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Utopijski svet Pavela Peperštejna
The utopian world of Pavel Pepperstein
nema
Sažetak
U radu je predstavljena zanimljiva pojava na savremenoj ruskoj umetničkoj sceni - Pavela Peperštejna, umetnika koji u svojim senzitivnim crtežima popularne znakove integriše s maštovitim tekstom i na taj način podriva uobičajenu upotrebu simbola globalne kulture. Još od ciklusa Političke halucinacije Peperštejn se svesno poigrava 'velikim pričama', nasleđenim iz istorijske, ideološke, kulturne i umetničke tradicije, kroz parodiju i uz pomoć ironije, smeštajući njihove fragmente u utopijske prostore i daleko buduće vreme, sve do jednog, od novijih projekata - Grad Rusija, u kome je čak pokušao da spoji utopiju sa svakidašnjicom. Peperštejnov rad, na određen način, predstavlja kontinuitet umetničkih dešavanja u Moskvi sedamdesetih godina, koje je Grojs nazvao 'romantični konceptualizam', preko devedesetih i aktivnosti grupe Medicinska hermenautika (Peperštejn je jedan od osnivača), čiji su parodični i gotovo dadaistički umetnički gestovi definisani kao 'infantilni konceptualizam'.
Abstract
The paper presents an interesting figure on the contemporary Russian art scene - Pavel Pepperstein, the artist who, in his sensitive drawings, integrates popular signs with an imaginative text thus subverting the usual deployment of symbols of global culture. Ever since the cycle Political Hallucinations, Pepperstein has been playing consciously with 'big stories', inherited from historical, ideological, cultural and artistic tradition, through parody and with the help of irony, setting their fragments into utopian spaces and distant future, including one of his more recent projects - Russian City, in which he even tried to blend utopia with everydayness. Pepperstein's work, in a way, presents a continuity of artistic happenings in Moscow in the 70s, which Grois has named 'romantic conceptualism', through the 90s and the Medical Hermeneutics group's activities (Pepperstein was one of the founding members), whose parodic and almost Dadaistic artistic gestures have been defined as 'infantile conceptualism'.
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