ПГ_21_179

 Morozov Aleksandr

He graduated from the I. E. Repin Institute. The range of interests — the limits of art and the formation of cultural memory. It raises a number of questions concerning the representation of the environment that is physically outside the cultural field, as well as the study of the dichotomy “nature vs culture” outside the anthropological paradigm. Participant of numerous exhibitions and biennales. Winner of the award named after him. Sergey Kuryokhin in the category “Best Visual Project
” 2019.

Dystopia Station

Installation raises the question of de-Sovietization, restoration of justice and the place of dystopia in the future. Soviet modernism in the twentieth century became an experience of mobilization modernization associated with violence.
The site-specific installation reconstructs the memory of the “place” and addresses the topic of the use of forced intellectual labor. An airship assembled from office boxes hovers in the space of the Manege hall, the former garage of the NKVD troops. The airship not only “raises” the context of the place, but also draws our attention to the personality of Nikolai Lancere and other workers of the “special design and technical bureau”. Lancere created the project of reconstruction of the Horse Guards Arena in “sharashka” (informal name for development laboratories within the Soviet Gulag labor-camp system).
The card file contains the personal files of convicted scientists. The grid structure marks the boundaries of the intangible archive. Empty archive-filled with potential reading for the viewer continues my research of the few available archives. Catalog boxes, as a unit of cultural memory-refers to the policy of its formation. Archives are currently closed to independent researchers and open boxes “raise” the question of how much our state is able to make information about the past available to the public. The work is a warning about the inadmissibility of violence in civil society.
Created for the NEMOSKVA project.