09.07.2015 – 09.08.2015
ММОМА (Tverskoy blvd, 9), Moscow
Young Lions — a new Triumph gallery program supported by modern art. The project will feature works of young artists that already participated in significant exhibitions and are known to the public but are currently only at the beginning of their career path.
In 2015, exhibitions of Young Lions program took place in Moscow Museum of Modern Art and at the National Centre for Contemporary Arts. For many participants, it will be their very first museum exhibition. Together, Triumph gallery and the Moscow Museum of Modern Art, supported by the fond of Vladimir Smirnov and Konstantin Sorokin, present the second exhibition within the framework of the Young Lions project, Vladimir Potapov’s project From Memory. The exposition presents paintings and installations that reflect the artist's perception on the topic of historical memory as an organized and ordered oblivion. Vladimir Potapov reflects on the events that determine our assessment of the past. As a starting point, the authors uses the Nantes Edict of 1598, which vanished the events of religious wars and forbade any mention of them, as a vivid example of the censorship of history.
The theme of the ideological manipulation of historical facts appeals to a large-scale work Victory of Pskov, which has stored at the Art Museum-Reserve for more than 40 years. In the series of miniature works Monument, the author addresses to the history of the existing of busts, souvenirs, sculptures, and monuments of Lenin from the ear of cult to present day. Another series of works — Within — is composed from bulletin boards that were, year after year, covered with lots of paint by the housing and communal services. The images were by scraping off the surface, thus, discovering historical figures inside the layered structure. The narrative of the series were photographs from a family album that captured unknown to anyone friends, family members, or classmates. The theme of the fluctuations of memories that, with time, deform more and more, emerges in the Careen installation.
Artist states that historical memory is flawed and subjective. Facts that seemed to be significant just yesterday, forcefully vanish from archives or are forgotten as soon as today. The reality formed in that way contradicts with factuality but who will ever be able to prove that?