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109012, Moscow, Ilyinka St., 3/8, building 5    |    +7 (495) 162 0893     |     info@triumph.gallery     |     daily from 11.00 – 20.00     |     free entrance

DOES NOTHING: HER MOTHER DIDN’T ALLOW HER TO DANCE

Group exhibition

НЕ ДЕЛАЕТ НИЧЕГО: ЕЙ НЕ РАЗРЕШИЛА МАМА ТАНЦЕВАТЬ

Групповая выставка

27.05.2019 – 07.06.2019

Triumph Gallery, Moscow

Triumph Gallery and "Kaskad. Project as a method" present an exhibition-festival, "Does Nothing: Her Mother Didn't Allow Her to Dance".

"Kaskad. Project as a method" is an interinstitutional project school for teenagers; it`s goal is to engage adolescents in the cultural life of the city. Throughout the school year, 100 young people at the age of 12 to 17 worked on creating their projects along with famous artists and curators. They explored the surrounding reality, searched for internal requests and challenges, learned to go from the idea to implementation.

Within the frameworks of the Cascade program, eleven groups were formed: "The art of action", "Installation", "Art & Language", "Sound Art", "Digital Art", "Drawing", "Printing", "Making an Exhibition", "Orientation to terrain", teams of deaf and hard-of-hearing, as well as regional participants. Together with the teenagers, on their projects worked: Antonina Baever, Alexander Obrazumov, Evgenia Bonevert, Anna Titovets, Ganna Zubkova, Irina Petrakova, Maxim Sergeev, Dmitry Khankin, Elizaveta Konovalova, Dmitry Hvorostov, Lidia Gumenyukm Ekaterina Porutchik, Olga Shirokostup, Victor Glazunov, Vlad Kolesnikov, Maria Sarycheva and other curators.

Fifty final works — installations, video art, performances, graphics, multi films, and audio recordings  — will occupy the entire space of the Triumph Gallery, from exhibition halls to the wardrobe and storage rooms. Each of them is a reflection on the theme of boundaries, protests, acceptance, and age. Together, it forms a sincere narrative on the surrounding reality not only in Moscow but in all of Russia. 

The exhibition continues until the 7th of June; organizers plan to transform the festival into a full-fledged teenage biennale in the future.

Program directors Alexandra Heifetz and Lida Lobanova:

"All participants got into 'Kaskad' by open-call. It was important to us that all kinds of different teenagers come to us: from the center, and from the outskirts, from municipal and private schools, and children on homeschooling, and children who did not know what contemporary art was, kids, who are uncomfortable in their school and yard, and, conversely, children who have access to everything. The 100 people who passed Kaskad this year call freedom and opportunity as their main value. When designing the program, we tried to push off from the needs and desires of teenagers. And the answer was unexpectedly pure and honest works."

Curator of the "Making an Exhibition" group, Anna Titovets:

"When the work on an exhibition project began, it seemed that 50 projects are a semi-random kaleidoscope that could be neither covered nor fit into a single narrative and spatial framework. I would tell them how 'it is' in the 'real curatorial practice' and with a slight nervousness I thought of the task that stands before us, as if it was 'the other way around' — to compose an exhibition project and a sense of meaning from already created compilation of projects and meanings. But, oddly enough, as we deepened into the meanings of projects (at different levels — from the number of meters per project to semantic associations and tags), what seemed to be a somewhat random set that we moved around the gallery space suddenly began to acquire a harmonious rhythm of narrative that arose between works and led from one project to another along a perfectly meaningful route. As a result, the combination of the "day of disobedience" and "dark waters" of the teenage unconscious seems to have every chance of becoming an interesting laboratory of questions and answers from those who have not yet been saturated with adult life."

Curator of the "Art&Language" group Dmitry Hvorostov:

"I can’t say that in the Cascade project, I came across some kind of 'adolescence'. For me, all the teenagers we have worked with and continue to work with are individuals, personalities with their own unique set of interests, specific experiences, traumas, with certain algorithms of aesthetic and ethical choices. Therefore, this experience did not differ from the experience I have when talking to an adult. It is commonly thought that a teenager is a naive subject who maximally perceives reality; however, I notice such naivety among people of my generation as well. It persists in adults regarding many things."

Director of the Triumph Gallery, Dmitry Khankin: 

"I discovered that modern teenagers mature very progressively — they are more mature than my generation was, but, at the same time, they have fewer "teeth and claws" than we did. On the other hand, their instruments of perception the reality are much thinner than ours — they are citizens of the world, large-minded people who think internationally and out of local context that does not quite exist. And that is wildly pleasing."

The project is supported by the Vladimir Potanin Charity Foundation, one of the first private foundations in modern Russia. It was created in 1991 by the entrepreneur Vladimir Potanin for the realization of large-scale programs in the field of education and culture. The fund’s systematic work in the museum sphere is designed to support leaders who can make the museum a center for the cultural, social and economic development of their regions and is aimed, inter alia, at creating conditions for realizing the potential of employees of Russian museum and growth of their project activities. Program "Kaskad. Project as a method" recieved support in the "Museum 4.0" competition, which allows Russian museum to experiment. The nomination of the "New Challenges" competition, focused on projects in which the museum operates in the space of social challenges, acts as an active participant and a subject of the formation of the socio-cultural agenda, initiator of positive changes in public space. 

The project is supported by the Vladimir Potanin Charity Foundation. The initiative received support in the "Museum 4.0" contest, which allows Russian museums to experiment.