26/02/21 - 24/03/21
The Golden Sign to Tsarino
The road to the art foundation should shine like gold. That is what Victoria Marchenkova, known for her hybrid paintings, installations, and abstract sculptures made of glass, light and metal, demonstrates with her site-specific installation made especially for the Tsarino Foundation.
The cubed golden texture is designed to attract curious travellers and to be a solution for orientation on the road. As every new path taken in art is an exciting turn, we need bright signs on our way to be sure that we are going right.
As an artist, Victoria Marchenkova is deeply involved in the theme of gold. Several of her artworks starting from 2015 more or less directly appeal to this. She defines her interest: “My artistic theme is being on ruins of glamour and a contemporary definition of iconic — I work a lot with shine and illumination.” Also, talking about her credo, she listed: post-landscape, precious metals, speed. For now, the road to Tsarino is definitely not a racing track, but who knows where the time goes.
Marchenkova’s shining structure corresponds to the natural landscape surrounding the foundation and looks especially well on sunny days. A good sign, for a good start!
26/03/21 - 21/04/21
Hypothesis I (Painting In A Jar)
In 2014, Richard made a work (oil and egg tempera on 2 x 2 m board) that he was not happy with. He decided to scrape off the material and put it into a jar. The result will be shown at the Razklon Gallery in April: Hypothesis I (Painting In A Jar). Basically, it is what the label says – a painting in a jar. It is in stasis, a hypothesis, there for anyone to take out and reassemble, possibly improve it – or leave it forever in its current state. It is materialised potential. A shorthand version of its former self, emptied of its vectors.
Richard had the Jar in storage for a while, and he says he remembered it a few months ago when reading about Determinism and the Many-Worlds interpretation of Quantum Mechanics (N.B. the latter one differs from the more accepted, so-called Copenhagen interpretation, which assigns the observer a different, arguably more destructive role). While not claiming to have understood most of it, Richard appreciated the degree to which the Many-Worlds interpretation seemed to facilitate a, visually speaking, more robust degree of determinism. It lined up nicely with the notion that, if provided with all the information for every particle of the work (now in a jar), someone could re-create the original work the way it once was (although given Richard’s dissatisfaction with the original work, the process seemed more intriguing than the likely outcome). Perfect information would be the key to unlocking the current stasis.