2019:
Greenhouse Conditions
W76.1
︎ technical info
Total installation
For Congress-Performance of Cultural Workers, Lo-Fi Social Club, Minsk, Belarus
Total installation
For Congress-Performance of Cultural Workers, Lo-Fi Social Club, Minsk, Belarus
Photo archive 2009 – 2019
Sergey Shabohin:
installation
Greenhause Conditions,
Lo-Fi Social Club,
Minsk, Belarus
2019
installation
Greenhause Conditions,
Lo-Fi Social Club,
Minsk, Belarus
2019
The installation consists of two graphic panels with fragments of the copyright archive of Sergey Shabohin. Among the images are sketches of unrealized works, accumulated images for future projects, personal photographs, practices and details of the process, references to other statements, etc. The slogan Greenhouse Сonditions on the polyethylene and plants placed in the installation are sent directly to the greenhouse – the image of specially created conditions for protecting development processes from aggressive external threats.
This self-reflecting installation raises questions about the working conditions of the artist, who throughout his career does not have his own studio, and most work processes are carried out on a computer. Updating graphic programs, searching for fonts, structuring archives, creating databases, filling in calendars and to do tables, protecting files, maintaining printers are elements of the artist's everyday work. The use of A4 format here emphasizes this standardized position of the modern universal creative unit.
Since 2009, the artist fundamentally as a protest to the then trends, turned to anti-aesthetics: the use of photocopying, the rejection of high-quality performance, the use of cheap materials and simple forms. This installation can be considered as a symbolic final archive of a ten-year period of developments and attempts to overcome production conditions; as arguments about the fruitfulness of hyperesthetics as opposed to a crisis of pictoriality; as a way to deal with the simultaneous lightness and heaviness of endlessly growing digital archives.
The continuation of the project was the creation of an art book publication from fragments of this installation. Art book is in the private collection of Alexei Lunev.
Within the framework of the conference, inside the installation, an additional dj-set of Sergey Shabohin was held under the pseudonym Gray Mand()rla.
This self-reflecting installation raises questions about the working conditions of the artist, who throughout his career does not have his own studio, and most work processes are carried out on a computer. Updating graphic programs, searching for fonts, structuring archives, creating databases, filling in calendars and to do tables, protecting files, maintaining printers are elements of the artist's everyday work. The use of A4 format here emphasizes this standardized position of the modern universal creative unit.
Since 2009, the artist fundamentally as a protest to the then trends, turned to anti-aesthetics: the use of photocopying, the rejection of high-quality performance, the use of cheap materials and simple forms. This installation can be considered as a symbolic final archive of a ten-year period of developments and attempts to overcome production conditions; as arguments about the fruitfulness of hyperesthetics as opposed to a crisis of pictoriality; as a way to deal with the simultaneous lightness and heaviness of endlessly growing digital archives.
The continuation of the project was the creation of an art book publication from fragments of this installation. Art book is in the private collection of Alexei Lunev.
Within the framework of the conference, inside the installation, an additional dj-set of Sergey Shabohin was held under the pseudonym Gray Mand()rla.
