Especially for the “Earthworks” the gallery’s space will be completely transformed into an unrecognizable exhibition hall with a “reversible perspective”, “signed fields” and “the artist’s demonstration efforts”.
Every trifle at the exhibition will be of sacral importance, whether it be a nail, wound thread or a black box with classic music coming out of it. The author of the project calls the gallery’s walls expository sign-fields, which symbolize culture manifestation, and the fiberboard screens demonstrative sign-fields, which symbolize chaos. “Thus, it turns out, that it is not the artist, who “enculturates chaos”, but vice-versa, the external, as regards the artist’s behaviour, discourses (constructive, architectural, etc.) which seem to be controlling the artist’s inner chaos”, — as Andrei Monastyrski writes in the introduction. A kind of clue to the labyrinth of “Earthworks” will become a series of 18 black-and-white photographs, which shows quite usual townscapes with pedestrian underpasses, bridges, building sites, hastening people and other attributes of a big city. In order to provide some help to the visitors of the exhibition, they will be offered a plan with a scheme of the “Earthworks”, photocopies of which will be placed in the middle of the exhibition space next to the black box. It is out of this box that the “Music of consent”, which according to the author is “open to the understanding and aesthetic contemplation”, is supposed to come.
The Foundation has published an illustrated catalogue of the exhibition with an essay by Ekaterina Degot.
