03/10 - 31/10

Beste Erener, Oleg Frolov, Pavel Grishin, Patrick K.-H. (with the help of Oleg Makarov and A U Blur), Iana Chugunova, Christina Krämer, Lena Violetta Leitner, Elena Minaeva, Annika Sophie Müller, Ksenia Plisova, Sergey Prokofiev, Noah Rieser, Julia Tazreiter, Anna Watzinger, Hui Ye


The Institute of Contemporary Art, Moscow and the Department of Digital Art in the University of Applied Arts Vienna have agreed to start collaborating in 2012 and did maintain to do so with increa-
sing intensity ever since.

“The possibility of using concepts, projects, ideas, and political messages in art was opened by the philosophers of the ‚linguistic turn‘ precisely because they asserted the material character of thinking itself.” Boris Groys, In: Moscow Symposium: Conceptualism Revisited, e-flux journal, 2011, p.10.

The exhibition titled Contemporaries of the near future is the first public offspring of this ongoing process, with a number of joint works from students of both institutions, which have been development and brought to full fruition in the course of the last two months. One of the main challenges in realizing this exhibition was to initiate and sustain a meaningful and productive exchange among diverse groups of students across the geographical divide between Moscow and Vienna. Given the premise of developing its content and corresponding format collectively and without relying on predetermined curatorial concepts or the definition of a grand theme, the process of developing this exhibition, depended on the re-productive input from each the participants as well as catering to idea of acting and producing as a group on the whole. Embarking on the history of Ilya Kabakov‘s former studio, now the premises of the Institute of Contemporary Art in Moscow, the project aims at creating an exemplary model for collaborative artistic practices across the boundaries of compartmentalized environments of art education and their accompanying claims for discursive hegemony. The power of narratives, the peculiar mingling of facts and fiction, the playful use of language, the communication and transfiguration of experiences, the expression of an ethical or political stance, and – for the purpose of computation - the use of code are the distinctive features of the final outcome. The sense of acting as a group progressively emerged though conceptual convergence and structural consistencies and has led to developing new relationships among various types of media, including things, text, photography, but also various types of digital media, performance, and video-sproliferating other spatio-temporal politics, other time-scales, other understandings of matter, other forms of life.

                                                                                                                                              Wolfgang Fiel