S. Elekhin. The outer contour of your installation practice has developed as a specific alliance of principles of seriality, demonstrative cyclization of speech through an autocat, synchronization of exhibitions with a calendar rhythm and maximum thematic openness. Meanwhile, one can observe an aesthetic reduction: the sign gets rid of the excesses of the semantic load, turning into a stylistic figure. At the same time, the sign is not completely empty, which was a despotic introduction of a new meaning, but undergoes a plastic correction. Therefore, the text of your installations is mobile and alienated ...
V. Aizenberg. The basis of my strategy is the preservation of the original nature of art. I do not want to break the traditions, I would prefer to leave it as it is. Do not intrude, but be close, do not deform the sign, but add new aspects of meaning. Indeed, I aspire to the constant development of my subjects, their advancement in various directions. I'm not attached to any ideology, in this sense "subjective," but I'm not trying to assert anything about art or about the world. I strive to be on the verge of order and chaos - this is the optimal situation. In it there is a mystery of becoming. Overall, you're right, I'm not a subjectist, but a formalist and like a long-playing record.
S. Е. The strategy of similar work with language resembles the method of impressionism: the world of ideas, concepts, etc. is recognized as a living environment, as a kind of nature. The impressionistic landscape is the fixation of its everyday life. You can say that your practice belongs to the "landscape" and "genre" of paradigm simultaniously. The division of poetics is noticeable in your installations, the saturation of the "plain" space with accessories of everyday life ...
V.А. It became apparent how much everything I do comes from the landscape at the exhibition at REGINA. I wrote from nature seven years ago. Hence the desire for light and air environment and the choice of materials - glass, plastic, cotton wool, comes from there ... Everything should be connected with the reflex.
S.Е. Landscape in the installation transcription?
V.А. Yes, like the paintings by Archimboldo from watermelons and melons. The landscape is more like an environment than an installation for me, rather a natural ready-made. I only regulate natural streams.
S.Е. The installation at “REGINA”, which we are discussing after the fact, was done together with Irina Danilova. In retrospect, you can clearly see the contextual flexibility of your language, its ability to deconstruct the very idea of conflict. The double object by Irina Danilova, originally self-centered and hermetic, turned out to be a naturally necessary point of rotation of the entire syntactic figure, the "metaphysical" center of her "sensualistic" periphery.
V.А. I included Irina's objects in a general context only to the extent that she herself did it. It was an absolutely equal partnership even on a subconscious level. But all the same it was more a general exhibition of different objects rather than a single installation. Her compact, self-contained works in contrast to mine, which seem to blur. At the same time there was a moment of internal harmonization on a super-semiotic level, this is true. Both sand and sintepone cotton wool are the end products of nature and culture …
S.Е. And the very last thing. If you consider your practice in the horizon of individual mythology, I would suggest an image of the arrangement of a certain resort area where you collect the haggard deconstruction, psycho-analysis of the languages of art, giving them strength in a free pastoral-erotic game. “Neurosis” of external spaces, of course, remains, but at the expense of the life of the plastic body. Is it true that the anthological integrity and ineradicability of the artistic world, that you are plowing in the most diverse direction,s is more important to you than the problematic of sabotage, appropriation or withdrawal of art beyond the brink of extinction? Perhaps the "Renaissance" of your position is a reaction to this need to live "after death"?
V.А. It is hard to say. I used to think that art is more important than life, now I feel this is an exactly opposite way. I do not want to enter into polemics with what is happening in Moscow's artistic life, but I consider myself a part of this situation. Art for me is primarily a part of nature, but I am correcting this sunset "landscape" in my art, always having the possibility of retreat. I want to work continuously. This perspective is endless and consolingly hopeless for the artist ...