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performative dispositif 

3 acts

Elektrozavod gallery

Moscow, Russia, 2014

with Ekaterina Vasilyeva

performative installation in three acts as transformation of an ephemeral gesture into an utterance of a community and further dissimilation into materiality of text, object, light.


Conceived as a continuation of the performance AXE DE RÉVOLUTION, this project aimed to exhibit performance documentation but also to develop it into a context for interaction and finally unfolded to a series of verbatims combined with public action and involvement into performance, where actually the public itself became the co-author.


Throughout rethinking the passage of the performance from a state of event to its representation (video documentation), in search of not just an imprinted trace, but of a new singular experience - that of co-action, as an exhibition project  an open autoconstructing utterance of the community was initiated. It transformed from an extension of the event to a new independent one. 


The performance AXIS OF REVOLUTION activated political and social context, which responded to the metaphoric artistic gesture with a blunt of media noise. The performance was perceived as a provocative political action and at the same time it eluded definite interpretations. The polysemic content of the performance became a trigger of reality, that showed feverishness of the environment, its demands and needs.

This intervention is an unpronounced joint of meanings, expressed in a plastic form. It  revealed the necessity of the articulation between the versions, between the told and the untold. The act of marching opened a hermeneutic field and created a need for an act of speech.

act I

one day

The day of the opening the pubic is proposed to write freely on walls of the gallery, while one of the walls is a place for projection of a 17-hours film, documentation of the performance. By making together with public individual speech acts through writing on walls of the gallery, I created mental texto-graphic document which had video-documentation of the Axe de Révolution as a reference. It expanded into a collective memory map and acquired the physical space of the gallery by transforming it into the space of a perpetual polyphonic dialogue. 

act II

100 hours

For the following 14 days artists were present in the gallery for the total of 100 hours. Anybody could come, sit at a table with me and engage into a conversation. Every talk lasted from 40 minutes up to three hours. After each conversation the words and the signs from the walls that served as refer- ence-points for conversations were painted out with white semi-transparent paint. Day by day, phrase by phrase the walls were being cleaned up, writ- ten words were disappearing through vocalization and narration.

act III

one day

On the day of finissage the space of the gallery turned to it initial state: white. Though it had traces of the event: black marks under semi-transparent white paint. when the evening approached, the space was re-arranged, some elements appeared;

------ a neon sign <<axe de revolution>>

------ a small projection on a 5osm3 cube

------ a monitor with a facebook page where the talks were put down in a form of chronological line-field


the room itself was clean and empty. the space was enlightened with blue light of the neon. a sens of purification appeared. public was silent. as if the room itself was silence, a non-verbal non-material dispositif for communication. 


this came as the third act and an epilogue: the circle of //de//materialization of the word was completed.



But the answer comes from outside: each and every reminiscence is erotic, 

either it is about a city or about a woman. 

Gilles Deleuze


On the 6th of November - three months after the performance and on the eve of the opening - we came to the 33h kilometer of Moscow MKAD Ring Road - there where we finished our perfromance on th 11th of August. 


Along the road on the wayside there was a bitten path, which starts at the bridge and leads, as many roads in Moscow, to nowhere. On the little island in the middle of the highway which is the most southern point of it, there was no metal tube, it disappeared from where it was left. 


Not only this, but the place itself disappeared. The huge metal road sign marking the 33h kilometer was absent. All what was left: two tiny metal  filed off columns that used to hold the sign. Nearby there was a line of laid grass - a trace left by the tube.


Everything vanished: the place, the time, the object. 


Outlines, reminiscence and itinerary of memory - only those remained.  


The intimate testimonies that elude neutral protocol documentation. 


The paraphrases of the event. 


The re-creations of the image. 


In which form the paraphrase of a specific experience can exist not only as a duplication or as an impersonal document, but as an open self-constructing utterance of a community?


How to translate it from the state of a fait accompli into modality of representation so that the registered trace remains, but also the new experience emerges - that of co-action?


Questions of interrelation between the actual and its paraphrase, between the literal and metaphoric, between absence and presence,  and also the reflection on memory and inner necessity to resist the media noise, led us to the strive for text.