MARYNA MILIUSHCHANKA

the works

3stepsofinaccessibility

chromophobia

the warrant on space

the table

a tribute to Brodsky

everyone please to the stage!

the models

the film

3000 yards per hour

A one-day exhibition.

Semolina, childhood memories and misunderstandings.

The gallery floor with a false table-top made of painted cardboard was

covered with semolina circles. On the table-top there was a notebook

with cyrillic writings and plaited hair on it, a cup with a slice of bread

and some semolina. One could hear a subtle breathing sound, coming

from under the table. Every object brings some moment of inaccessibility.

But there are 3 main steps of it: the semolina circles, which visitors can

destroy, reaching the table-top, the table-top itself, being false, and the

meaning of the details, as the writing, the semolina, the hair and the cup

with bread.

The semolina for me symbolises childhood and the cup with bread and

the hair-the memories of the passed away.

The sound of breathing made the impression the objects will fly away,

just like memories.

3stepsofinaccessibility

chromophobia

the warrant on space

Water, hair, water , hair.

I have collected hair of unknown people from a hair salon

and put them into plastic bags filled with water. About 200

bags were placed on the wooden table. The work is about

anonymity, unity and individuality, as well as the memories

and their conservation.

Hair as memento mori, water as the information source,

plastic bags as the way to conserve them.

The work had an unexpected, but not an unwished

consequence: the bags started to leak, the wooden brick

floor was rising slowly day after day, creating a hill. The

table has been removed. The hill remained, with it remained

the idea of the installation, transformed and living. It was a

great conclusion to the whole piece. I went through every

step of the installation: from collecting the hair, putting it

into the bags (it was very intimate, personal, meditative),

to removing the table (rethinking, suffering), and rebuilding

the floor with my bare hands after the exhibition (suffering,

purification). I am very glad the work lived and acted

its own way, and made me come through some deep process

of thinking and living with it.

the table

Berlin, suitcases and Brodsky.

The challenge was to make something for an installation

space, I've seen only on pictures. The other problem was

the unknown number of participants. So I have created a

space in the space. Two vintage suitcases with a mirror

were placed creating a closed but endless room. The inside

was a dialogue of objects, that interpret my favourite Joseph

Brodsky's poem quotes. His poems, being full of new and

unexpected meanings, always inspire me for my installations.

So I have built my poem of objects as a tribute to his poems

of words.

a tribute to Brodsky

The work cooperation with the City Theatre Kassel.

The way of rethinking theatrical life, symbols on the

example of Charles Gounod's opera "Faust".

The idea was to show something usually unnoticed in

the theatre. The opposite part of the stage: the public,

their feet. The feet in the dark as the expression of public

reaction to what is going on the stage.

10 different feet images were cut of cardboard, covered

with black paper and pressed, creating relief surface. The

unnoticed, the unimportant became visible, became staged.

The public was on the stage, remaining re public.

everyone please to the stage!

the models

I made a room model for a film "5 Grad Milorad Pavich". It is a bookworld

on the edge of reality and fiction, a mix of some familiar objects and fantasy,

like walls, made entirely of booksand paper.

Due to some changes in the screenplay the project was realised in a more

realistic manner.

the film

3000 yards per hour

1 hour, red thread and me.

Large, clean and empty space and one hour for an installation. I was walking through the room

with a hank of red thread, attaching it to the walls, ceilings and doors. The thread was the

track of my way. After about 30 minutes of constant movement I started to experience some

difficulty in moving through the thread net. My movements became rather strange. The visitors

didn't notice the thin thread first, so for them I was like a strange dancer. Only when they

tried to go through the room they realised the space was divided by a slightly visible thread

net. So in order to get to the opposite wall they had to make the same strange movements as me.

It was a philosophy of moving, of overcoming the consequences of my movement and experiencing

yourself in a time-space unity.

MARYNA MILIUSHCHANKA2013