Ukrainian artist Kirill Protsenko merely uses a woodburning tool. The title suggests something sharply social, on the topic of terrorist attacks and ideological self-immolations. But Ukrainian artist Kirill Protsenko merely uses a woodburning tool. Many will remember this masterpiece of Soviet industry: a little box with a cord, a plug, a toggle switch, and an electric stylus,” which always heated either too much, leaving burnt blots, or too little. Or at least those silly artifacts into which kitchen boards were transformed with its help — Mickey Mouses, Cheburashkas, gnomes with daisies surviving in the corners in the early 90s. The sensations of the “burner” were incomparable: the tension of a dangerous and smelly process and the inevitable sluggishness of the result together created a rare combination. Thanks to it, woodburning became a symbol of complete creative impotence. Protsenko skillfully uses the power of associations. Vysotsky, Bob Marley, and the Venus de Milo come out quite virtuoso — with half-tones and movable contours. But still, like a stray cat dragging tin cans, they carry the smell of rotten onions, a shortage of matches, soap coupons, and homemade inserts for tape cassettes.
January 15, 2008, Sergey LuninComment type: Published comment
Author: Sergey Lunin
