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| Essay 30. juli 2005 |
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| Essay:
Darwin my Friend |
Sergei Sviatchenko,
visual artist and
director of
Senko Studio in Viborg are showing his new exhibition
"Darwin my friend" in the italien Galleria
Arturarte. In this essay the curator of the exhibition Maurizio
Coccia elaburates on Sergei's art.
Text: Maurizio Coccia,
director of
Trevi Flash Art Museum for contemporary art
Photo: Massimo
Lupoli and Sergei Sviatchenko
The exhibition "
Darwin – my friend" is on at Galleria Arturarte,
Nepi, Italy from 23. June until 23. September 2005
www.arturarte.com
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| Charles Darwin and Sergei Sviatchenko |
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| The evolution theory of Darwin has been, until
quite recently, object of many heated polemics. And still today, in certain
obscurantist ranges of society, it has not been perfectly assimilated.
But the discussion of its physiological and metaphysical aspects is not
important to us in this place. What we need to focus our attention on,
instead, are the concepts of variation, hereditary transmission, adaptation. |
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| The term "evolution" does not only
apply to matter and biology, but also to conscience, binding itself to
the idea of time. As a matter of fact, the concrete interior experience
of the flowing of time affirms itself as "duration", that is
compenetration of states of conscience in an amalgam in continuous evolution,
that we normally call memory. |
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| The work of Sergei Sviatchenko seems at first
sight to betray its derivation from the historical avantgardes, particularly
from Constructivism. But more than the technique (collage), or a certain
formalistic taste, what links him to that movement is the tendency
towards an informative and not representative art, that has to be able
to establish a circuit of intentional communication between the author
and the public. |
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| In this show, however, there are at least
two elements that define the originality of Sviatchenko. In the first place,
the stratification of heterogeneous material, typical of the collage, becomes
annihilated by the photographical reproduction of the original material.
And then, the jumps between scales, that modify spatial capacity with disproportionate
images, almost as if, through their dimensions and articulations, to search
for an unheard of three-dimensionality. |
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| It proceeds through allusive figurations. Big representations that
follow one another in a discontinuous rhythm. Geometrical forms of a
flat chromatism. Photographic samples like imprecise cuttings from enormous
magazines. And on everything, behind everything, the threatening clot
of dominant red.It is a sequence of flashbacks, not a linear story. It
is a visualization of a suffered oscillation between nature and humanity. |
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Now it is clear: we are inside a flux of conscience.
And the flowing of thought doesn't respect the grammatical rules. The syntax
jumps and the words, maimed, melt together.
Our conscience feeds on memory. Memory is the accumulation of the accidental
variations that are useful for survival. The variations are transmitted
to our descendants. The descendants, because of these characters risen
from natural selection, are stronger (adjusted) than those who preceded
them.
Sergei Sviatchenko informs us, in real time, of his personal effusion
of memory and experience. |
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| Music for the exhibition is composed by Alessandro
Gabin |
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