Back ->
1989 - paper, paints, fabric, wood, bronze

Located in a room in the fattoria, six gray curtains, like the ones used in the Orthodox Mass, are drawn back to reveal five "icons". Made from PRAVDA newspaper pages glued to wooden panels, each one of the signs hung below the icons represents one of the five stages of Man according to Nietzsche (beast, infant, man, hero, sage). Each niche also houses wooden shelves, on which identical small bronze figures, half man and half chicken, reveal Prigov's absurdist theory: each cries a red tear (a reminder of Christ found on Orthodox iconography) and holds a polished bronze egg between its chicken feet.

Dimitri Prigov

Poet and visual artist Dimitri Prigov was born in 1940 in Moscow where he died in 2007. In the 1970s he became an important exponent of the Conceptual Art movement in Moscow and, at the same time, he continued to write poetry (he wrote a total of 28,000 compositions). He held numerous solo and group exhibitions in Russia and abroad before (with his son Andrei and daughter-in-law Natalia Mali) the creative unit known first as the Prigov Family Group and later as PMP.
In 1994 he received the first prize at the V Biennial of Art on Paper in Deuren; the following year the first retrospective documenting his works from 1975-1995 travelled from the Kunstmuseum Meulenheim an der Ruhr to the Ludwig Museum, Budapest and the Musée d'art moderne, St. Etienne (1995).
In 2008 in Moscow a commemorative show was held at the Museum for Contemporary Art and a series of events in his honour constituted the first edition of the Dimitri Prigov Festival (promoted by the Foundation of the same name).

Other exhibitions include group shows held at  the Guelman Gallery, Moscow: The Computer in the Russian Family (1994); Stalinism (1994); Will and Imagination as Peace and Will (1995); Lifeline (1996); the installation for Russian Tibet at the Wewerka-Pavillion, Munster (1996); Ways of Resolving Infinitely Small Increments, XL Gallery, Moscow (1996); Mysterious Witnesses of the Mystery, Galerie Krings-Ernst, Cologne (1997); Flickering Darkness, a solo show at IFA Galerie, Berlin (1998-1999); The Number of Russian Literature, Obscuri Liri Gallery, Moscow (1999); My Wagner, performance-artwork, Dom Cultural Center, Moscow (2000); Malevich's Vagina, installation, Museum of Russia, Saint Petersburg (2000); General Number, Art Colonia, Valencia Biennial (2000); Phantom Installations, Dom Cultural Center, Moscow (2000); A Vision of Caspar David Friedrich, installation, Tretyakov National Gallery, Moscow (2004).

By continuing to use this website, you accept the use of cookies.OK   MORE INFORMATION