We are facing semblant, deceitful
evidence. On the face of it, this work is an incarnation of
a concept beyond the plot, realization of a purely technical
task: reproduction of a bidirectional scene in three dimensions.
But if it were only that, the work would
be a question without an answer, something that is contrary
However, the sight reveals that there is
something more to it. And even if only that, the question
remains: how is this possible? How can one understand, how
can one see any coherence between two absolutely opposite
tasks? For we are speaking of extracting characters out of
the plastic system, where they exist only due to maintenance
of necessary connections with everything around them.
Thus, the artist begins on an audacious project
of breaking off the unbreakable.
Thus, monumental character of a work is mainly
determined not by its concrete dimensions, but by its paradoxical
character: it is simultaneously this thing and not quite this
thing. So, a work as a gesture is at the same time the impossibility
of the gesture. It is this contradiction that makes the basis
for incorrigible frontality of the work, it is pointless to
go round it. Going round this work, you get convinced every
time of impossibility for this work to become what it is.
Moscow, 26 February 2003