+recombination-...walk as searching...

This project is visual try to formulate result of transformation each object (live/dead/neutral). Fixation of different conditions and shapes let to research only fact – real state of things.      

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Tatiana Trouvé: Desire Lines 

To each of these cylinders are attached metal labels on which were written two short phrases: the first describes the way through the park (From West 63rd Street to Columbus Circle or From Mariners Gate to Summit Rock, NY) and the second is the name of the historical walk. Based on history, literature, art, music and politics, Truve explores walks around the world that have taken place since the late 1850s, when the Central Park was built. Depending on the knowledge of the viewer, the phrases may or may not be recognizable, but for each these phrases will become something significant. In addition to the legendary marches, such as Selma to Montgomery, for example, I Walk the Line (Johnny Cash) and The Lovers: Great Wall Walk (Marina Abramovich and Ulay). While the installation itself is huge and makes you think of it by itself, its experience is enriched through an exhibition, which, by the way, was a few minutes walk from the hotel.

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Hamish Fulton: Walking Artist

Fulton is ranked among artists working in the genre of land art. Fulton himself defines himself as a "walking artist". In such walks of his works) nature is not represented as a subconscious "other", which must be conquered by the anthropocene. Nature exists in conjunction with man, the natural landscape helps to escape from the hustle and bustle of life. Fulton, traveling through the desert, points to a palpable lack of adventure, unintended experiences and contact with nature in the lives of most people.

In 1973, after traveling more than 1,000 miles in 47 days from Duncansby Head, Scotland to Land's End, England, Fulton decided to "create works based on the experience of individual walks." Specifically from modest materials such as paper, wooden rulers and photographs, his designs are consistent with the belief that these walks should interact directly with the environment, but leave no traces on it. Appeals to political justice are also traced in Fulton's work, which corresponds to his commitment to individual and artistic freedom.

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Loss of time. Walking

Fragmentation and frame of vision are the main themes of the series "Loss of time. Walking". Each such walk is an attempt to build a system in incompatible with each other plots. The main link is the missing time, which forms an undefined construction of images and graphic elements. The tradition of collage technology asserts a split in the perception of reality, in which the imaginary is intertwined with the real, the past with the present, the archive becomes a photostream, the incoherent becomes meaningful and vice versa. Such fluctuations from meaning to absurdity appeal to modernity. Everything becomes an image of itself, the real things are transformed into flat images. The human body is absent in the photographs, goes into the mechanics of the symbol, text, mathematical meaning. The image of a person translates signs, but not the person of a person. Personality is buried under the weight of photoreports and documentation, everything becomes an archive of memory.

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Recombination 5. This Recombination is talking about absence of presence. “She is not here …”, but She would be here, “when” is unknown. This fact gives us one of the interpretations of the transformation, the person is, but it is not at the same time, it does not talk about life and death, rather about the uncertain state, the state of expectation. As in the case of a crack on the wall, the third dimension is involuntarily introduced, the time is stretched in its uncertainty.

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Recombination 4. Recombination 4 is death. Death is the result of struggling with limitations. During the life of each object (living / lifeless), many recombinations arise, resulting in the transformation of irreversibility for the living into the living, but a period of recombinations for the lifeless into the dead occurs. How long does the “deadness” of the body last? How long should an object remain in a dead state, before it becomes neutral?

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Recombination 3. This Recombination reveals the process of withering of a living object, case of plant. Strong and yet full of vital energy trunks nailed to the horizontal, to a deadly equation. Yellow and withered leaves form spots, exhausted and deprived of hope, conduct a dialogue with each other, with life. Gradual splitting into parts, decay, necrosis of internal processes occurs, moisture evaporates. The interweaving of bent branches forms a chaotic space, hysterical and sick.

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Recombination 2. The value of Recombination in physics is the disappearance of a pair of free carriers of the opposite charge in a medium with the release of energy. The energy liberated leaves the object breathless, alive or neutral, each object has a certain energy reserve. This video by imposing and quickly changing frames creates the impression of release, the exit from its usual (statics of the monument of architecture The Alexander Column) state of rest in another spatial dimension, the vertical is replaced by the horizontal, time is stretched, breaks ties, creates new ones, the object is interpreted in a new way.

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Recombination 1. Crack. The rumble of an approaching reality sounds. In this photo there is no object, here an action is fixed, something that was static acquire the time scale before and after. This photo opens a series of Recombinations. The main problem is the fixation of energy release or the identification of potential energy, the release of which will be in the future. The image of the damaged surface is an allusion to the cut canvases of the Italian abstractionist Lucio Fontana, his works form the concept of space in the two-dimensionality of the pictorial canvas. The picture becomes voluminous, three-dimensional, the immanent autonomy of the flat surface of the picture disappears. Consideration of cracks on the walls in the context of the creative method of the artist Fontana becomes natural and even necessary, the wall becomes a living organism, accidentally throwing out its own “breath”, the walls breathe. The material acquires transcendence, depth, sound, in the aggregate a message is revealed, spoken by time and the pattern of internal processes, a crack on the wall is inevitable, as the inevitability of withering, aging, death, transformation, transition to a new quality is evident. The crack becomes the result of a recombination of materiality, striving for an endless renewal. Time acts on the wall destructively, but destruction is also creation power at the same time.