Daniil Zinchenko

zinchenkoBorn in 1984. Student at Rodchenko Moscow School of Photography and Multimedia, workshop of Kirill Preobrazhensky. Member of the VIDIOT group and the UPWARD! community. Participant in the Moscow Photobiennale (“Sense and Sensibility” exhibition, 2010), “Qui Vive?” Moscow Biennale for Young Art (2010), Musrara Mix video festival (Jerusalem, 2010), “Zerkalo” — Andrei Tarkovsky International Film Festival (Ivanovo, 2011).

The Reverse Side of Landscape

A panorama of a snowy field. Stills from the video affixed to the wall gradually transform into black rectangles. I intensify my body’s natural refusal to comprehend such an enormous space as Russia. The bigger the territory, the harder it is to proceed. The impasse of the infinite. The epigraph is a very good symbol for impasse, and a person’s gaze not directed to a distant horizon, and the fact that he is small. The image of fatigue from contemplating space. The rightful refusal to comprehend Rus­sia’s territory. Instead of serving as a genre of visual art, the landscape here functions as a symbol for the space of nature as a whole. The panning video camera symbolizes the impasse of this space: It makes no difference whether it spins in space or goes into the distance. Changing the landscape does not help to understand space — it will lead you to even more impenetrable impasses and the only way out is up, so it seems to me (it is only logical that such an infinite territory served as a springboard for the exploration of outer space), and this is the reverse side of landscape. The rigorous order of im­ages in the installation (black rectangles and stills from the video) is consonant with the word space but not with the word landscape, let alone with Russian landscape, which flirts with the infinite. In this contradiction we find the intensified lack of understanding of Russian space from which I start­ed. I have now completed the circle.

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