ARTISTS
Dreaming Without Freud
Erarta Museum's Dreaming Without Freud exhibition is an artistic rather than a psychoanalytic endeavour. Dreams interest us as a visual phenomenon and not as a criterion for establishing diagnosis or consulting a certified therapist.
The exhibition can be tentatively divided into several areas by theme and mood. At the entrance the viewer is greeted by Natalia Rumyantseva's spectacular dreams of flying scuba divers, Nadezhda Anfalova's romanticism, and the joyfully ironic works by Dmitry Loktionov. A transition is then made into the monochrome painting zone 鈥� the realm of mournful unconcern, anxiety, homelessness, threat and chthonic horror evident in the artworks by Alla Davydova, Andrey Novikov, and Andrey Rudyev.
The second room opens with the moving, associative Dream. This painting, created by the Novosibirsk-based artist Vladimir Fateyev, might as well serve as the visual emblem of the entire exhibition. Part of the space, devoted to the emptiness, silence and numbness of a non-narrative dream, is dominated by Viktor Remishevsky's installation and the quiet art objects by Inna Grinchel.
The rest of the room is invaded by the cheerful frenzy of themes and the unconstrained picturesque manner of Alexander Kosenkov, as well as the perfectionism of Ivan Korshunov and Damir Krivenko. Korshunov's utterly crazy visionary work entitled Rain, simultaneously featuring falling comets, doomsday and kittens, neatly wraps the epic and the kitsch, humour and eschatology into a single postmodernist package. Damir Krivenko's perfectionist chimeras present the visions of posthuman beings 鈥� a gamer and a hacker, the heroes and driving forces of the brand new state of online daydreaming. This new state apparently blurs the borders of reality, confusing and interchanging the sleep-wake (and dream) patterns.
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Erarta Museum's Dreaming Without Freud exhibition is an artistic rather than a psychoanalytic endeavour. Dreams interest us as a visual phenomenon and not as a criterion for establishing diagnosis or consulting a certified therapist.
The exhibition can be tentatively divided into several areas by theme and mood. At the entrance the viewer is greeted by Natalia Rumyantseva's spectacular dreams of flying scuba divers, Nadezhda Anfalova's romanticism, and the joyfully ironic works by Dmitry Loktionov. A transition is then made into the monochrome painting zone 鈥� the realm of mournful unconcern, anxiety, homelessness, threat and chthonic horror evident in the artworks by Alla Davydova, Andrey Novikov, and Andrey Rudyev.
The second room opens with the moving, associative Dream. This painting, created by the Novosibirsk-based artist Vladimir Fateyev, might as well serve as the visual emblem of the entire exhibition. Part of the space, devoted to the emptiness, silence and numbness of a non-narrative dream, is dominated by Viktor Remishevsky's installation and the quiet art objects by Inna Grinchel.
The rest of the room is invaded by the cheerful frenzy of themes and the unconstrained picturesque manner of Alexander Kosenkov, as well as the perfectionism of Ivan Korshunov and Damir Krivenko. Korshunov's utterly crazy visionary work entitled Rain, simultaneously featuring falling comets, doomsday and kittens, neatly wraps the epic and the kitsch, humour and eschatology into a single postmodernist package. Damir Krivenko's perfectionist chimeras present the visions of posthuman beings 鈥� a gamer and a hacker, the heroes and driving forces of the brand new state of online daydreaming. This new state apparently blurs the borders of reality, confusing and interchanging the sleep-wake (and dream) patterns.
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