And time will destroy the last remains.
Anderson, Mark M. “The Edge of Darkness: On W.G. Sebald”
// October Vol.106 (Autumn 2003). Pp.102-121.
Fragment Gallery is proud to present Ilya Fedotov-Fedorov’s new solo show Preservation Instinct that describes a world on the brink of disaster.
The main motif of Fedotov-Fedorov’s art is the use of natural scientific knowledge. The artist adopts its main characteristics: the depiction of biological processes and forms from the cell to the habitat, linguistic features and ways of presenting knowledge (formulas, drawings, and so on), methodological principles and types of representation (entomological collections, card catalogues). With their help, he reveals the subjective nature of the acquisition of knowledge and its dependence on individual experience. He shows that we perceive and describe the surrounding world in accordance with the language that we use.
To develop this theme, Fedotov-Fedorov’s exhibition Preservation Instinct makes use of archival elements and the museum format. Several exhibition rooms are chock-full of things: objects that are neither human nor natural in form but resemble exoskeletons of extinct beings, models, samples, test tubes and laboratory flasks with unknown substances, as well as sketches, drawings, maps, and blueprints that seem, at first, to organize the “collection” and put it in order. These objects are strange and mysterious, they seem to suggest the appearance of a “post-human” world in which differences between organic nature and non-organic matter have been effaced and animals and plant species have mutated, adapted or changed so much that they have become unrecognizable. These artifacts and relics may well be the remains of the diversity of the world, bringing life to a barren apocalyptic landscape.
Fedotov-Fedorov strives to pose the question of the utility of preserving and describing these things literally a second before the collapse takes place. Perhaps, in a hostile environment at a moment of catastrophic danger, they seem like incredibly fragile and vulnerable individual lives, even if this is not actually the case? They are fragments and parts of a person’s worldview. This is why the artist tries so hard to save it by creating an archival space resembling a time capsule and filling it with everything that he can find.
Thus the archive gives rise to a distorted order and a disruption of the objective worldview, whose assemblage point is the individual perception of the surrounding world. The only thing that can reconstruct the archival space is the structure of thinking and the language codes that, among the mysterious indicators of future scenarios, make it possible to recreate the world as seen by a person living out his last days.
Ilya Fedotov-Fedorov (1988, Moscow) is a Russian artist. He studied at the “Free Workshops” Contemporary Art School of the Moscow Museum of Modern Art (2013-2014) and the Institute of Contemporary Art in Moscow (2014-2015). Fedotov-Fedorov’s portfolio includes a large number of solo and group exhibitions in museums and galleries in Russia and Europe, as well as participation in the Main Project of the 7th Moscow International Biennale of Contemporary Art (curator: Yuko Hasegawa). His works are found in museums and private collections.
Alexey Maslyaev (1985, Moscow Region) is a curator and cultural historian. He is Head of the Research and Teaching Methodology Sector of the Education Department of the Moscow Museum of Modern Art (MMOMA) and curator of the non-commercial section of the Cosmoscow International Contemporary Art Fair (Moscow). He has been nominated for the Innovation State Prize in Contemporary Art in the nominations “Curator Project” (for his exhibition No Water Tomorrow) and “Regional Project” (for his exhibition Story Demands To Be Continued) and for the Sergey Kuryokhin Contemporary Art Award in the nomination “Best Curator Project” (for his exhibition No Water Tomorrow).