Dmitry Vrubel and Victoria Timofeeva

vrubel_08_0Have had solo exhibitions in various Moscow galleries and participated in group exhibitions, including “Soviet Art Around 1990” (1991-1992, Dusseldorf-Jerusalem-Moscow), the Cetinje Biennial (1997), “Hidden Art. Nonconformists in Russia. 19571995” (Moscow-Kassel-Altenburg), and a special project for the 2nd Moscow Biennale (2007).

The New Testament Project

In order to illustrate the texts of the Gospel, Vrubel and Timofeeva use visual material supplied by the international news agencies to the contemporary mass media. This decision is quite justifiable since the word “Gospel” (analogous to the Greek “euangelion”) literally means “good news.” In this sense, one might consider the Gospel as the prototype for modern media; the Gospel was the press and the TV of its time – the means of distribution for messages about sensational events happening in the Palestine of that moment. It is with the Gospel that everything which also characterizes the culture of our time begins. But the main news that the Gospel delivered to the world and which gave birth to modern means of mass communication was about the nature of news itself. To wit, it’s news about the fact that only bad news is good news. Indeed, the Gospels, being the “good news,” do not tell the reader anything good. God is dead, his apostles are martyred, the general picture of the world is not just sad, but absolutely awful, pre-apocalyptic. Where does the evangelical optimism come from, then? One cannot help but think that it references not to the content of the news, but the simple fact of its existence, that it is news and that this news is new. Today, we live in the world which once believed this news and believes in it to this day. The works of Dmitry Vrubel and Victoria Timofeeva illustrate beautifully this structure of modern faith.

Boris Groys

Онлайн казино Vavada: вход и регистрация Вавада, высокие кэшбэки, мобильное приложение, лучшие слоты!