandic landscapes an unsuspected intrusion of civilization – strange objects marked with enigmatic signs – he captured them as a new sort of cryptogram.
Parchikov keeps looking at the idea of cryptography and the interaction of civilization with nature, so unyielding to time, in the series Iceland. Runes. On cold and outer-space landscapes he reveals ancient runic signs, the foundation of the Icelandic culture.
As opposed to desolate natural landscapes, the urban space of a metropolis abounds with signs and statements that mix into visual noise indistinguishable by our consciousness. In the series Moscow Negatives the author places visual signs familiar to everybody in a new context, imposing new emotional and semantic tones on them.
The Foundation Pit series was created in Magnitogorsk, the city that the artist chose as the case study of a single-industry town, which had rapidly emerged during the industrialisation period, its existence typical for Russia and Europe alike. The artist opens a dialogue with the famous Vladislav Mikosha’s photo series of 75 years ago, the one which captured the utopian heroism of the largest construction site in the epoch of the first five-year plans. The Magnitogorsk steel mill, its people, its industrial landscapes, city streets and city dwellers, the senior home where live out their lives the people who witnessed the birth of the city and its industry – the artist combines different fragments to create a puzzle, with the temporal hinge reuniting Magnitogorsk’s history and present-day reality.
The Burning News project explores the functioning of human consciousness in the state when the attack by the information stream of ‘hot news’ comes to the mind’s breaking point – the people Parchikov’s camera captured passively hold newspapers aflame against the background of a snowy landscape. On the contrary, the protagonist of the Snowmen video takes an active part: he rushes with an axe through the masses of snow to cut the eponymous snowmen – his doppelgangers he made by his own hands, as if trying to break the vicious circle.
Hibernation, being an intrinsic feature of Russian nature, culture and history, is an important connotative component of the project. The author wonders if the country bound by winter frosts and overfed with ‘burning news’ can still wake up.
About the artist:
Tim Parchikov graduated in cinematography from the Gerasimov Russian State University of Cinematography and in directing from the Screenplay and Directing High Studies.
To name only a few of his numerous solo exhibitions:
2014, Suspense, Maison Européenne de la Photographie, Paris, Centro Niemeyer, Avilés
2014: Dead Sea, Juana de Aizpuru Gallery, Madrid
2014: Fast-Moving Tides, Priska Pasquer Gallery, Cologne
2014: The Foundation Pit, Marina Gisich Gallery, Saint Petersburg
2013: Times New Roman. Episode III: Moscow, La Galleria Parmeggiani, Reggio Emilia, Italy
2012: Colour Matrix. Unreal Venice. Glaz Gallery, Moscow
2012: "Suspense", Juana de Aizpuru Gallery, Madrid
2011: Suspense, Museo di Roma in Trastevere, Rome
He also took part in various group exhibitions, including:
2014: “Burning News”, Hayward Gallery, London
2014: “Un Nouveau Festival”, Centre Pompidou, Paris
2014: "Ri-conoscere Michelangelo", Galleria dell'Accademia, Florence
2011: "Real Venice", 54th Venice Biennale, l'Abbazia di San Giorgio Maggiore, Venice
In 2013 he was awarded the Kandinskiy Prize as the Best Young Artist.
In 2011 the artist participated in the Venice Biennale of Contemporary Art.
Some of his series were published as artist monographs, including:
2014: Suspense, Contrasto editions, Rome
2010: Suspense, Triumph editions, Moscow
2006: The Suitcase, Zebra editions, Moscow
About the curator:
Ami Barak is an independent curator and art critic. Lives and works in Paris. From 1993 to 2002 he was the director of the Frac [the Regional Collection of Contemporary Art] Languedoc-Roussillon; from 2002 to 2005 he was also the President of the International Association of Contemporary Art Curators (IKT). He is a former Head of the Visual Art Department of the City Council of Paris (2003-2008). In 2011, he was the co-curator of the Romanian Pavilion at the 54th Venice Biennale. His most recent curatorial projects include Vues arrière, nébuleuse stellaire et le bureau de la propagande extérieure, a personal show of the artist Taryn Simon (2015, Jeu de paume, Paris) and An Estranged Paradise: Chinese Contemporary Art from the DSL Collection (2014, Jewish Museum and Tolerance Centre). He is currently a Lecturer at the Paris Sorbonne I University (Paris I Panthéon-Sorbonne).