26.09 - 27.10.2013, 19:00-20:00
Program: [Ural Ц Regions]
Place: Ural branch NCCA
Curator: [Ilia Shipilovskikh]
Klim Pashnin, Product identical to the natural. 2005
«C’est le pays de la violence et des yeux bleus»
From Tcheliabtraktorstroi Waltz, L. Aragon, 1932
The exhibition «Hourra l'oural» got its name from a cycle of poems by French writer and poet Louis Aragon. It was written shortly after the August of 1932 when he visited the Soviet Union as a member of an international group of writers who studied the development of the socialist Ural. During his young years, Aragon was close to Dadaists and Surrealists. In 1927 he joined the French Communist Party and became an apologist of realism. Louis Aragon and his trip will become the key to the show. We want to imagine the whimsical journey of Aragon through the time and space of the Urals. What mirages were opened for Aragon behind the Ural Mountains? Which false mirrors did he see this reality through? In 1932 Aragon had witnessed the massive socialist construction, the demolition of old foundations, the pursuit of industrialization, the dream of a new life. If he came back now, he would see the same things. The “new happy life” remained a dream, but the path to it now lies through the construction of capitalist society and the pursuit of post-industrial economy. Now, the same way as then, skillfully fabricated decorations and prompters would accompany the journey. The charms of the perestroika and the young Russian democracy are gone; but it is still possible to come back to France and to praise what one have seen here. And even to regret what was written some years later. As it happened with Aragon. The artworks by artists of several generations who live in different parts of the Urals will be featured at the exhibition. Among them are going to be paintings, drawings, installations, videos, archives and historical materials. It is significant for us that this collage of the incompatible, which is arranged in attempt to generate new meanings, echoes Aragon’s specific understanding of realism; one that does not mean the production of similarities, but the inquiry, based on the reproduction of various objects of reality.