06.08.2021 – 29.08.2021
Triumph Gallery, Moscow
The space of contemporary art allows for a plethora of different creative strategies for the artists to employ. One such strategy is to focus close attention on own emotions, behaviours, and reactions. When this attention is fine-tuned, the observations can serve as inspiration for new artworks. This elevates such exploration to the level of a deep study of psychological transformations and events that make up our past. One of such artists is Asya Marakulina. Her art is inspired by own feelings, emotions, states of mind, and their variations across time.
The space, which holds the exposition, thus becomes a metaphor for the subconscious in psychoanalysis. A hidden place within each person, wherein are contained the stashed away fears, repressed and concealed emotions, disturbing memories. All that, for various reasons, could not be given expression in the light of day — powerlessness, shame, bitterness, weariness, anger, jealousy — can be perceived as an echo from the depths of the psyche. However, now manifest as works of art, the previously hidden emotions are revealed and presented to the viewer as tangible reality. This conversion produces the therapeutic effect that helps accept these feelings and the associated memories, incorporate them into your biography and identity, and ultimately overcome them, if necessary.
The project title, Never Again, refers to instances of (self-imposed) limitations, setting boundaries and restrictions, which are often violated immediately upon pronouncement. That is when a firm no turns into consent and strict limitations turn into relaxed rules of a free game, creativity, or any other activity that we undertake to break free of the limitations. After all, you often need to name the fear, experience, and let go of it before you can overcome it. In the artist’s own words, the works in this series are ‘…works that oscillate between strict self-imposed limitations and free play. The amplitude of their emotional saturation is wide — from the extremely personal and confessional (borderline exhibitionist) to the indifferently detached and ironic. Should you even try balancing all this or let this pendulum swing?’
with the support of