Theatrical projects

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POST-MORTEM CHRONOGRAPHY
site-specific theatrical performance
XLIX Vipper Conference 2018:
Classics and Contemporaneity. Reflections


Idea and staging: PROVMYZA art group(Galina Myznikova and Sergey Provorov)
Designer: PROVMYZA art group
Performers: Nataliy Avraimova, Alexander Shulpinov
Support:The Pushkin State Museum of Fine Arts 
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“Post-mortem chronography” explores boundaries and possibilities of human
perception in extreme sound, visual and emotional conditions. The performance
refers to classic themes of pain, compassion, death reconsidered by contemporary media culture. Museum space transforms into total, united performative space where among
sculptures and paintings unfolds an epic drama of childish recognition of self as
a feeling substance, placed between the past and the present. The project offers
to return quality of "primary experience", ecology of perception through uber-emotion
to experience of classical art.

A child's weeping turned into a concert, a man with a dying tablet, a fight,
a traceur - their forms of action:- - aggression, processability, extreme, cruelty,
fear - brought from the outside, from contemporary world are by definition alien
to the High Art, space of peaceful contemplation. Modernistic reality crosses, wedges, appears and disappears instantaneously, breaking conventional narration and rituality
of "baroque" sacral play with its documentary. The result of performed events is subject
to compulsory museumification, formally building a connection with audience by setting
a museum fence and elevating their status to a work of Art.

Boundary between sacral and secular, aesthetic and unaesthetic, classic and contemporary, conditionality and affectivity is constantly fluctuating, it becomes unstable and
illusory up to complete disappearance.

A metallic sarcophagus becomes a kinetic object, defining a modern form of mortality, suppressing archaism of emotions by unbearable roar of engine and blinding steel glint.
Uber-processability, much like uber-emotions - weeping, fear, aggression - set up
(un)limit of perception of art through syncretism of impact.

 

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MEMENTO MORI TOMB
theatrical performance-installation
the Triennial finissage


Idea and staging: PROVMYZA art group(Galina Myznikova and Sergey Provorov)
Designer: PROVMYZA art group
Performers: Taniy Puhovskaya, Alexey Kirsanov
Support: GARAGE MUSEUM OF CONTEMPORARY ART
Ingosstrakh Insurance Company 
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The First Triennial of Russian contemporary art was concluded
by premier performance, created specifically for the Garage Museum space.

The performance presents a conceptually organized three-part act, separated
by conditional temporal spaces. Each part of the act is so strikingly different
from the other by its aesthetic, artistic, stylistic and ethic content, that
it provokes a certain performative conflict inside the project: each subsequent
part aspires to destroy the previous one in its continuation. Visuality of performance
is determined by aesthetics of pseudo-classical painting, accepting and at
the same time rejecting contemporary performative practices.

With this work the artists continue their experiments with complicated synthetic
theatrical forms as it was, for instance, in their project Impossible Objects (2013)
for the Alexandrinsky Theatre in Saint Petersburg.

Memento Mori Tomb explores boundaries and possibilities of human perception
in extreme sound, visual and emotional conditions. In the first part of
the performance audience sees a dying man in conditionally old, "Victorian" interior;
he is literally on death-bed, surround by his relatives and friends, suffering
in last agony. His scream tearing through the Garage space is compared to
an "exhibition object". Filling everything around, it sets new parameters
of absolute silence. In the second part hearing of the audience is so sharpened
that it begins to react to minimal rustling and sounds, signifying gradual destruction
of the space: falling pieces of the ceiling and interior parts recreate machinery
of gradual decline and reproduce sacral atmospheric affect of performative space
being born anew, steadily drawing us close to tragic total finale and chaos.
The third part presents a scene of disappearance: the space where action takes place
is literally compressed from both sides by gigantic clamp and, according to the artists, "shapelessness becomes a spectacle". Order of life, where birth and death are present,
is subject to total destruction, being melted into one mass, like a last echo of material world which leaves behind only sounds of disintegration: crackling, screeching, clanking.

"The shapeless" which, according to Bataille, ought to signify something one-of-the-kind (aesthetics of "the inexpressible") cannot be explained by anything except though
comparison. Created post-performative space becomes fixed as a sculpture/installation, transformed through deformation into something shapeless, unneeded on one hand,
and on the other offering to place this gained object into museum halls.



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"homo sacra res homini"/"a man to a man is sacred"
live (theatrical) performance


Idea and staging: artgroup PROVMYZA (Galina Myznikova and Sergey Provorov)
Designer: artgroup PROVMYZA
Support: GARAGE center for contemporary culture;
Jewish Museum and Tolerance Center;
Ministry of Culture of the Russian Federation
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Images from the outside have an impact on the image which I call my body:
they transmit motion to it. I also see how my body influences these external images:
it returns motion to them. And thus, my body in the material world is an image
which functions like all the other images, receiving and returning motion; perhaps
with one difference – a body is obviously able to choose, to a certain extent,
a way in which it returns what was received.
Truth be told, movements of one’s own body or even its stay in one place cannot
be expressed, imagined or felt without relating it to certain points, lines,
surfaces, volumes, distances, inscribed into space and inherent to own self.
Inhabitation itself takes place on the border between residential and geometric
space. Here, it is realized with an act of destruction through a man's corporeity
bereft of the spirit.
My inanimate body recalls behavioral models of the outside world which are
reflectively imprinted in memory of the body, precisely Destruction and Disintegration.
This initial state of the problem gives particular significance to the statement
of Aristotle that “memory is connected to time”, when a body becomes a matter
which is halfway between a “thing in itself” and “vision of the modern world”.


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"MAREVO"
opera
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Winner of INNOVATION Prize 2012
of the VIII All-Russian Contemporary Visual Art Competition
INNOVATION
in “Work of Visual Art” nomination
/Moscow, Russia/

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Idea and staging: artgroup PROVMYZA (Galina Myznikova and Sergey Provorov)
Music: Mark Buloshnikov, Kirill Shirokov
Libretto: Anton Shramenko
Designer: artgroup PROVMYZA
Producer: Anna Gor
Curator: Ksenia Anufrieva
Support: National Center for Contemporary Arts /Volga region branch/
NoName ensamble

The running time of one hour and thirty minutes turns into eternity.
In the direct meaning of the word. ‘Ordinary and traditional’ -
everything differs from what can be
viewed here, nothing is lifelike, but everything is … deathlike.
The ‘like – dislike’ categories are not relevant here.
And THERE they simply do not exist.

/“Afisha” Online Magazine/