{"id":2783,"date":"2018-04-27T16:48:48","date_gmt":"2018-04-27T13:48:48","guid":{"rendered":"http:\/\/dev.kim.lv\/?p=2783"},"modified":"2018-05-04T15:15:05","modified_gmt":"2018-05-04T12:15:05","slug":"viktors-timofejevs-kapnes-uz-meloni","status":"publish","type":"post","link":"https:\/\/kim.lv\/en\/viktors-timofejevs-kapnes-uz-meloni\/","title":{"rendered":"Viktor Timofeev &#8220;Stairway to Melon&#8221;"},"content":{"rendered":"You see the designed space at the back, with its clear,\u00a0delimited arrangement. Something similar to a waiting\u00a0room where chairs line the surrounding walls, only here\u00a0they enclose a different arrangement &#8211; two screens on\u00a0free-standing mounts facing a single chair. An order that\u00a0feels a bit too serious and slightly ominous, inapt in its\u00a0density. Take a seat &#8211; research is being conducted and you\u00a0are now part of it.<\/p>\n<span class=\"indent\"><\/span>The screens display digital creatures crawling through\u00a0labyrinths in an open eld. It isn\u2019t a looped fragment of an\u00a0animated video but a programmed self-playing game that\u00a0runs innitely. In its rst version, which was shown in\u00a0Rotterdam a couple of months ago, these were\u00a0cockroaches \u2013 an odd choice though grounded on imagery\u00a0so cleanly technologized that it barely touches on\u00a0potential abhorrence or phobias. Here, we see humans,\u00a0which might lead us to a Kafkaesque metamorphosis \u2026 But\u00a0this is a fast association, as everything gets more obscure:\u00a0there are two perspectives of observation that run\u00a0simultaneously, distributed between the screens &#8211; the one\u00a0of the moving creature itself, the other from an unknown\u00a0top-down observer. Such a divided presentation suggests\u00a0a totality which is once again vigorously doubled &#8211; the\u00a0seated person observing this digital environment could\u00a0potentially be observed by someone now absent but\u00a0ctionally designated by the order of empty chairs.\u00a0Together it generates the feeling that there is always a\u00a0witness of all types of processes in which one is involved.\u00a0The installation looks like a synergetic whole, but also as an\u00a0absurd mechanism, which only accelerates perception to\u00a0some kind of entirely enigmatic level.<\/p>\n<span class=\"indent\"><\/span>This plays on recent discussions connecting technological\u00a0development to esoteric, occult beliefs, and pre-modern\u00a0systems of knowledge. But there is also another mystical\u00a0trait to encounter in the otherwise algorithmic behaviour\u00a0of the creatures, which is based on chance, feedback and\u00a0repetition of a sequence of actions. While watching their\u00a0meandering movement we project onto them a kind of\u00a0purpose. It stops being a simple pedestrian movement and\u00a0gradually becomes a trajectory, it even turns into a\u00a0direction, a dance with a certain lyricism, and also beauty.\u00a0It is a choreography, whose rules unravel as time goes by.\u00a0Now, we are the ones confronted with these rules.<\/p>\n<span class=\"indent\"><\/span>At some point, Viktor was telling me about spending time in\u00a0hospitals decorated with paintings hanging on the walls of\u00a0rooms and waiting areas. Mostly commissioned, they are\u00a0mainly gurative works with motifs that are meant to be\u00a0enjoyable, soothing, even if they look completely\u00a0misplaced. Within this installation there are also several\u00a0black and white paintings. They superimpose a spatial\u00a0order that reproduces the structure of a labyrinth, through\u00a0their tunnelling illusionism and dreamlike ambience. There\u00a0is an ear populated with butteries; a hand whose fingers\u00a0merge into an organic monolith; a grid that constructs the\u00a0space, and seems to belong to the very logic of things.<\/p>\n<span class=\"indent\"><\/span>Even if this imagery clearly demarcates a history of painting\u00a0as being a window to the outside world, it only adds to an\u00a0environment where nothing external seems to exist. This is\u00a0the hermetic order of the scientic argument; what\u00a0painting brings in is a vocabulary of symbols where the\u00a0outside world is completely dismantled. If the black and\u00a0white colour scheme is one of a binary digital language,\u00a0then the space created is one based on loss of control; of\u00a0uncertainty&#8230; which brings us back to Viktor\u2019s base line.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left; padding-left: 60px;\">Text by Viktoria Draganova<\/p>\n<p style=\"text-align: left; padding-left: 60px;\">A curator and writer living between Frankfurt\/Main and Soa<\/p>\n<p>&nbsp;","protected":false},"excerpt":{"rendered":"<p>You see the designed space at the back, with its clear,\u00a0delimited arrangement. Something similar to a waiting\u00a0room where chairs line the surrounding walls, only here\u00a0they enclose a different arrangement &#8211; two screens on\u00a0free-standing mounts facing a single chair. An order that\u00a0feels a bit too serious and slightly ominous, inapt in its\u00a0density. Take a seat &#8211; [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[3,4,26],"tags":[],"class_list":["post-2783","post","type-post","status-publish","format-standard","hentry","category-2017-exhibitions","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Viktor Timofeev &quot;Stairway to Melon&quot; - Kim? 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