After marble

Graduates of the School Rodchenko Lilia Lilia Li-Mi-Yang and Katerina Sadovsky implemented a project on the violence of man within the personal world on Lake Baikal.

From the authors

The project “after marble” relies on the experience of residence in Lake Baikal in the fall of 2017. Therefore, the name can be read in the context of personal history, that is, “after marble”-this is after the creation of the website “marble” directly in the gaps and marble chips of the developed marble deposit in Lake Baikal. However, to a greater extent, the project reacts to the very reality of an abandoned quarry: the name “after marble” expresses the perception of this place as a place of injury and reading anthropogenic intervention in nature through bodily violence code. Human life in these places sprouted from nature for centuries and organically fused with the life of the taiga, hills and lakes. The marble deposit, which goes to the surface and easily mined, has become a temptation for technogenic invasion. The local catastrophe of open mining of marble was stopped a step from developing into a catastrophe the loss of the main world tank of fresh water.

We saw an abandoned quarry as a monument to anthropogenic violence. The violence of any nature is always experienced and seems bodily, causes a bodily response. We introduced our work into nature, without raping it and without changing its forms, and showed the naked marble flesh of the Earth as a bleeding wound, endowing the stones with the properties of a living body, placing polymer films with an artificial image of wounds on split marble blocks, repeating the real production breaks. This project was located in an expanded field described by Rosalind Crouss, and was, if you use its term, Marked form sites , "marking of the place." Another obvious reference is Otto's abstractions with an expressive textured surface that resembled a trauma body and referred to a trauma to the world war.

Artists want to recreate the project “after marble” in the gallery space, as if to take part of nature into the laboratory. This transfer in the context of an artificial and sterile place in which everything is created by a person or machine creates new measurements of meanings: silicone sculptures resemble artificially grown organs or cells, a person becomes an omnipotent creator of the world in which everything can be produced - from nature and air to thoughts. Fragments of the female body in the video echo with wounds on the stones, causing tension. We are no longer present in reality, we only observe images, but we experience them through our own experience by connecting bodily memory.