Nothing to Wonder

Dmitry Gutov

The exhibition comprised photographs, videos, works made of metal, installations, graphics and paintings. The exhibition spanned the 25-year period of Gutov’s career starting from 1988. Metal spatial sculptures from Rembrandt’s Drawings series, Icons series, and a few others centered on Chinese and Japanese calligraphy were the first exhibits the visitor was about to see. Some photographic and video projects in other floors of the museum dealt with harsh realities of the 1990s in Russia, e.g. The Town of Uryupinsk, The Blind. Other videos, such as Light Sleep, Thaw and New Year evoked the sentiments of the 2000s. Gutov’s retrospective exhibition at MMOMA put a lot of emphasis on photographs and video installations created by the artist after 1991. Shuttlecocks, Hammock, The 1960s or Let’s Talk about Love Again, Shostakovich, Feet, Parallax and other works were accompanied with texts by modern art theoreticians, art critics, curators and artists including Victor Miziano, Ekaterina Degot, Andrei Kovalev, Anatoly Osmolovsky. To give the visitor an idea of modern Russian art criticism in progress, the annotations also included some newspaper clippings bearing the contents of the original articles. The entire floor of the museum allotted for the showing of Gutov’s paintings. The works on view belong to his series Space, King Lear, Still Lives, Words Are Also Deeds, Before 70, etc. Many of the works at MMOMA exhibition had never been displayed before.

Dmitry Gutov's hybrid identity demonstrates bizarre and sometimes opposing positions unseparated from his art that fixes the movement of his body like a diary. Documented experiences alternately refer us to different parts of the author. Passing through the chronology of the exhibition we meet with his directness and irony of the late eighties, form and action of the nineties. The artist's body is Gutov's riot of a bonvivant and apolitical kind. Fighting socio-political overtones in words becomes loose bows left and right, up and down, and encyclopedic scope draws horizons of life capsules of things and people around us, exactly behind the walls of the exhibition space. 

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