Portfolio Ryabova 2013

7/27/2019 Portfolio Ryabova 2013

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Anastasia Ryabova

works and projects

2010-2013


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THE STAR ROADTotal urban installation2013Italy, Biella

The Star Road is a heroic expedition, which aims to carve out a new route over Biellas urban landscapes. A group ofpioneers overcame all kinds of obstacles, and walk through existing concrete/administrative barriers. This new street willbe inspired by the form of a star.

More details: http://vialestella.tumblr.com/


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The expeditio took about 9 hours


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FRESCOES2012KievDuring pre-election campaigns the city becomes a field of an obtrusive self-represenation of political competitors.Carrying visual presence in the streets to the point of absurdity, the speckled range of candidates simulates a variety ofchoice in the same way that the elections per se simulate the opportunity to choose. Meanwhile, all the political activityof a good citizen is supposed to be reduced to their participation in them. This situationcreates a subject whose

characteristics are closest to the Ancient Greek notion of idiot: a person who lives in separation from public life and

doesnt take part in any forms of state administration. According to the Law of Ukraine On the Elections of UkrainesNational Deputies, it is only on the day of silence that the citizen has the right to realize their political preferences freefrom propaganda influence. Prior to that day you can become a legal activist helping to clean the city from the visualpropaganda. The politics of legitimation of visual images in the public space (that are outside the law just for one day inthe year) highlights the contradictions that are intensified in the reprisal against the images that are illegal all the 365days.Information about all exhibition: http://www.supostat.org/en/1/otvetstvennyj-za-tirazh


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PROBLEM BOOKPublication2012

The issue is a collection of mathematical tasks, the story of which is based on social, political and economic problems ofcontemporary cities. Problem Book is to be used as experimental material for social studies classes at schools. The bookis the result of cooperation between architects, sociologists and artists: Ivan Brazhkin, Oleksandr Burlaka, DmytroVorobyov, Anastasia Ryabova, Maksym Spivakov, Tzuchien Tho, Vladislav Shapovalov. Translation and edition: Dmitry

Potemkin. The project was realized within The Way of Enthusiasts exhibition (parallel project of the 13th InternationalArchitecture Biennale in Venice).

Download russian, english and italian versions: http://www.supostat.org/en/projects/zadachnik


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NEW WORLD ORDERDocumantation of action2012 (Vienna)

I hung new signs above official plates regulatory or prohibiting something in the city. The new plates have replaced theold ones. It looks like infantile mockery of strict standards and taboos prevalent in western Europe. Among theinstitutions that have been exposed to the irony was the magistrate, labor exchange, stock exchange, ministry of finance,currency exchangers, bio shops, the biggest shopping center in Vienna, museums, churches and other buildings.


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TRILLIONS2012Cardboard, acrylic enamel, marker


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Slogans on walls and fences rarely make economicdemands. Anastasia Ryabovas graphic seriesTrillions, imitating the aesthetics of streetvandalism (marker pen on cheap plywood),becomes a metaphor for such slogans as well astestimony to their absence. The artist drawsastronomical figures with a tired hand, reducingtheir value to abstraction. Inspired by the 2008

economic crisis, this series also recalls the 1998default in Russia and the dizzying inflation of thenineties an era when your monthly salarywouldnt fit in two bags, but would buy the sametwo bags of groceries and nothing more. Multipliedbeyond meaning, the zeros in Ryabovas Trillionsturn into indistinct swirls and squiggles elicitingnothing but bewilderment. Can mathematics bespoken of in the language of aesthetics? In herattempts to feel what she calls the plasticity of thecrisis, Ryabova reduces numbers to a state ofprimitive (or revolutionary) pre-digital chaos. Andchaos is of course pregnant with possibilities.Exactly what possibilities cant be discerned in theworks. The charge that the artist levels against thecurrent economic order also remains abstract. Thebasic question posed in these works is: how

effective is the strategy of declarative protest? Isthis the laziness of an artist who cant be botheredto delve seriously into all the intricacies of theeconomic system, to offer a reasoned critique andconceive an alternative? Or a principled refusal toaddress the enemy in his own language? Could itbe that to answer economics in the language ofaesthetics is just such an irrational, butstrategically effective, hysterical gesture?

Olga Jitlina

http://www.flsclcltnsprsdm.cc


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ATTENTIONWHORES2011Two channel video installation

(previewhttp://www.youtube.com/watch?v=LwlYi16Vf68&feature=youtu.be)

Long live the solidarity of the leaky,rotten, wicked, scabby and stinky!

lexandr Brener

Attentionwhores are multitudes ofrivals competing for our attention.Every element in the enormous pile ofrubbish strives to become even if fora very short time the most importantone. Every movement aspires to

become regular. Every event must beomprehended. Multitudes ofnonentities forced to the periphery ofour attention, rotting beyond the up-to-date problematics, need the artistshelp to actualize their potential.Is the absence of the right to speak upsynonymic to the lack of attention?Casual objects captured on the video

are unexpectedly granted with a say.The sounds of their voices arerandom, alarming and well-aimed, witha Hitchcock-like obtrusiveness. Buthere what is enveloped withmysteryare not Hitchcocks meaningfuldetails, which his movies storylinesare constructed on, but different kindsof insignificant elements superfluous

for a casual glance.
http://www.youtube.com/watch?v=LwlYi16Vf68&feature=youtu.behttp://www.youtube.com/watch?v=LwlYi16Vf68&feature=youtu.be


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UNTITLED2011Series of Photos based on action in urban environment

City flag-stoles are functional objects created in order to represent the symbols of power. On a street flag-pole you wouldbarely see an oppositional banner, as well as any other symbol not mentioned in a calendar of official dates and notsuitable for showing via regional media-networks, prefectures and municipality. Fruits and vegetables on a flag-pole ismore than just it is. This is poetic challenge to ideology on its symbolic territory, and a nave gesture of street

transgression, and a reflexion on a possibility to express artistically in a political space.


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NORTH BY NORTHWEST2011Photo series of triptychs

Title of this triptychis famous phrase. Itwas fixed in the

culture thanks toAlfred Hitchcock .Today North byNorthwest meansirrational, strangeaction.For example I cleanmy teeth withexcessive, absurd

construction from thetoothbrush, pliers,scissors, telescopicbroom, lighters,bicycle pump, etc.Hand that triggersthe movement of thisconstruction locatedoutside. The

mechanism isextended to theentrance. There is anartist who performshygienic procedure inthe bathroom.


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HIGH TENSION ARTElectrical Tape on canvas2011


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WHERE IS YOUR FLAG, DUDE?installation, flag brackets2011


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Where is the essence of this nowadays dismay?Is it in stating the postideological character ofmodernity, which finds its expression in theranks of all banners and flags? Equal amongequals, deprived of content, form, historicalsense. For example, the sea of national symbolswelcoming the participants of the political and

economic summits. Or in megalomania project ofthe largest flagpole in the world, worthy ofinclusion in the Guinness Book of Records? Or isit inside the sluggish street decoration of bigcities hundreds of brackets for the flags alongroads and on the walls, brimming with symbolsin the rhythm of official state calendar dates?

When does this mess become a drama? In the

situation when all parties agreed that it can nolonger continue, there is no such thing as anepoch after ideology, we do need new flags andbanners. In a situation where demand forchange is formulated and accepted by allstakeholders debate. But no change ishappening. Over and over again there is thishysterical demand for change and thearticulation of its urgent need. But nothing

happens. It thickens the critical mass under theweight of which the very grounds of the requestare deformed. Form, which can give the desiredcontent, is twisted in an abstract prettiness,mutated into monstrous spider crawling alongthe wall or simply turns into a clothes hanger.Where is your banner, dude? It is able to fix thiswhole nasty mess off? Or let it writhe on allthese structures are not wanted anymore. Can

we always find where to stick our flag?

ARTISTSPRIVATECOLLECTIONS


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ARTISTS PRIVATE COLLECTIONS2010web-archive

Artists Private Collectionsis a web project thatrediscovers, in a completely new and original way, theinternal mechanisms of the artist community, virtuallyrecreating the relational and exchange bonds that exist

inside it. The website looks like a dynamic museum andgives us a glimpse of the world of artists, as well as thepossibility to show works that in some cases havenever been exhibited before, because they have notentered the art market or the circle of millionairecollectors, and whose importance lies not in theirintrinsic economic value, but in the web of relationshipsthey express. The work was conceived as an open,long-term program, involving a potentially infinite,

worldwide expansion of the virtual artist community.

Artists Private Collections is utopia implemented inthe virtual space. Desired by many authors, the artautonomy from the market, curators and otherintermediaries between the artist, the work and the

spectator find its place in the social network ofinformal relations between artists, where thebridge is a work of art. Critical pathos of theproject is not confined to a denial of determinatemode of existence of the art world, but offers apositive alternative to tying a strictly private spacewith artists studios as a public Internet space.

Artists Private Collections is the research, where

the artist becomes a contemporary art institution,without losing anything inherent in him as anauthor, but acquiring the new degree of theinstitutional freedom. Artists Private Collectionsis the archive, which creates its own community,and at the same time, it is a community that isimplemented in the archive.

As such, the project has no material body.

Mechanism inherent in the base of the project andits form-building principle is a work of art. Thissystem concentrates the interrelated forces,transforming them into interdependent, whilefocusing on the work of art. Each new attempt ofthe physical representation of the project allows tofix the interim results of a study where theresearcher and his material are the artists andtheir works.


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ARTISTS PRIVATE COLLECTIONS

This photographes show installation represented ArtistsPrivate Collections on the exhibition. Each group ofphotos on the walls is artists collection. All collectionsconnected by color lines. This lines indicate one artist soccurrence in collection of another artist. Installationrepresents structure of realationships between artworks

author and artworks owners. There are computers in thecenter of the room where you can see details of theproject by visiting the websiteartistsprivatecollections.org.


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BLOWING AS TRIANGLE,2010

Air blows through the form of built-in stencil wall objects: triangle, circle, square.

To form the air is almost impossible. The objects are situated on the border between charlatanism and the strange natureof art. The audience can only feel forms. Un-perceive art gives rise to thinner aspiration.30 30 30 mElectropump, metallic grid, stencil, plywood

CARSUNDERSNOW


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CARS UNDER SNOW2010acrylic on cardboard

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Portfolio Ryabova 2013

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