camera mañana: storage for (im)possible realities [first edition]

There is concern that there is a possibility of a different life.
There is concern that there is a real possibility of living a different life.
There is concern that we constantly miss the possibility to live a different life.
There is concern that we constantly miss the possibility even to imagine a different life.
There is concern that we constantly lose even the capacity to imagine a different life.

[…] there is a border of sort in between possible and impossible. This border properly is that which articulates one from another and determine the both simultaneously. […] it is obscure and unseen. This border defines also the relation between possible and impossible. But it is mostly unobserved and mistreated. […] to consider this border as determinant of those two and to rethink our position to this relation properly. We have to be aware of what is possible and what is not, in terms of […] Artistic creation often deals with this very border, operates on the level where it can be exposed and critically treated, […] with different dimensions of that relation between possible and impossible. […]

Four projects displayed in camera mañana explore this concealed relation of the possible and impossible. All of them plays this edge up yet without any fixation of sort with pure imaginary and fictional. The reality they reflect is possible in principle and in some cases even already actual.

Sergey Shabohin in a series of images called And There is Nothing Left (2009) displays the possible future and refers to the actual condition of four-five venues in Minsk, which time after time represent contemporary art in Belorussia. Fired Academy of Arts, broken selling in Palace of Arts, closed gallery Underground, and the Museum of Modern Art in Minsk which offers spaces for rent, all this is not a pure imagination of the artist but the actual state so tenderly revealed…

Four images created by McSharp in 2012 explore the possibility of a bit brighter reality in Armenia, a reality without unchangeable power, corrupt education, and without persistent nationalist ideology.
On the photograph from significant event of 1991, when Lenin’s monument was demolished from former Lenin Square in Yerevan, which depicts Lenin’s head lifted onto track to be removed, instead of Lenin’s features one can recognize the face of current president of Armenia ruling since 2008 instead. With this replacement the artist simply alludes to the possibility of the end of the current regime informed by nationalist ideology, which may seem as much interminable as soviet regime seemed once. The same gesture is applied to the 51 meter height Mother Armenia monument by Ara Harutyunyan installed in 1967, five years after the removal of a monumental statue of Joseph Stalin in 1962 since the fall of the cult of personality.

Another viewpoint to a different life of sorts is projected by International Center of Accident Planning directed by Grigor Khachatryan. The 6.04” length movie, shot in June-July 2013, shows the recent accidental event planned by the Center.

Five small reproductions of works by Arman Grigoryan are displayed with a commentary article written in 2007 by Vahan Ishkhanyan. Three of the works, the wall paintings, were created in frames of a project D’Arménie (France in 2008) and further destroyed. The other two ones were done in Armenia and still exist. The commentary displayed on a tablet describes these works in a similar perspective developed above.


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