Special projects  | 
Assembling/Grading

Assembling/Grading is a report on the results of a collaboration in meticulous visualization of obtrusive delirium.

Valeria Nibiru. From the series Fairy Tales. 2012. Ink, watercolours on paper. 17 × 24 cm. Courtesy of the artist

Assembling/Grading is a report on the results of a collaboration in meticulous visualization of obtrusive delirium. Sergey Anufriev in his patternism manifest quotes Lacan’s “the unconscious is structured like language”. The creation of such a language of unconscious, visual narrative, in which signifier equals signified, and meaning is imparted with the use of accidental elements, and their reappearance in an act of fortune-telling for sender and recipient becomes the nearest aim of patternism. But the information acquired by fortune-telling necessitates interpretation. Again, we find ourselves in a world where deceit is possible, a false track—in the gap between the real and symbolic, inducing anxiety and doubt. The utopia of patternism is to minimize fortune-telling.

Lacan says that division, or splitting between desire and pleasure, is an invention of a neurotic, a phantasm. The utopia of analysis is to minimize the phantasm. Roughly speaking, patternism is analysis—a curiosity, which has attention to certain objects, elements of a pattern, as its consequence. If we together are heedful of something—it already conveys a message. Its content, the distortion of its meaning, is of no importance by this time. Only the ability to transmit and receive messages, in other words attentiveness, a gesture, signifies something. This is how the cinema works—the famous Kuleshov effect renders only the assembling of shots important, not their content. The assembling acts as a mark, providing us with a reference from one splice to another as an Ariadne’s thread, an almost uninterrupted flow of information, which seems devoid of any gap.

The unconscious is the language of patternism. Attention to its organizational principles, conventionally called assembling and grading, is already activating the language mechanisms of patternism. The elements for translation are marked out, but either the interpretation is not made or its results are avoided. The anxiety, which is restrained and at the same time nurtured in such a manner, and which borders upon a phantasm of a neurotic, but doesn’t stoop to his level — is the Love itself, the source, the foundation and the purpose of our art.

Mitya Nesterov, Moscow Institute of Cosmic Anomalities

Organized by
Moscow Institute of Cosmic Anomalities

Artists
Marja Dmitrieva
Mitya Nesterov
Valeria Nibiru
Curators
Mitya Nesterov
Address
Galerie Iragui
July 2, 2014

On June 24 and 25, 4th Moscow International Biennale for Young Art began. 3069 applications by artists under 35 from 84 countries of the world were submitted for the competition, which lasted from November 2013 through March 2014. David Elliott, Artistic Director of the Biennale, proposed the motto A Time for Dreams as the general theme, and curated the main Biennale project, which presented works by 83 artists from 32 countries of the world.

June 17, 2014

The educational program of the Biennale, curated by Antonio Geusa and coordinated by Ekaterina Razdumina, is entitled Wise Advice, and aims at helping young artists to find answers to various questions that concern their creative growth and career development.