Next day I went to the Winzavod (literally Wine Plant), in the past a real winery, or rather a wine-producing factory, and currently one of the largest centers of contemporary art in Moscow, an agglomeration of art galleries, shops, workshop and other creative outlets. Lots of different things, different in terms of size, style, impact and ‘future relevance’, let’s define it in this way.
One of the exhibition, in the Guelman Gallery, was particularly striking; I would describe it as ‘probe into impossible future’, that blends both u-topian and dys-topian project into one quantum nucleus. Not sure that all the energy layers could be understood by non-Russian people, or more precisely, by people who haven’t experienced this exciting and absurd post-Soviet era, including the Russian war(s) in/with Chechnya.
These bright and beautiful paintings, resembling the works by Alexander Deineka, present an imaginary world, where there is a Chechnya without the wars, where there is a parachute jumping sport, and where women can practice it… and all that is shown in the midst of Russia, which is increasingly uneasy, hostile, and intolerant to the region. An avalanche of provocative collisions of meaning, and a rich soil to probe the future.