![]() ![]() Within this necessary political protest against the authority of the printed text, there is a dimension we might call an "exodus from the book" which intensifies the performative and visual aspects of the text-not only in the forms in which it is produced, but also in the channels of circulation that evaded control. The exhibition illustrates a "pre-Gutenberg" landscape: despite being a constituent part of the Russian cultural tradition since Cubo-Futurism or El Lissitzky, in the '70s it embraced both the form of ideological dissent of the clandestine circulation of samizdat publications and attitudes in conceptual art throughout Eastern Europe. Typewritten pages, drawings and collages of multiple materials, graphic alphabets, handwritten notebooks, duplicated flyers, series of postcards, photocopied slogans, newspaper pages, limited-run homemade pamphlets, tattoos and poem-objects are at the centre of The Fourth Prose. You can sharpen them with a Gillette blade." ![]() "On the other hand, I have a lot of pencils and they are all stolen and of different colours. In opposition both to betrayed forms of writing and subscription to "the pack of scoundrels who write," in Mandelstam we find a desire to escape from typography and to lay claim to the materiality of the word. Written in 1930, it was the antithesis of the servility of Soviet writers and the mystification of cultural bureaucracy while published in the Soviet Union only in 1988, it had previously circulated exclusively in manuscript copy and as a samizdat publication. The first are trash, the second, stolen air." This firm invective against any denial of freedom of expression is central to The Fourth Prose by the great Russian poet Osip Mandelstam. "I divide all the works of world literature into those written with and without permission. Entitled The Fourth Prose, the exhibition presents important graphic works and rare documents from four artists already known on the international scene: Vyacheslav Akhunov (b. Though in keeping with the Gallery's commitment to exploring the art scene in Eastern Europe, the exhibition, curated by Marco Scotini, proposes a completely new theme: visual and conceptual poetry in this area from the '70s onwards. The Laura Bulian Gallery is pleased to announce the exhibition that will open its next season and inaugurate the new exhibition spaces at Via Piranesi, inside the ex-industrial complex Frigoriferi Milanesi. ![]() Vyacheslav Akhunov, Babi Badalov, Vlado Martek, Dimitrij Prigov ![]()
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