Subjected to skepticism was the poststructuralist invention of “deconstruction,” which encouraged the citation of “classics and contemporaries,” but also did not escape mass reproduction. And although all these citations and appropriations are still not uncommon among Kyiv residents (which was especially evident at the large exhibition “Shtil,” held in Kyiv in March 1992, and in both exhibitions of the Munich project “Dialogue with Kyiv” in autumn-winter 1992), their principles undergo qualitative changes. Thus, in the installation “Baichzhan and the Fox” by Arsen Savadov and Yuriy Senchenko, which the authors themselves classified as a fictional genre of “exemplary cases,” at first glance, the obvious deconstructive incompatibility of the illuminated photo reproduction of a Pre-Raphaelite painting by Milles and the kitsch-like painted image imitating a photo of the rock band “Deep Purple” acquires some other, post-eclectic state, not least due to the “non-pictorial” elements – text, a mound of earth, etc.Тип коментаря: Published comment
Автор: Oleksandr Solovyov
Бібліографія:
Solovyov O. Turbulent Locks / Oleksandr Solovyov. – Institute of Contemporary Art Problems of the AMU. Kyiv: Intertekhnologiya, 2006. – P.18.
Sources: Solovyov O. Turbulent Locks: Collection of Articles / Oleksandr Solovyov // Institute of Contemporary Art Problems of the AMU. – Kyiv: Intertekhnologiya, 2006. – 192 p.: ill. – Access mode to resource: http://www.mari.kiev.ua/PDF/solovev.pdf
