Morozov Alexandr

612-2019_Морозов Александр

Born in Lugansk, USSR in 1974. What unites my projects is concentration on the process and an attempt to see non-material forces lying beyond the physical matter. Human beings are often violent in their actions. Relax, and then the environment itself will offer the best solution. In Russian language ‘emptiness’ (pustota) relates to the verb ‘to let in’ (vpuskat’).

Akchim. Coordinates: 60°28′35″N 58°02′53″E

“It all starts with a breath, a voice, and then a place opens up. It seems that the space of exhibition has a chronology of its own, when we hope to take a breath at the very end after walking through ruins. This “broken” flow of time provides a transformation of a lost place into a place which in the end loses its hermetic enclosure, erasing the boundaries between knowledge and non-knowledge, living and gone. A gostly place thus gets its chance (to be in time or in being). It gets a voice of its own. The question is not where Akchim is, but when? Not in the present, but neither in the past”. Iana Tсyrlinа. Co-curator.

The project is based on the Akchim dialect, which once existed on the territory of Perm Krai and is practically lost today.

Akchim dialect was formed in one of the most inaccessible places in Perm Krai — the village of Akchim, which appeared in the 18th century and was abandoned by people in the 90s of the 20th century. The dialect without language speakers goes into a specific virtual mode, becoming a kind of ghost that exists between the world of the living and the world of the dead. The Akchim dialect is fully described and exists today as a unique document — the six-volume Akchim Dictionary made by scientists at Perm University. How can a dialect found to be between a document and a voice can live, invading into the world of those who come into contact with it?

In his project, the artist creates voice objects, raising the question of what the dialect is in a situation when there are no more language speakers, but there is a document testifying this dialect as an existing one. The artist carries out a kind of memory reconstruction, showing that the dialect did not disappear, but is invisibly present in the people and language lives.

The artist creates interactive loudspeakers system that serve as a kind of interface to access the disappeared voices.

The exhibition consists of three installations: “Phonograms”, “Ak Che My”, and “Reappearance. Syncope”. Each of them establishes a specific relationship between voice and time.

The installation “Phonograms” reproduces the voices of the speakers of the akchim dialect. The recording turns into a voice mail with a sliding destination and becomes a letter from the past to the present, a letter which is transformed under the influence of time.

The installation “Aк che my” is a kind of voice machine by which the fabric of live speech can be model. The installation is the pavilion where 72 boxes of card files — the compositions created on the basis of field studies of the akchim dialect — are located.

The exhibition ends with the “Reappearance. Syncope” installation. It is a musical instrument created for the project. The works of Perm wooden sculptures (the «Perm Gods»), angels trumpeting the apocalyptic horn have served as the prototypes for the horn instrument. The musician Vladimir Goloveshka performed a sound piece for the exhibition. It is read from a score written by an artist, and  it sounds throughout the space of the Museum.

Dok.m4a

Dok.m4a