Ksenia Peretrukhina and Dmitry Vlassik

Miziano300pxWas born in Moscow. She graduated from the VGIK film history faculty, the School of Modern Art at the Russian State Humanitarian University, the School of Modern Art at the George Soros Centre for Contemporary Art. From 2002 to 2009 she was the art director for the street festival of video art «Empty». She was also nominated for the «Black Square» prize in Contemporary Art, and the winner of 19. the «Golden Mask» National Theatre Award.

Miziano300pxWas born in Moscow. He graduated from the Moscow Conservatory, the Faculty of historical and contemporary performing arts, percussion ensemble class MI Pekarsky. Participated in the Russian and world premieres of works by Lang, Tsinstaga, Glass and others. He maintains an active concert schedule, performing chamber music.

From Shelf to Shelf / Routine

Ascending the narrow wooden stairs, we find ourselves in a space between floors, belonging to different periods: at the bottom — the Golitsyn Manor, at the top — a later addition built for the Institute of Philosophy. In the dimly lit maze of empty bookshelves dim bulbs above the viewer’s head respond to his motion, and flare up brightly, as if sinking into a dream. On the tables and cabinets sculptures are arranged. They are made from index cards from the books which once filled the now empty shelves. Arranged like a house of cards, the delicate paper sculptures emphasise the ephemeral nature of time. The ticking of the invisible clocks accompanies the viewer into the midle of the frozen space. Their footsteps echo the invisible sound source and count the seconds of history.

Within the installation a musician is learning a marimba version of Simeon ten Holt’s “Soloduiveldans IV”.  This tonal system piece is composed as a linear sequence of modules, some of which can be repeated any number of times and some appear only once. The composer provides the performer with the structured musical material leaving the time management of the piece to the performer’s discretion.
Daily rehearsal of the piece presumably leads to acquiring control over the machinery of the body and the work of consciousness.
The relation between the rehearsal time and the duration of the piece points out the duality of continuity of an act of art in relation to the duration of human life.

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