Dogs in the Living Room – Farid Rasulov

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

We met in Paris the independent curator Azad Asifovich in occasion of a visit to the exhibition Dogs in the Living Room at Galerie Rabouan Moussion. He explained us how, Farid Rasulov’s exhibition, took a great effort in terms of work: 550 meters of carpet interiors to be pasted by four assistants helping the artist, in order to cover the entire surface of the gallery, including every detail such as cups and books, throughout one month of installation. According to Rasulov: “Paris has a different mood, a special aura, a perfume. The city is like an obsession. I don’t know what attracts me, but I know this is my city”. Dogs in the Living Room is, as a matter of fact, developed all over in the Parisian gallery, from the floors to the ceilings, with traditional carpets from Azerbaijan. In November 2010 the Azerbaijani carpet was proclaimed a masterpiece of Intangible Heritage by UNESCO, in 2011 and 2013 Farid Rasulov’s Carpet Interiors were presented at Venice Biennale, at the Azerbaijan Pavilion.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Born in Shusha, in the region of Karabakh, historical center of carpet waving, Farid Rasulov lives in Baku, Azerbaijan, ancient center of carpet weaving, but decides instead for this exhibition, to look for the fabric in Germany, and having it printed in Russia. A clash between the East and the West, a sign of a system of production, almost completely industrialized and globalized, and an artist who keeps an eye on the ancient patterns, repeated infinitely on the surface of the white cube of the gallery. Rasulov’s practice seems to be rooted in a Western universe represented by the white cube, and by the furnitures, but with an Eastern touch offering to the visitor a kaleidsocope of arabesques from his country, a traditional know-how transmitted from generation to generation. He said to the curator Azad Asifovich: “I use the carpet as a symbol of the Orient. It covers the Western interior, coexisting, it’s eternal”.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

In this conflict there are sometimes victims: human beings such as animals and plants. Dogs, but also cats, donkeys, horses, pigs, and other animals’ sculptures he adopted in his past installations, are victims of this dualism. It doesn’t really matter which kind of animal Rasulov is representing, in his work they are always a symbol of life and nature. And all of them are bright white, a representation of nature in its purity. The white dogs of the exhibition are looking out of the windows, sitting or standing. They are helpless animals without soul, faithful friends stucked inside the orientalized white cube and looking for light and freedom. Farid Rasulov’s installation at Galerie Rabouan Mouission is inspired by the Guba carpet waving school, but the artist will present in every installation a different region, every pattern being influenced by the variety of landscapes, from where the various color pigments are extracted: Baku, Shirvanm Ganja, Qazakh, Karabakh, Nakhchivan and Tabriz.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Bom and raised in a family of scientists, Farid Rasulov, was destined to a bright future in medicine, but In 2007, after graduating from the University of Medicine in Azerbaijan, he decides to move away from science. Living in Baku, the capital, and regularly attending artist studios, he discovers, through contemporary art, a way of life, the concept of freedom of choice, new languages. This radical shift leads him to participate in the 53rd and 55th Venice Biennale. Farid Rasulov is an artist devoting intense use of diverse energy mediums: painting, 3D, animation, sculpture, installation. More informations about his practice in Alice Cazaux’s critical text Anatomie d’une Tradition.

Galerie Rabouan Moussion

 

 

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Timur Si-Qin – Premier Machinic Funerary: Part II

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

“The mirror is thoroughly egoless and mindless. If a flower comes it reflects a flower, if a bird comes it reflects a bird. It shows a beautiful object as beautiful, an ugly object as ugly. Everything is revealed as it is. There is no discriminating mind or self-consciousness on the part of the mirror. If something comes, the mirror reflects; if it disappears the mirror just lets it disappear . . . no traces of anything are left behind.” (Zenkei Shibayma, On Zazen Wasan, Kyoto, 1967)

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

The Premier Machinic Funerary Part II is the second installation in a series depicting a form of hyper-commercial ancestral worship. The installations present abstracted funerals for the 3D printed scan of ancient hominid fossils set in contemporary retail or commercial environments. Arising before art, and marking a transition in the emergence of humans, intentional burial is the oldest of all rituals, as well as evidence of a complex cognition capable of the abstraction required for thinking about the afterlife. Dating back 60,000 years it has also been observed among the closely related Neanderthals, who decorated their transitions into the afterlife with flowers and antlers.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Perhaps more appropriately understood as anti-funerals, these installations mark the re-emergence of a lifeform as it transitions through various phases from organism to fossil, or from CT scan to 3D print. Phase transitions are said to occur at critical thresholds, switching a physical system from one state to another, like the critical points of temperature at which water changes from solid to liquid, or from liquid to gas. These critical thresholds structure the topological space of possibilities within any physical system and thereby define its expression into the physical world.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

In this installation, the phase transitions undergone by this Homo Habilis (1.9 mya) and Paranthropus Aethiopicus (2.52 mya), which themselves originate at the threshold of humanness, provide an example of how being itself exists primarily in the topological realm of possibilities, and only in the secondary emerging into the physical through a given media. Timur Si-Qin

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Timur Si-Qin (b.1984 Berlin) is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing and the American Southwest. Si-Qin has shown internationally at the Taipei Biennial, Bonner Kunstverein, CCS Bard New York, Museum Fridericianum Kassel, Ullens Center for Contemporary Art Beijing, Société Berlin, among others. Si-Qin lives and works in Berlin. The Premier Machinic Funerary: Part II at Carl Kostyal in London follows Part I presented as part of the Taipei Biennial 2014, and will be followed by Part III in New York with Eleanor Cayre in November.

Carl Kostyál

Timur Si-Qin

 

Keep it Real!

Photo Andrea Rossetti. Courtesy of Namsal Siedlecki

Photo Andrea Rossetti. Courtesy of Namsal Siedlecki

In september, the start of the new season was celebrated in the wide space of Ventura XV, Lambrate, Milan, with Keep It Real, a self-produced project, managed in every aspect by the artists: Alis/Filliol, Luca De Leva, Andrea De Stefani, Helena Hladilová, Invernomuto, Diego Marcon, Giovanni Oberti, Gianandrea Poletta, Namsal Siedlecki, along with Vittorio Rappa (fundraising and logistics) and Daniel Sansavini (graph). The idea for the exhibition was born a couple of months ago, without long premeditation: Andrea De Stefani and Namsal Siedleck both had the desire to deal in a practical manner and on a common space with other artists, so they moved their ass to realize this intention. They spread the proposal to their peers and what had started as a private chat, turned into a chorus of nine artists. Keep it Real is a slogan born in the suburbs of American cities and spread since the 80s through the voices of oldschool mc’s and rappers. It is a reminder that, in an hyperbolic mood, invites to authenticity, to keep our feet on the ground, and to live in a pragmatic way.

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Now that the exhibition’s doors are closed, it’s time for reviews, and Keep it Real seems to be like a message read and understood by all the artists involved in this collective project, even in the most ironic nuances. Each of them dealt with the experience of everyday life in a similar way, as active interpreter and keen observer of sensible reality. Each artist was constantly immersed in facts, landscapes, circumstances, forms, specific behaviors of the everyday, without filter: for instance, people who prefer to dive belly and then resurface the head. As a result, the works in the exhibition were multiform projections of an analysis which took place on a common ground. The aggregation of personality preceded the choice of the works: there wasn’t any previously established critical path through specific productions, the show has been built up step by step, on free and individual proposals. In order to reduce costs, the collective tried to involve friends and various stakeholders in an exchange of contributions. In a nutshell, a small cooperative making the project work.

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Diego Marcon, presented: “The Nap” and “The Phone Call”, 2014, two triptychs made of vinyl stickers applied on windows, thus creating two big screens activated by natural light, in concomitance with his new publication, a collection of 38 self-contained episodes, entitled: “A Script for Dick”, and published by CuraBooks. Gianandrea Poletta, usually working with iconic products, in “Moonwalk Pro”, 2014, managed to have a sponsorship by Nike, in order to present his rotating Nike Air Huarache, which will be visible again at the upcoming edition of Artissima contemporary art fair. Namsal Siedlecki, for his work: “Gomba Kalap”, 2014, met one of the last old craftsmen producing mushroom leather in Transylvania, a material similar to suede, obtained by the processing of a particular fungus. Siedlecki learned the procedure of making a hunting hat, and the craftman greeted him with enthusiasm in his small house in a forest where they spent three days together, time needed to go through the manufacturing stages. The formula of arrangements with companies and artisans in the production of the works, definitely seems to be a valid and repeatable experiment.

Photo Andrea Rossetti. Courtesy of the artists and Pinksummer

Photo Andrea Rossetti. Courtesy of the artists and Pinksummer

Alis/Filliol, Luca De Leva, Andrea De Stefani, Helena Hladilová, Invernomuto, Diego Marcon, Giovanni Oberti, Gianandrea Poletta, Namsal Siedlecki + Vittorio Rappa & Daniel Sansavini