jessica andrey bogush
WORKS
NO TO WAR!
НЕТ ВОЙНЕ!
Der Blick durch das Schlüsselloch der Gesellschaft ist das reizvolle Prinzip dieser Show. Ein voyeuristischer Blick in die dunklen Ecken, aber gleichzeitig auch eine erheiternde Entschlüsselung, die entblößte Albernheit derselben. “Rosa Butterfly (from keta femmunism to somatic interspecies communism)”, eine kollaborative Arbeit der beiden Künstler*innen Andrey Bogush und Sinaida Michalskaja, treibt das Schlüsselloch-Prinzip auf die Spitze. Die Arbeit zieht die Form eines Schlüssels nach, auf dem der Pferdekopf aus Lars von Triers “Melancholia” abgedruckt ist.
Das Werk ist Keyhole, aber auch K-hole, Traum oder Rausch? In dem blauen Schmetterlings-Emoji wird auf eine chinesische Parabel referiert, in der es um die Frage geht, ob der Schmetterling davon träumt ein Mensch zu sein, oder andersherum? Ein vielschichtiges Schlüsselwerk zu dem es mehr Fragen als Antworten zu geben scheint, es soll halboffen, halbverschlossen bleiben, ganz im Sinne des Schlüssellochs.
Und bleiben Sie zuversichtlich Gruppenshow "Tagesschau" bei Mountains Review 14. Februar 2022 - Text von Lara Brörken
For their show at Ars Libera gallery, Andrey Bogush combines printed screenshots, found photographs, and digital drawings laminated in butterfly-shaped cut-outs. The exhibition's title quotes a passage from Paul B. Preciado’s book Apartment on Uranus, in which the author “reflects on gender transitioning and political and cultural transitions in technoscientific capitalism”. Employing the butterfly’s transformative character and its shape as a flat display for their transgressive images, Bogush presents a visceral introduction to their idiosyncratic research on flesh and desire.
https://arslibera.com/galleria/2020/08/
The exhibition Zwei Schwestern unfolds a dissociative approach to thinking about contemporary visual culture, one which articulates technologies of desire – and involves methods of scaling, digital printing and ornamentation while also drawing on architectural elements and the objectification of images – by making nonsense of them.
In Guardian (The art market wants porn, but it doesn’t want it when it comes from feminism), 2020, Andrey Bogush inserts a quote by Beatriz Preciado from 2008 (1) onto a blown-up, low-resolution image of a key from a computer game; the image itself is printed on an IKEA shower curtain. In an echo of the production process, the curtain hangs on a steel rack with unpolished corners. Proposal for hoover, cat cut out and distorted face (The living web of care is not one where every giving involves taking, nor every taking will involve giving), 2020, is a kinetic sculpture composed of a stand-up cat-shaped display with a human face printed on it; this, in turn, sits on a robot hoover that is confined to an elevated, round compound. (2)
Bogush’s practice is inspired by the ‘digital condition’ of images shared and consumed online through social media or publishing platforms; it embraces this flatness in different, even opposing, ways. By printing images on industrial vinyl curtains and placing them on floors, walls and ceilings, they seek out situations of discontent or detachment in them: “I wonder if self-alienation could be an analogy for the life of images online”, Bogush says about this side of their practice.
(1) Beatriz Preciado. Museum, Urban Detritus and Pornography. Zehar 64, 2008, p. 30.
(2) In the parenthesis of the title, Bogush uses a quote by María Puig De la Bellacasa. Matters of Care: Speculative Ethics in More Than Human Worlds. University of Minnesota Press, 2017, p.112.
Zwei Schwestern: Andrey Bogush and Sinaida Michalskaja At Zarinbal Khoshbakht, Cologne June 02 — June 20, 2020
Andrey Bogush is a resident at HIAP’s Suomenlinna studios from February until December 2019. Their work consists of photography, often manipulated digitally, as well as sculpture, installation and performance. During HIAP’s Open Studios event in May 2019, Andrey arranged drawings created during the past two years into a big boat-like installation inside Gallery Augusta and combined it with a performance that took place in the football yard outside the gallery, thus blurring the lines between the indoors and the outdoors.
Full interview here: ANDREY BOGUSH: DREAM DEVICES AND THE DESIRE FOR THE IMPOSSIBLE
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