In December, Gallery Regina will open a new dual exhibition- Greht Steiman, collector and performer, will present the materializing of images which are depicted on Vlad Kulkyov’s full-scale canvases.
Scylla vs Charybdis- the union in the title of the exhibition not only indicates a choice, but possibly also the victory of one side. However, the choice between Scylla’s or Charybdis’ victory turns into an oxymoron, into absolute stupidity. In the battle between the memory’s Monster, which devours the core of things without discerning them, and the Vortex of consciousness, which breaks up and transforms the constructions of the Subject-apparatus, where should the Witness take place? The artist replies: not dark waters and not a beast, but the gap between them, the crack of existence tightens and the meaning of this battle- transubstantiation with chaos- vast and timeless drift on the raft of assembly.
“… suddenly the desired logs from Charybdis came swimming out, I jumped down, legs and arms spread out, and fell down with force on the debris carried by the sea.”
Scylla vs Charybdis
Model of a reactor of the unrevealed
Limbic exhibition of in an adventurous style (spirit). The implantation of the phantom pirate in the world of images.
“Indescribable ancient monsters or phenomenon… I deemed these idioms for the acknowledgement of this research to be relevant, as the ongoing conversation of the absence of the growling continues to captivate. And it’s nice to be able to speak from the first person, in connection with the epic provenance of the formula itself. By asking the question, how do the symbolic and the mystical join the abstract, and become it; how the abstract is able to become anything else but chaos of existence? These developments and tendencies enter the membranes of education with conspiracies, thin shades of searching… In this case the dual formula is the essence of the reactor. Scylla is the focus of symbolic and disparate knowledge about the being, about the emotions. Charybdis is the wrought-up and enigmatic substratum. It’s the centers of magnetism, of attraction, but not the necessity of choice. Magnets, rotating and the subject’s viewer’s balls, and the totality of what is happening with hope of returning to the sacral dimension when in contact with a piece of art. Any ‘sticking’ is here not appropriate as in any case fate blows from all directions, but in this synthetic whirlwind is possible a different result, a different clot, a body shredded to sense. And the ghost of Poe to go with it".
Vlad Kulkov
Volterra, 2017