Boris Kazakov, Vitaly Pushnitsky, Ntatlia Lyakh, Elena Gubanova, Ivan Govorkov, Alexander Shishkin-Hokusai at the parallel program of the 57-th Venice Biennial

12-05-2017 / 28-07-2017

Борис Казаков, Виталий Пушницкий, Елена Губанова, Иван Говорков, Александр Шишкин-Хокусай в параллельной программе 57- ой Венецианской Биеннале

Exhibition Curators: Silvia Burini, Giuseppe Barbieri, Anna Frants, Elena Gubanova.




Lucia Veronesi (IT), Alvise Bittente (IT), Valentina Povarova (RU), Irina Nakhova (RU+USA), William Latham (UK), Alexandra Dementieva (Belg), Peter Patchen (USA), German Vinogradov (RU), Alexander Terebenin (RU), Alexei Kostroma (DE), Vitaly Pushnitsky (RU), Ludmila Belova (RU), Ivan Govorkov (RU), Elena Gubanova (RU), Carla Gannis (USA), Anna Frants (RU+USA), Alexander Shishkin-Hokusai (RU), Natalia Lyakh (FR), Boris Kazakov (RU).


In the modern world, the notion or phenomenon of “hybrid” has become an inalienable part of the everyday life. There are hybrid mechanisms, computers, products, clothes, education, space, body, languages and hybrid warfare.

Etymologically, the Greek word hybris, from which the Latin hybridus also derives, meant sin and hubris. Early Greek philosophers viewed the nature and the man as an integral whole. A departure from natural functions was engendered by pride and audacity (hybris), which caused disorder, chaos. Such behavior of people (Icarus, Phaethon, Ajax) is described in the Greek mythology as an eternal strive of the human being towards “superiority”, which was implacably punished by the gods. If we consider the contemporary “technological revolution” from this point of view, then the striving of people to conquer the world at all costs and to create hybrids-prostheses for their living is, in fact, the hybris of the present.

However, in contemporary art, this striving frequently works productively, destroying the cliché of the “vile ordinariness” of the world. Rebellion, protest, audacity bring us back to the issues of the stand off between Cosmos and Chaos; they implacably place us before the mirror of our identity. It appears that artists, in a much more radical fashion than anybody else, offer a juxtaposition and interchanging of the “otherness” that intrudes into the space of our everyday life. What awaits us in the future if the technologies are used as an extension of the human kind? And what if the technologies are not going to need the human being at all?