Post on 11-Mar-2016
description
MARYNA MILIUSHCHANKA
the works
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A one-day exhibition.
Semolina, childhood memories and misunderstandings.
The gallery floor with a false table-top made of painted cardboard was
covered with semolina circles. On the table-top there was a notebook
with cyrillic writings and plaited hair on it, a cup with a slice of bread
and some semolina. One could hear a subtle breathing sound, coming
from under the table. Every object brings some moment of inaccessibility.
But there are 3 main steps of it: the semolina circles, which visitors can
destroy, reaching the table-top, the table-top itself, being false, and the
meaning of the details, as the writing, the semolina, the hair and the cup
with bread.
The semolina for me symbolises childhood and the cup with bread and
the hair-the memories of the passed away.
The sound of breathing made the impression the objects will fly away,
just like memories.
3stepsofinaccessibility
3stepsofinaccessibility
chromophobia
chromophobia
the warrant on space
the warrant on space
Water, hair, water , hair.
I have collected hair of unknown people from a hair salon
and put them into plastic bags filled with water. About 200
bags were placed on the wooden table. The work is about
anonymity, unity and individuality, as well as the memories
and their conservation.
Hair as memento mori, water as the information source,
plastic bags as the way to conserve them.
The work had an unexpected, but not an unwished
consequence: the bags started to leak, the wooden brick
floor was rising slowly day after day, creating a hill. The
table has been removed. The hill remained, with it remained
the idea of the installation, transformed and living. It was a
great conclusion to the whole piece. I went through every
step of the installation: from collecting the hair, putting it
into the bags (it was very intimate, personal, meditative),
to removing the table (rethinking, suffering), and rebuilding
the floor with my bare hands after the exhibition (suffering,
purification). I am very glad the work lived and acted
its own way, and made me come through some deep process
of thinking and living with it.
the table
the table
Berlin, suitcases and Brodsky.
The challenge was to make something for an installation
space, I've seen only on pictures. The other problem was
the unknown number of participants. So I have created a
space in the space. Two vintage suitcases with a mirror
were placed creating a closed but endless room. The inside
was a dialogue of objects, that interpret my favourite Joseph
Brodsky's poem quotes. His poems, being full of new and
unexpected meanings, always inspire me for my installations.
So I have built my poem of objects as a tribute to his poems
of words.
a tribute to Brodsky
a tribute to Brodsky
The work cooperation with the City Theatre Kassel.
The way of rethinking theatrical life, symbols on the
example of Charles Gounod's opera "Faust".
The idea was to show something usually unnoticed in
the theatre. The opposite part of the stage: the public,
their feet. The feet in the dark as the expression of public
reaction to what is going on the stage.
10 different feet images were cut of cardboard, covered
with black paper and pressed, creating relief surface. The
unnoticed, the unimportant became visible, became staged.
The public was on the stage, remaining re public.
everyone please to the stage!
everyone please to the stage!
the models
the models
the models
I made a room model for a film "5 Grad Milorad Pavich". It is a bookworld
on the edge of reality and fiction, a mix of some familiar objects and fantasy,
like walls, made entirely of booksand paper.
Due to some changes in the screenplay the project was realised in a more
realistic manner.
the film
the film
3000 yards per hour
1 hour, red thread and me.
Large, clean and empty space and one hour for an installation. I was walking through the room
with a hank of red thread, attaching it to the walls, ceilings and doors. The thread was the
track of my way. After about 30 minutes of constant movement I started to experience some
difficulty in moving through the thread net. My movements became rather strange. The visitors
didn't notice the thin thread first, so for them I was like a strange dancer. Only when they
tried to go through the room they realised the space was divided by a slightly visible thread
net. So in order to get to the opposite wall they had to make the same strange movements as me.
It was a philosophy of moving, of overcoming the consequences of my movement and experiencing
yourself in a time-space unity.
MARYNA MILIUSHCHANKA2013