Paperno Alexandra

556-2019_Паперно Александра Фото

Alexandra Paperno was born in Moscow in 1978. At the age of 13 she moved with her parents to USA. In 2000 she graduated from The Cooper Union for the Advancement of Science and Art (New York). Her first solo exhibition took place at the National Centre for Contemporary Art, Moscow in 2004. Since then she has held numerous solo exhibitions at both Russian and international museums and galleries. She lives and works in Moscow.

Self-Love Among the Ruins

The exhibition was held in December at the Ruined Annex of the Schusev State Museum of Architecture. Ruin—as a space served as the point of departure for the author when she prepared this project and is the central idea underpinning the exhibition as a whole. A ruin not only represents a place that is disappearing, it has become a symbol of our clustered past, a melancholy and yearning for the “golden age”, have articulated and cultivated the aesthetics of gradual decline, and virtually become the main background for European painters from the XVIII — XIX centuries. By the XX century the charm of a ruin and ruin as an idea have not gone anywhere. However, the actual concept of a ruin and the specific “ruined” state applied not so much to architecture as to major ideological and political projects and more broadly to culture, which has fallen apart on numerous occasions, only to be reassembled anew. And Paperno is working in particular with this cultural context, namely situations where culture and civilization have suddenly been transformed into an arbitrary set of strange rules and codes, whose meaning was lost a long time ago. She seeks such moments of rupture in relations and presents them with her own inimitable tenderness and irony, drawing on various artistic media. Self-love has been perhaps the underlying framework of artistic activity adopted in the modern era. Self-love is transformed repeatedly and consequently the need for self-expression, driven by the narcissistic desire to be seen and evaluated, has been the driving force of the artistic process for centuries. Self-Love Among the Ruins represents such self-expression squared, improvisation on the topic of the main motifs, genesis and driver of painting in classical understanding of the word and is also an attempt at an ironic review of the self-determination of the artist working to some extent as the nanos gigantum humeris insidentes.

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