Semyon Motolyanets; O-L "Lacuna", 2015; 30х60,5 cm; canvas, plywood, acrylic, enamel, window hinges; Norway, Herstad, Bodo;
Anti-fortifiers
A project about leftovers, sawdust, discarded things and what often turns into trash. Matter is living some other life. Other than a person, with his suffering, doubts, joys, changes and transformation. Matter lives its quiet life, of course, you can find this life and even define it in the visual arts as a still life or style life, separating it from a person. I am interested in this temporary immersion of a person in an inanimate world, a connection with this inanimate world, an uneven and uneven passage of time for a person and for a thing, things, even being thrown away, continue to retain their invariability - quietly dying leaving without much drama. Man is just a neighbor of these things. No things take him for a long time; a person has a special relationship with the world of objects, sometimes long, sometimes short-term, they pass away with things, they live in their environment and do not notice. The entire material world is such a woven text that fills our life like scenery, attributing time, things swarm around a person, they are everywhere they are involuntary companions, stands, tools, fetishes adjacent to a person. I am interested in how time affects a thing and a person, how a person deforms a thing to such a state that wrinkles appear in it from the fatigue of being, these are doors repainted a hundred times, and chairs, tables, worn out suitcases, broken tools and other signs of aging , and the approach of death. For some reason, the image of a primitive man with a stone ax and a hip skin always stands before his eyes to eat with objects, the material world, which has grown since ancient times, made a person non-autonomous, not separate from them, in the visual way of human life. Things acquire their purpose for human life, although their turnover is very significant, their "obsolescence" gives rise to entire industries of flea markets, antique shops, garbage dumps, and random spontaneous heaps. Things are authentic in their meaning - real, they are clots and exact material representatives of the time of their creation (style, design, image). They are an accurate part of reality, proving that time passes with its own trace. For me, a thing is a representative of an unconditional reality, in contrast to the image of a thing, which is always "second" in relation to the real. The combination of these fragments-fragments of the “real” with their conventional meaning of the image and the way of interacting with a person is the interest that made me start a series of these “anti-forts”, where the text will be replaced by the text of the object and the space of things and their materiality. By separating a part from an object, we deprive it of its function, making it a piece of the puzzle of reality, bringing it to the universal size limit for a given series. Here is a part of the door, a handle, here is a part of a door bolt, here is a part of a door - a keyhole, all these are parts of the same object deconstructed and reassembled in the format of a separate work. A piece, a fragment, a piece, a piece, is torn from reality, reality bears losses. The "anti-leaf" principle allows you to work with any matter that the artist is able to "gnaw" out of the world. The numerical values used on these anti-fortifiers are an additional element of objectification, they are not an inventory number, not an ordinal number, they are an ambiguously related sign characterizing the property or form of an objective material fragment. The three-dimensionality of the thing is emphasized by the movable connections of loops with the conventional meaning of the image of the same things in two-dimensional space. The principle of the anti-leaf is also in the color narrowing of the spectrum corresponding to the object or its environment, there is no pictorial background of the harmonious combination of colors in the window, the color is nominal here and calls for a monosyllabic reading of the color meaning of the object. /
About Semyon Motolyanets
1982/Brest/Belarus
Works with installation, object and performance.
Graduated from Saint Petersburg Stieglitz State Academy of Art and Design
(2009) and "The School of young artist" at Pro Arte Foundation (2012).
Founder (together with D. Petukhov) of the artistic group "SOAP".
Winner of the "Innovation Prize" (2009), with nomination "New
generation" (as a member of the "SOAP" group).
Member of PARAZIT group (since 2007).
Member of the Open Studio "Nepokorenniye 17".
Participant of Moscow International Biennale for Young Art (Moscow);
parallel program of Manifesta 10 Biennial (St. Petersburg); Ural Industrial
Biennial (Ekaterinburg); Art Prospect Public Art Festival (St. Petersburg),
CEC Artslink Program (New York)
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Anti-fortifiers
A project about leftovers, sawdust, discarded things and what often turns into trash. Matter is living some other life. Other than a person, with his suffering, doubts, joys, changes and transformation. Matter lives its quiet life, of course, you can find this life and even define it in the visual arts as a still life or style life, separating it from a person. I am interested in this temporary immersion of a person in an inanimate world, a connection with this inanimate world, an uneven and uneven passage of time for a person and for a thing, things, even being thrown away, continue to retain their invariability - quietly dying leaving without much drama. Man is just a neighbor of these things. No things take him for a long time; a person has a special relationship with the world of objects, sometimes long, sometimes short-term, they pass away with things, they live in their environment and do not notice. The entire material world is such a woven text that fills our life like scenery, attributing time, things swarm around a person, they are everywhere they are involuntary companions, stands, tools, fetishes adjacent to a person. I am interested in how time affects a thing and a person, how a person deforms a thing to such a state that wrinkles appear in it from the fatigue of being, these are doors repainted a hundred times, and chairs, tables, worn out suitcases, broken tools and other signs of aging , and the approach of death. For some reason, the image of a primitive man with a stone ax and a hip skin always stands before his eyes to eat with objects, the material world, which has grown since ancient times, made a person non-autonomous, not separate from them, in the visual way of human life. Things acquire their purpose for human life, although their turnover is very significant, their "obsolescence" gives rise to entire industries of flea markets, antique shops, garbage dumps, and random spontaneous heaps. Things are authentic in their meaning - real, they are clots and exact material representatives of the time of their creation (style, design, image). They are an accurate part of reality, proving that time passes with its own trace. For me, a thing is a representative of an unconditional reality, in contrast to the image of a thing, which is always "second" in relation to the real. The combination of these fragments-fragments of the “real” with their conventional meaning of the image and the way of interacting with a person is the interest that made me start a series of these “anti-forts”, where the text will be replaced by the text of the object and the space of things and their materiality. By separating a part from an object, we deprive it of its function, making it a piece of the puzzle of reality, bringing it to the universal size limit for a given series. Here is a part of the door, a handle, here is a part of a door bolt, here is a part of a door - a keyhole, all these are parts of the same object deconstructed and reassembled in the format of a separate work. A piece, a fragment, a piece, a piece, is torn from reality, reality bears losses. The "anti-leaf" principle allows you to work with any matter that the artist is able to "gnaw" out of the world. The numerical values used on these anti-fortifiers are an additional element of objectification, they are not an inventory number, not an ordinal number, they are an ambiguously related sign characterizing the property or form of an objective material fragment. The three-dimensionality of the thing is emphasized by the movable connections of loops with the conventional meaning of the image of the same things in two-dimensional space. The principle of the anti-leaf is also in the color narrowing of the spectrum corresponding to the object or its environment, there is no pictorial background of the harmonious combination of colors in the window, the color is nominal here and calls for a monosyllabic reading of the color meaning of the object. /
About Semyon Motolyanets
1982/Brest/Belarus
Works with installation, object and performance.
Graduated from Saint Petersburg Stieglitz State Academy of Art and Design
(2009) and "The School of young artist" at Pro Arte Foundation (2012).
Founder (together with D. Petukhov) of the artistic group "SOAP".
Winner of the "Innovation Prize" (2009), with nomination "New
generation" (as a member of the "SOAP" group).
Member of PARAZIT group (since 2007).
Member of the Open Studio "Nepokorenniye 17".
Participant of Moscow International Biennale for Young Art (Moscow);
parallel program of Manifesta 10 Biennial (St. Petersburg); Ural Industrial
Biennial (Ekaterinburg); Art Prospect Public Art Festival (St. Petersburg),
CEC Artslink Program (New York)
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Time, Location
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