Nikolay Oleynikov

assorted artworks {since 2010 'till present}

HOW WE’VE LOST KIRILL

Learning mural, based on one-day practical seminar “X-press basic training on monumental art” for studets, young journalists and activists included:

– brief introduction to the history of monumental art,

– militant SKA dance breaks,

– painting practice

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This particular piece was based on pre-written plot – part of a larger project yet-to-happen under the work name Museum of Applied Arts.

Dear comrades, the wall in front of you – one of our museum’s highlight exhibits is dedicated to those heroic days when we finally found the complete and final freedom. But, as it has always happen in the history of humankind, the freedom of the majority was gained by sacrifice of those, most strong-willed, talented and dedicated. Here, on this wall you see a story of K as described by his comrade N.

The story of K. as described by his comrade N.:

HOW WE’VE LOST KIRILL

That night we were sure, thing will go smoothly. Cops usually was leaving their dens before our cleansing would start. Some of them would join. That was to be the third police station for the day.

– What’s next? Taganka?

– Sure, let’s go!

Warm air, mild wind! Great mood! Someone started singing:  You better always look-out

So we arrived. Gates wide open, on the ground floor it’s clear, and Kirill rushed upstairs. And there is a mine was set up, motherfuck! Bang! More like loud clap, a flash, smoke!

When we entered, smoke cleared, we recognized his famous smile, sticked to his head, slowly and awkwardly rolled into the corner.

note: Main character of the story – Kirill – has a prototype – Kirill Medvedev, prominent russian poet, dedicated leftist activist, talented translator, strong-willed publisher, founder of Free Marxist Press, Arkady Kots band, plus he is Oleynikov’s best friend. The upside down head on the wall is a portrait of Kirill Medvedev. He is alive and fine.

This work, like some other Oleynikov’s works based on the sci-fi assumption that the alternative future has already taken place, there is overlap of self-irony, and the theme of revolutionary self-sacrifice, plus a pinch of hardcore black humor, which sometimes severely lacking in this kind of art.

The issue of collective creativity revealed here from several sides. The uprising, as a collective radical creative act sewn into the narrative. “Framework” narrative – future Museum of the Uprising – critically hints that the museum – a tool for memory-production that will always play a heroic-didactic discourse for the cultivation of collective memory. And, actually, the production process of creating this work is based on the method of Learning Murals*.

*Learning Mural as an artistic method practiced by Oleynikov since several years. Learning Mural is a form of alternative educational practices, including formation of temporary collectives, ending up with producing a certain (monumental) art piece, usually based on narrative plot, bodily, artistic, and discursive practices of communal living, including martial arts, sleepovers, collective readings, music, dance, discussions, drink marathons, street politics, wall painting, screenwriting, you are free to continue this list.

Seminar participants: Lena Bekker, Eleonora Gheloyan, Maria Kvartalnova, Natela Pilia, Vlad Tupikin, Nikolay Oleynikov

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This entry was posted on February 2, 2013 by in Uncategorized.

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