Roee Rosen, Pasta alla Putinesca - "Vladimir’s Night" e "Astrological Paranoia”

 

Preview 18 November 2014 h. 6.30 pm
19 November 2014 – 17 January 2015

 

Galleria Riccardo Crespi is proud to present Roee Rosen's second solo exhibition in Italy. The Israeli-American artist masters painting, writing, video and film making, and his intricate projects often combine all these media in highly original ways. Rosen's art offers provocative articulations of the twilight zones of identity through the channelling of alternative artistic personae or by compelling the spectator to inhabit the body of a morally problematic historic figure. The most recent of Rosen's fictive and politically provocative figures, Maxim Komar-Myskin, will be at the centre of this exhibition: a paranoiac ex-Soviet artist who tried to do battle with Vladimir Putin by having him tortured and killed by animated objects.

A special event with the artist, Vladimir's Night - On Dirty Politics and Erotic Animism, in collaboration with PAC Milano - within the exhibition GLITCH. Interferenze tra arte e cinema in Italia, ongoing at the Pavilion in Milan - will combine a lecture-performance exposing the exhibition, a special screening, and a book launch of the  artist’s last book, Vladimir's Night (Sternberg Press, 2014), in collaboration with Bookcity Milano. The film The Buried Alive Videos, premiered at the Rome International Film Festival 2013, where it was awarded with a special mention, will be projected on this occasion.

The show at the gallery, as well as the book and the film focus on Maxim Komar-Myshkin, a young artist and writer who immigrated from Moscow to Tel Aviv in 2004. There, he founded The Buried Alive, a collective of ex-Soviet immigrants that defined themselves as Russian cultural zombies. Maxim Komar-Myshkin supposedly committed suicide in 2011.

The exhibition will center on two main projects. The album Vladimir's Night, Komar-Myshkin's secretly produced magnum opus, is made up of 39 gouaches and verse. It is a hybrid of a children book, a gruesome fable, a political assault on Vladimir Putin and a reflection of a paranoiac mindset, the album sees a host animated objects who join Vladimir in bed, and eventually torture and assassinate him. Realized in the album format employed by Moscow's unofficial artists of the 1970s (Kabakov and Pivovarov), the album is supplemented by the annotations of yet another fictive persona, the literary scholar Rosa Chabanova.

The exhibition also includes a selection of 10 works on paper from the series Astrological Paranoia, which Komar-Myshkin supposedly produced between 2006-2008. In these works, paranoia assumes a comically direct form, as star constellations in the sky create both images (for example, a new emblem for Russia with a double headed donkey instead of a double headed eagle), and sentences. One of those features the sentence that gives the exhibition its name – “Pasta alla Putinesca” – the work's title is Dinner at Silvio's

Vladimir's Night has been shown extensively worldwide – among other places at the Taipei Biennial and the exhibition Animism in Vienna and Berlin. The 10 Astrological Paranoia paintings are shown in this show for the first time.