Захаров, Вадим Арисович
danaë installation

source: undonet

Il solo show di Vadim Zakharov è insieme installazione e performance. La materializzazione di un mito, quello di Danae, che dà il nome al progetto e ne diventa il fulcro, si piega, ancora una volta, all’interpretazione e, come ai tempi della tradizione orale, si fa suscettibile di aggiornamento, al servizio del racconto. Danae, nel mito greco, fu rinchiusa dal padre in una grotta; secondo una profezia, infatti, egli avrebbe trovato la morte per mano del nipote, non ancora concepito. Ma Zeus si trasformò in pioggia d’oro e fu così che nacque Perseo che, dopo aver sconfitto Medusa e salvato Andromeda, uccise accidentalmente il nonno, avverando un destino ineluttabile.
Un mito che si presta ad infinite letture personali: «ho realizzato una costruzione, voglio che i visitatori si scervellino per capire cosa voglio dire» ha provocatoriamente affermato Zakharov, fra i più importanti artisti concettuali russi del momento. Danae è un progetto costoso ma, allo stesso tempo, semplice e coinvolgente, perché alla mitologia greca unisce una riflessione sulla situazione politico-economica attuale. All’ingresso del Padiglione un performer, dallo sguardo imperturbabile, è letteralmente in sella ad una trave del soffitto. Un “cavaliere” (lavoratore del sistema bancario) senza il suo cavallo (la realtà) continua a sbucciare e mangiare noccioline a ripetizione. Sullo sfondo la frase impressa sul muro parla chiaro: «Signori, è tempo di confessare la nostra maleducazione, la nostra lussuria, il nostro narcisismo, la nostra falsità, demagogia, banalità e…». Un lungo elenco che siamo caldamente invitati a non ignorare. Nella sala centrale, l’artista ha creato un inginocchiatoio di legno, simile a quelli che si trovano nelle chiese, che corre lungo il perimetro di un quadrato che si affaccia nel vuoto (il piano rialzato del Padiglione è stato sventrato per permettere di vedere cosa accade al piano inferiore). Dall’alto scende una pioggia d’oro di monete coniate per l’occasione che “bagna” solo le donne, le uniche a poter accedere, con appositi ombrelli, al piano terra…
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source: yunniablogspot

神話形式在蘇聯時期的社會寫實主義藝術中為主要表現手法，而反諷社會寫實主義的蘇聯普普(Sots Pop)，亦採神話形式以幽默手法破除對權威的崇拜。本屆俄羅斯國家館的策展主題為「黛娜耶」 (Danae)，莫斯科觀念主義藝術家札可洛夫(Vadim Zakharov)展現一貫浪漫特質，以宙斯變身成黃金雨回應人間美女黛娜耶誘惑的希臘神話為警世隱喻，展覽館分為上下兩層，女性觀眾始能到下層平面，由上層灑落的金幣不斷向下層墬落，女性觀眾必須撐著傘保護自身，這其中象徵隱喻不言而喻，藝術家巧妙安排展覽館空間結構與觀眾的參與行為，再現黛娜耶神話的當代意涵，札可洛夫強調此作並無任何的性別歧視，僅是忠於神話本身，卻不禁令人聯想多數男性在金錢世界中追逐權勢、身分地位，贏得女性的歡心，雖擁有許多外在的財富與名望，內在卻空洞匱乏，藝術家在展場的牆面留下給普世大眾座右銘寫道：「…該是告白我們的魯莽、慾望、自戀、挑釁、虛假、瘋狂、貪婪、譏諷、偷竊、投機、浪費、貪食、誘惑、 羨慕與愚笨。」
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source: thewowa

Danae，根据希腊神话，是希腊英雄珀尔修斯（Perseus）的母亲，她由神宙斯受孕，在她的角度看，那是淋了一场黄金的雨。知道了这个简单的事实，在2013年威尼斯双年展俄罗斯馆参观瓦迪姆·扎哈罗夫（Vadim Zakharov）装置“Danae”的游客，就能简单和清晰的领略这件作品。

在两层楼的展馆二楼，200,000个金币不断的如雨点般落下，穿过一个洞，进到一楼的“cave womb（洞穴子宫）”里。只有女游客被允许进入这个底层，还提供了一个保护伞，以保护自己免受这个天堂般的淋浴。在楼上，一个穿西装的男人看着这场投币的淋浴，他周围的墙壁被装饰着这句话：“先生们，是时候该承认我们的粗鲁、好色、自恋、蛊惑人心、虚伪、平庸、贪婪、玩世不恭、抢、投机、浪费、暴食、诱惑、嫉妒和愚蠢。”

明白了吗？这是一个勇敢和简单的种马，部分承认了俄罗斯的腐败的财富声誉。性别隔离是有效的吗？Zakharov公然否认了大国沙文主义的代价。“这不是性别歧视，而是按神话的逻辑解剖结构，”他解释说。“用下金币雨这种形式，象征这种只能从上往下掉的阳性究竟是什么？展馆的下面一层是一个“洞穴子宫”，它“保持安宁、知识和记忆的完好。”

这个作品可能有粗鲁的色彩，但Zakharov绝不是变态；2003年他创作了一个Frankfurt-am-Main纪念碑以纪念哲学家阿多诺（Theodor Adorno）诞辰100周年。相反，“Danae”似乎是一个对现代财富的尖锐批评，质疑着今天的黄金雨究竟会带来什么东西。就如所有的优秀经典，珀尔修斯（Perseus）杀死了美杜莎。参观Zakharov装置的女性游客应该希望一个类似的半神从所有这一切贪婪和愚蠢中拯救出我们吗？
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source: designcollectornet

“Drawing from the perpetually revisited myth of Zeus and Danae, an installation by Vadim Zakharov in the Russian pavilion at the Venice Biennale 2013 uses consumable objects and the sequence of architectural spaces to make manifest underlying ideas about ‘rudeness, lust, narcissism, demagoguery, falsehood, banality, and greed, cynicism, robbery, speculation, wastefulness, gluttony, seduction, envy, and stupidity.’ the impregation of danae occurs when zeus appears to her as a golden shower after she is locked in a tower to prevent the professed death of her father. gender dynamics and the poetic cycle of gestation are reconstructed spatially with a total use of the pavilion– a first in the history of the building. aside from providing two viewing points, the division of lower and upper chambers implicates the viewer directly in the materialization of the myth. through a large aperture in the floor a women-only space is laden with golden coins and fitted with umbrellas to shield the mechanical fall of the symbolic objects.”
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source: frameweb

Vadim Zakharov’s installation at the 2013 Venice Biennale breathes life into the ancient Greek myth of Danaë’s impregnation. Zakharov unites the upper and lower storeys of the Russian Pavilion for the first time in the building’s history, composing philosophical, sexual and psychological elements within a simulated theatrical space. Says Zakharov of his work: “The installation has two points for viewing—from above and from below. Kneeling and looking down, we can grasp and feel that we are present at a unique process of materialization of the myth.”
The golden coins that fall from the ceiling to the ground floor represent the male spirit, while women who hold umbrellas to protect themselves from the coins can only visit the lower hall. Zakharov explains that “this is not sexism but merely follows the logic of the anatomical construction of the myth. What is masculine can only fall inside from above, in the form of golden rain. The lower level of the Pavilion is a “cave womb,” keeping tranquility, knowledge, and memory intact.’”
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source: hatjecantzde

Vadim Zakharov (*1959, in Dushanbe, USSR, lives in Moscow and Berlin) belongs to the circle of artists known as the Moscow Conceptualists. His crucial role as archivist and protagonist of this movement has shaped his manner of working since the late 1970s, a manner which is characterized by exceptional creativity and independent artistic thinking. Participation and actionism have always been key forms of activity in his career.
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source: conceptualism-moscoworg

Vadim Zakharov’s Danaë project represents Russia at the 55th International Art Exhibition — La Biennale di Venezia. Zakharov’s installation has united the upper and lower storeys of the Pavilion in a single project for the first time in the building’s long history (the Pavilion was built in 1914 by the Russian architect Alexei Shchusev who, ten years later, would also design Lenin’s Mausoleum in Moscow).
The theme of the installation turns around the ancient Greek myth of Danaë. The myth of Zeus and Danaë has inspired many famous works of art since ancient times, including the picture by Rembrandt, painted in 1636-1647 and kept in the State Hermitage Museum, where it was seriously damaged in 1985 by a man who threw sulphuric acid onto the canvas and slashed it in two places.
Vadim Zakharov: ‘The installation has two points for viewing — from above and from below (in the central hall of the Pavilion a large square hole has been made in the ceiling of the lower exhibition space, and an altar rail with cushions for kneeling has been built on the upper floor, around the hole). Kneeling and looking down, we can grasp and feel that we are present at a unique process of materialization of the myth. Through the huge hole in the floor, we fall into another semantic and poetic space, into which golden coins fly from a pyramid ceiling. Below we see women with umbrellas, which protect them from being struck by the coins. The lower hall can only be visited by women. This is not about sexism but merely follows the logic of the anatomical construction of the myth. What is masculine can only fall inside from above, in the form of golden rain. The lower level of the Pavilion is a “cave womb,” keeping tranquility, knowledge, and memory intact.’