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MARYNA

MILIUSHCHANKA


the works


3000 yards per hour

the film

the models

everyone please to the stage!

a tribute to Brodsky

the table

the warrant on space

chromophobia

3stepsofinaccessibility


3stepsofinaccessibility A one-day exhibition. Semolina, childhood memories and misunderstandings. The gallery floor with a false table-top made of painted cardboard was covered with semolina circles. On the table-top there was a notebook with cyrillic writings and plaited hair on it, a cup with a slice of bread and some semolina. One could hear a subtle breathing sound, coming from under the table. Every object brings some moment of inaccessibility. But there are 3 main steps of it: the semolina circles, which visitors can destroy, reaching the table-top, the table-top itself, being false, and the meaning of the details, as the writing, the semolina, the hair and the cup with bread. The semolina for me symbolises childhood and the cup with bread and the hair-the memories of the passed away. The sound of breathing made the impression the objects will fly away, just like memories.


3stepsofinaccessibility


chromophobia


chromophobia


the warrant on space


the warrant on space


the table Water, hair, water , hair. I have collected hair of unknown people from a hair salon and put them into plastic bags filled with water. About 200 bags were placed on the wooden table. The work is about anonymity, unity and individuality, as well as the memories and their conservation. Hair as memento mori, water as the information source, plastic bags as the way to conserve them. The work had an unexpected, but not an unwished consequence: the bags started to leak, the wooden brick floor was rising slowly day after day, creating a hill. The table has been removed. The hill remained, with it remained the idea of the installation, transformed and living. It was a great conclusion to the whole piece. I went through every step of the installation: from collecting the hair, putting it into the bags (it was very intimate, personal, meditative), to removing the table (rethinking, suffering), and rebuilding the floor with my bare hands after the exhibition (suffering, purification). I am very glad the work lived and acted its own way, and made me come through some deep process of thinking and living with it.


the table


a tribute to Brodsky

Berlin, suitcases and Brodsky. The challenge was to make something for an installation space, I've seen only on pictures. The other problem was the unknown number of participants. So I have created a space in the space. Two vintage suitcases with a mirror were placed creating a closed but endless room. The inside was a dialogue of objects, that interpret my favourite Joseph Brodsky's poem quotes. His poems, being full of new and unexpected meanings, always inspire me for my installations. So I have built my poem of objects as a tribute to his poems of words.


a tribute to Brodsky


everyone please to the stage! The work cooperation with the City Theatre Kassel. The way of rethinking theatrical life, symbols on the example of Charles Gounod's opera "Faust". The idea was to show something usually unnoticed in the theatre. The opposite part of the stage: the public, their feet. The feet in the dark as the expression of public reaction to what is going on the stage. 10 different feet images were cut of cardboard, covered with black paper and pressed, creating relief surface. The unnoticed, the unimportant became visible, became staged. The public was on the stage, remaining re public.


everyone please to the stage!


the models


the models


the models


the film I made a room model for a film "5 Grad Milorad Pavich". It is a bookworld on the edge of reality and fiction, a mix of some familiar objects and fantasy, like walls, made entirely of booksand paper. Due to some changes in the screenplay the project was realised in a more realistic manner.


the film


3000 yards per hour

1 hour, red thread and me.

Large, clean and empty space and one hour for an installation. I was walking through the room with a hank of red thread, attaching it to the walls, ceilings and doors. The thread was the track of my way. After about 30 minutes of constant movement I started to experience some difficulty in moving through the thread net. My movements became rather strange. The visitors didn't notice the thin thread first, so for them I was like a strange dancer. Only when they tried to go through the room they realised the space was divided by a slightly visible thread net. So in order to get to the opposite wall they had to make the same strange movements as me. It was a philosophy of moving, of overcoming the consequences of my movement and experiencing yourself in a time-space unity.


MARYNA

2013

MILIUSHCHANKA



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