2014-2023
Bureaucracy of Miracles
Installations, interactive digital works, texts, video etc. Can include both interactive virtual exhibition and physical representation along with some documentation.
Bureaucracy of Miracle (2014-2023) is a synthetic bureaucratic horror project dedicated to the spheres of human existence, for which sacred and bureaucratic discourses are fighting. War, death, money, power, law, art and even miracles, they are spoken about both in sermons and in regulations. At the same time, both discourses elude the existential dimension of these things, accessible only to a solitary person. The project is presented as a virtual journey that starts from the distant future, in which the participant is invited, for example, to engage in such a bureaucratic procedure as the canonization of miracles, learn about martyrs and the place of art in the world of the future, in which the power belongs to ... the church? Religious party dictatorship? A chorus of dubious voices? Or maybe we are in heaven, and these are angels? Gradually approaching our days, the viewer learns about the confrontation between frogs and wasps. The images of wasps and frogs appear in the project as political metaphors. Documentation of my political actions and photographs from propaganda events served as material for some of the works. One of the rooms, depicting the assembly hall of some cultural institution or school, is entirely devoted to my research into how the sphere of culture in today’s Russia becomes an instrument of war. The final scene — The Hellin’s Square — loops the project, representing either an apocalyptic scene of falling into hell, or a revolutionary act.
The vitual presentation of this project is built using Pannellum Panorama Viewer by Matthew Petroff.
Bureaucracy of Miracle (2014-2023) is a synthetic bureaucratic horror project dedicated to the spheres of human existence, for which sacred and bureaucratic discourses are fighting. War, death, money, power, law, art and even miracles, they are spoken about both in sermons and in regulations. At the same time, both discourses elude the existential dimension of these things, accessible only to a solitary person. The project is presented as a virtual journey that starts from the distant future, in which the participant is invited, for example, to engage in such a bureaucratic procedure as the canonization of miracles, learn about martyrs and the place of art in the world of the future, in which the power belongs to ... the church? Religious party dictatorship? A chorus of dubious voices? Or maybe we are in heaven, and these are angels? Gradually approaching our days, the viewer learns about the confrontation between frogs and wasps. The images of wasps and frogs appear in the project as political metaphors. Documentation of my political actions and photographs from propaganda events served as material for some of the works. One of the rooms, depicting the assembly hall of some cultural institution or school, is entirely devoted to my research into how the sphere of culture in today’s Russia becomes an instrument of war. The final scene — The Hellin’s Square — loops the project, representing either an apocalyptic scene of falling into hell, or a revolutionary act.
The vitual presentation of this project is built using Pannellum Panorama Viewer by Matthew Petroff.
That sorrow can derange a man's mind, that we see, and it is sad enough. That there is such a thing as strength of will which is able to haul up so exceedingly close to the wind that it saves a man's reason, even though he remains a little queer, that too one sees. I have no intention of disparaging this; but to be able to lose one's reason, and therefore the whole of finiteness of which reason is the broker, and then by virtue of the absurd to gain precisely the same finiteness - that appalls my soul, but I do not for this cause say that it is something lowly, since on the contrary it is the only prodigy. Generally people are of the opinion that what faith produces is not a work of art, that it is coarse and common work, only for the more clumsy natures; but in fact this is far from the truth. The dialectic of faith is the finest and most remarkable of all; it possesses an elevation, of which indeed I can form a conception, but nothing more. I am able to make from the springboard the great leap whereby I pass into infinity, my back is like that of a tight-rope dancer, having been twisted in my childhood, hence I find this easy; with a one-two-three! I can walk about existence on my head; but the next thing I cannot do, for I cannot perform the miraculous, but can only be astonished by it.
Søren Kierkegaard, Fear and Trembling
Søren Kierkegaard, Fear and Trembling
Separate "rooms" included in the project.
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