Dmitry Plotkin. Death of God 16+ Automatic translate

Gallery "C", 1st floor

The Black Lives Matter movement has acquired a black Jesus and biblical iconography on the verge of mysticism, cultural studies and buffoonery: the odious Floydian Cycle by Dmitry Plotkin about new objects of worship, which is a sharp and critical reflection on the social context of our time, will be exhibited at Artmuse.

Plotkin’s interpretation of Floyd’s worship is becoming the main spiritual phenomenon of our era. Moreover, the notorious creator of the cycle of works "The Gospel of the Robber" can not be accused either of striving to expose, without looking, modern spiritual phenomena "head-on", or of abuse of the role of an uncomplicated satirist. An unbiased viewer will not feel a shadow of the author’s wish to jump on the train of the elusive hype around the sensational events. A colossal culturological subtext and many references to religious subjects come to the fore, and if you set yourself the goal of finding the accused, then they will not be specific characters, but the very method of thinking and the specifics of the modern world, its new language of political correctness and the excesses of translation.

The unconditional erudite, curator and art critic Mikhail Sidlin provided a series of works with his following comments, here is a short cut: “The era of the BLM movement gave birth to a new ritual. For example, the custom of kissing the boots of the oppressed or kneeling down before them. In the political culture of the United States, these rituals come from the ecclesiastical and aristocratic traditions. Dmitry Plotkin takes the BLM ceremony as a basis and returns it to its religious meaning.

… In his new cycle, the artist combines buffoonery and mysticism, two primordial roots that do not often grow together. Buffoonery is the obvious source and foundation of folk music, dance, theater. It is more difficult with painting - a different class of people has been engaged in it since ancient times - scholarly iconographers, their pranksters-guselniks are no match…. if we comprehend buffoonery as an old-fashioned, pre-Petrine bohemia, then much in the history of Russian thought will fall into place. Yernichestvo, dressing up, farce, mockery are not random phenomena, but one of the leitmotifs of the native culture, coming almost from Vladimir Krasno Solnyshko. Between the dancer and idle talkers at the prince’s court and Daniil Kharms, and Dmitry Prigov, and Dmitry Plotkin, a thin thread stretches for centuries. "