"Planned obsolescence" is the international exhibition project bringing together 26 leading young Russian and foreign artists. All artists, presented at the exhibition are exploring in their artistic practice in one way or another issues of identity and the impact of technology on its formation, the human body and the changing attitude towards the concept of corporeality, materiality, aesthetics and beauty. Artists are wondering how the modern world makes us a different way to treat our bodies as digitalization, virtualization, and new ways and means of communication in the modern world changes our perception of bodily, physical and material world.
As a title of the exhibition served a term "planned, dynamic, or built-in obsolescence" which refers to the creation of a product with an unjustifiably short use life with the aim of forcing the consumer to make a repeat purchase. The process was first developed in the 1920s and '30s with the advent of large-scale production, when each and every minute of the production process came under scrutiny.
When analysing the contemporary situation of the technological overproduction of developed capitalism, it is a simple matter to diagnose the penetration of planned obsolescence processes into the very fabric of our age. Concern over obsolescence is a feeling that penetrates and conditions our behaviour, way of thinking, purchasing power and relationship to self, to our external appearance and identity, the obsolescence of which is pushed for even more strongly than is the case with regard to material wellbeing and physical goods, as they barely manage to replace each other in the endless cycle of renewal. Accelerated capitalistic processes, market forces and technological progress all demand a rethinking of our relationship towards radical innovations.
Like marketing specialists attempting to sell the latest economic and cultural advances to twenty year olds, curators and critics set out on display a cutting edge cross section of contemporary art, while young artists try to make themselves known and draw attention to themselves and their art by means of marketing techniques pertaining to the contemporary economics of attention. How can young art be created and function in a time of technological shifts, when the process of its creation is transformed into a hectic race, where sober evaluation of your work and looking at it from without is rendered simply impossible by lack of time? The young artists participating in the exhibition respond to this question through various different artistic tactics and strategies, but all have one thing in common – a desire to realise the self, their corporality and identity in the hurtling maelstrom of accelerated process that is the modern world, finding a way to cast off planned obsolescence.
It is a well-known problem that, in formulating the meaning of contemporaneity, for its description it is obligatory to consider contemporaneity solely in terms of the recent past. Marshall McLuhan once wrote that we always see the world in the rear-view mirror, failing to catch it in the instant of the present. Aiming to desire to synthesize a holistic view of the contemporaneity, the artists in this exhibition are trying to see and conceptualise themselves, , to gather up their fragmented identity into a single whole, not just looking in the mirror, but precisely in this rear-view mirror.
The artists of the exhibition will be invited to create new works for the exhibition remotely in the "accelerated artistic production" mode, limited to a period of one week in between other exhibition projects and commitments scheduled for this summer, during their flights between the countries, on the run. Projects will be sent by artists from different countries by post, fax or internet. Some performative works and interventions designed specifically for the exhibition opening or examining the specifics of the complex space of the wellness center and applying the working staff of the club, will be set in place, in Moscow, and will be also limited by conceptual terms of one week.
Anne de Boer, Eloise Bonneviot, Cory Scozzari, Adam Christensen, Kate Cooper, Racheal Crowter, Jesse Darling, Harm van den Dorpel, Ruth Angel Edwards, Patrick Goddard, Maria Gorodeckaya, Ann Hirsch, Tom Huett, Emily Jones, Leslie Kulesh, Isaac Lythgoe, Frances Malthouse, Felix Melia, Josip Novosel, Yuri Pattison, Kirill Savchenkov, Ania Shestakova, Anne Schmidt, Amalia Ulman, Anne de Vries, ВАСЯ RUN
Alexander Burenkov (independent curator, curator at V-A-C Foundation) http://sashaburenkov.com/
ISS MAG Gallery https://www.facebook.com/issmagallery/
In frame of parallel programme of 5th Moscow International Biennale for Young Art http://www.youngart.ru/
Location: Trekhgornaya Manufacture (Moscow), Wellness Center Cascade (http://wellness-center.ru/
June 29 – August 10 2016