Exhibition "Wings of Eurasia"

The exhibition “Wings of Eurasia” - one of the final ones in the program of the 6th Moscow Biennale of Contemporary Art - represents both Russian artists of the first row and beginning authors.

The idea of the project is in the material embodiment of intellectual “inspiration”, as a special gift that turns an artist into a medium, an intermediary between worlds.

The paradoxical quality of the Eurasian culture lies in its dualism of the metaphysical and material, in the eternal contradiction of two principles that are inextricably linked. In the monumental canvas of Yegor Koshelev, the double-headed eagle interacts with the emblem of the RSFSR, turning into the grandiose installation the space of the front staircase of the former Soviet department. This image creates a pathetic mood, recalling the special unifying power of the bird’s prostrate wings, which has become only a symbol of Russia, but also of many countries of the continent: starting from the Hittite kingdom, Sassanid Iran, Byzantium, feudal states of the Spanish and Austrian Habsburgs and to the whole a number of modern European powers.

The ideas of the philosophy of cosmism, the utopian dream of flight and the realization of this dream are in the work of Vladimir Glynin “Flight. Gagarin. "

Rapid take-off, dream flight and grounding, confined to the "Oblomov sofa" - in the installation of the "Mig" by Sergei Shekhovtsev. A heraldic eagle assembled from video cameras, continuously tracking, omniscient and omnipresent, the “prostrated wings” above the whole world - in another sculpture by Sergey Shekhovtsev using unusual sculpting material - polystyrene foam, polyurethane and foam rubber.

The emblem of the Eurasian idea of flight and inspiration, inevitability and transience was the plane of the “Blind Chronos” by Boris Orlov. Aircraft is a favorite motif in the work of Boris Orlov, symbolizing the aircraft, often turning into a two-headed eagle.

Many artists of the project reflect in their works on the paradoxes of the cultural, economic and political landscapes of the continent.

So, “Syndrome of paradoxical illusions: The Great Silk Road” - the grandiose polyptych of Konstantin Khudyakov and Natalya Rostova, made in a unique author’s technique, discusses contradictions and unity, earthly and heavenly, East and West.

Oleg and Olga Tatarintsevs discover in their installation “A Place That Is Not There” an amazing landscape consisting of shining, “eternal” in its value, gold and short-lived raw brick mixed with clay and straw.

Irina Lobacheva and Anastasia Pavlovskaya are the only debutants of the Biennale who found themselves in the company of venerable artists. Pupils of Oleg Tatarintsev continue the development of the idea expressed by the mentor. Oil barrels and the metaphysical light of mirrors framing them - “matter”, which gives energy to the flight - is in contradiction with the worldviews that unite East and West Eurasia (installation “East-West”).