{"id":3711,"name":"","email":"","language_id":1,"permalink":"ekatarina-muromtseva","deleted":false,"legal_status_id":null,"url_1":"https://www.muromtseva.art/","twitter":null,"category_id":47,"date_of_birth":"1990-01-01T00:00:00.000+01:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"VAC","publishing_process_id":1,"can_log_in":false,"firstname":"Ekaterina (Katya)","lastname":"Muromtseva","annotation":"","url_2":"","url_3":"","cached_name":"Ekaterina (Katya) Muromtseva","date_of_death":null,"cached_name_asc":"Muromtseva, Ekaterina (Katya)","stream_count_app":30,"gender":"female","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/511/large/Ekaterina_Muromtseva_portrait.jpg?1572962425","poster_credits":null,"media_count":1,"items_count":3,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003e\u003cstrong\u003eIndividual and collective memory in Ekaterina Muromtseva\u0026rsquo;s poetically conceptual projects serves as the subject of marking and obscuring, of the scale and proportion game, interpenetration and interference. The artist combines documentation and artistic imagination: unreliable memories bother the drowsing past and allow multiple paradoxes to spring. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eThe video \u003cem\u003eIn this Country\u003c/em\u003e\u0026nbsp;(2017) is organized like a shadow show, an animated dream driftage by the means of which Muromtseva highlights and deconstructs the elements of historical memory. The narrative is based on present-day school compositions written by sixth-eighth-graders who were asked to discuss the life in the USSR. The innocent and full of exaggerating statements about the reality of the Soviet Union lied over recognizable signs of the time, familiar archetypes and easy to read symbols bring to the forefront the frame of post-Soviet mythology with incrustation of politics of memory pursued over the past decades, untreated traumas and domestic anecdotalism. The layering of frail memories is represented through human bodies \u0026ndash; depiction of their evanescent shadows as well as complicated and ephemeral dynamics of their interaction.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn the broad-scale aquarelles of the series \u003cem\u003eMore then Us\u003c/em\u003e\u0026nbsp;(2017) the artist emphasizes the entwinement of translucid figures, the creation of the integrated spotted ornament, the light-and-dark rhythm of the collective body. Faceless characters merge into each other, interfuse with the background and take the form of geometric figures, demonstrating plurality of powers responsible for such assemblages (presentative, affective, institutional).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn the painted illuminated installation \u003cem\u003eQuarter to twelve\u003c/em\u003e\u0026nbsp;(2018) the cortege of overlap protesters, Special Police Force officers, machines and animals constantly rotate, moving in accord with a kind of social rhythm, \u0026ldquo;the music of revolution\u0026rdquo;, embodied in meditative whispering of Alexandr Blok\u0026rsquo;s poem \u003cem\u003eThe Twelve\u003c/em\u003e. The figures inserted into historical, contemporary and futuristic narratives move along the walls like in pre-cinema cycloramas, alluding, on the one hand, to cyclic reproduction of patterns of violence and suppression, on the other hand, to unbroken and eternally renewable hope for future changes.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003e\u003cstrong\u003eHet individuele en collectieve geheugen in Ekaterina Muromtseva\u0026#39;s po\u0026euml;tisch conceptuele projecten dient als onderwerp van markering en verduistering, van het spel van schaal en verhoudingen, interpenetratie en interferentie. De kunstenaar combineert documentatie en artistieke verbeeldingskracht: onbetrouwbare herinneringen hinderen het sluimerende verleden en laten meerdere paradoxen ontstaan.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eDe video \u003cem\u003eIn this Country\u003c/em\u003e (2017) is georganiseerd als een schaduwshow, een geanimeerde droomafwijking waarmee Muromtseva de elementen van het historische geheugen belicht en deconstrueert. Het verhaal is gebaseerd op hedendaagse schoolcomposities die zijn geschreven door leerlingen uit de zesde tot achtste klas die werden gevraagd om het leven in de USSR te bespreken. De onschuldige en overdreven uitspraken over de realiteit van de Sovjet-Unie leugens over herkenbare tekenen van de tijd, bekende archetypen en gemakkelijk te lezen symbolen brengen het frame van de post-Sovjet-mythologie naar voren met een incrustatie van een politiek van herinnering die in het verleden is nagestreefd. decennia, onbehandelde trauma\u0026#39;s en huiselijke anekdotiek. De gelaagdheid van kwetsbare herinneringen wordt weergegeven door menselijke lichamen - weergave van hun vluchtige schaduwen en gecompliceerde en kortstondige dynamiek van hun interactie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn de grootschalige aquarellen van de serie \u003cem\u003eMore then Us\u003c/em\u003e (2017) benadrukt de kunstenaar de verstrengeling van doorschijnende figuren, de creatie van het ge\u0026iuml;ntegreerde gevlekte ornament, het licht-en-donker ritme van het collectieve lichaam. Anonieme karakters versmelten met elkaar, grijpen in op de achtergrond en nemen de vorm aan van geometrische figuren, die een veelvoud aan bevoegdheden demonstreren die verantwoordelijk zijn voor dergelijke assemblages (presentatief, affectief, institutioneel).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn de geschilderde verlichte installatie \u003cem\u003eQuarter to Twelve\u003c/em\u003e (2018) roteert de stoet van overlappende demonstranten, Special Police Force-agenten, machines en dieren constant, bewegend in overeenstemming met een soort sociaal ritme, \u0026#39;the music of revolution\u0026#39;, belichaamd in meditatief gefluister van Alexandr Blok\u0026#39;s gedicht The Twelve. De figuren die zijn ingevoegd in historische, hedendaagse en futuristische verhalen, bewegen langs de muren zoals in cyclorama\u0026#39;s van v\u0026oacute;\u0026oacute;r de bioscoop, en verwijzen enerzijds naar cyclische reproductie van patronen van geweld en onderdrukking, anderzijds naar ononderbroken en eeuwig hernieuwbare hoop op toekomstige veranderingen.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003e\u003cstrong\u003eIndividual and collective memory in Ekaterina Muromtseva\u0026rsquo;s poetically conceptual projects serves as the subject of marking and obscuring, of the scale and proportion game, interpenetration and interference. The artist combines documentation and artistic imagination: unreliable memories bother the drowsing past and allow multiple paradoxes to spring. \u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eThe video \u003cem\u003eIn this Country\u003c/em\u003e\u0026nbsp;(2017) is organized like a shadow show, an animated dream driftage by the means of which Muromtseva highlights and deconstructs the elements of historical memory. The narrative is based on present-day school compositions written by sixth-eighth-graders who were asked to discuss the life in the USSR. The innocent and full of exaggerating statements about the reality of the Soviet Union lied over recognizable signs of the time, familiar archetypes and easy to read symbols bring to the forefront the frame of post-Soviet mythology with incrustation of politics of memory pursued over the past decades, untreated traumas and domestic anecdotalism. The layering of frail memories is represented through human bodies \u0026ndash; depiction of their evanescent shadows as well as complicated and ephemeral dynamics of their interaction.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn the broad-scale aquarelles of the series \u003cem\u003eMore then Us\u003c/em\u003e\u0026nbsp;(2017) the artist emphasizes the entwinement of translucid figures, the creation of the integrated spotted ornament, the light-and-dark rhythm of the collective body. Faceless characters merge into each other, interfuse with the background and take the form of geometric figures, demonstrating plurality of powers responsible for such assemblages (presentative, affective, institutional).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eIn the painted illuminated installation \u003cem\u003eQuarter to twelve\u003c/em\u003e\u0026nbsp;(2018) the cortege of overlap protesters, Special Police Force officers, machines and animals constantly rotate, moving in accord with a kind of social rhythm, \u0026ldquo;the music of revolution\u0026rdquo;, embodied in meditative whispering of Alexandr Blok\u0026rsquo;s poem \u003cem\u003eThe Twelve\u003c/em\u003e. The figures inserted into historical, contemporary and futuristic narratives move along the walls like in pre-cinema cycloramas, alluding, on the one hand, to cyclic reproduction of patterns of violence and suppression, on the other hand, to unbroken and eternally renewable hope for future changes.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":"\u003cp style=\"text-align:justify\"\u003eИндивидуальная и коллективная память в поэтически-концептуальных проектах Екатерины Муромцевой предстает как предмет высвечивания и затемнения, игры масштабов и соразмерности, взаимного наложения и интерференции. Художница тесно сплетает документальность и художественное воображение: ненадежные воспоминания тревожат усыпляемое прошлое и дают прорасти множественным парадоксам. Видео \u0026laquo;В этой стране\u0026raquo; (2017) построено как театр теней, анимационный сновиденческий дрейф, с помощью которого Муромцева выводит на свет и деконструирует элементы исторической памяти. Нарратив основан на современных школьных сочинениях, в которых шести-восьмиклассникам предложили порассуждать о жизни в СССР. Наивные, полные преувеличений высказывания о реалиях Советского Союза, наложенные на узнаваемые приметы времени, знакомые типажи и легко считываемые символы, выводят на первый план скелет постсоветской мифологии с его наслоениями политик памяти последних десятилетий, с непроработанными травмами и бытовой анекдотичностью. Многослойность непрочных воспоминаний выражена через изображение человеческих тел \u0026mdash; их ускользающих теней и сложной и эфемерной динамики их взаимодействий. В масштабных акварелях серии \u0026laquo;Больше нас\u0026raquo; (2017) художница делает акцент на переплетении полупрозрачных тел, создавая единый пятнистый орнамент, светотеневой ритм коллективного тела. Безликие персонажи сливаются друг с другом, смешиваются с фоном и оформляются в подобие геометрических фигур, в чем проявляется множественность сил, отвечающих за такие сборки (образных, аффективных, институциональных). В рисованной световой инсталляции \u0026laquo;Без четверти двенадцать\u0026raquo; (2018) процессия из наслаивающихся друг на друга митингующих, ОМОНовцев, механизмов и животных находится в постоянной ротации, двигаясь согласно некоторому социальному ритму, \u0026laquo;музыке революции\u0026raquo;, воплощенной в медитативном нашептывании поэмы Блока \u0026laquo;Двенадцать\u0026raquo;. Фигуры, вписанные в исторические, текущие и футуристические сюжеты, движутся вдоль стен, как в докинематографичеких циклорамах: аллюзия, с одной стороны, на циклическое воспроизводство паттернов насилия и подавления, с другой, символ несломленной, вечно возобновляемой надежды на грядущие изменения.\u003c/p\u003e\r\n"},{"locale":"de","short_description":"","description":"\u003cp\u003eIndividual and collective memory in Ekaterina Muromtseva\u0026rsquo;s poetically conceptual projects serves as the subject of marking and obscuring, of the scale and proportion game, interpenetration and interference. The artist combines documentation and artistic imagination: unreliable memories bother the drowsing past and allow multiple paradoxes to spring. The video \u0026ldquo;In this country\u0026rdquo; (2017) is organized like a shadow show, an animated dream driftage by the means of which Muromtseva highlights and deconstructs the elements of historical memory. The narrative is based on present-day school compositions written by sixth-eighth-graders who were asked to discuss the life in the USSA. The innocent and full of exaggerating statements about the reality of the Soviet Union lied over recognizable signs of the time, familiar archetypes and easy to read symbols bring to the forefront the frame of post-Soviet mythology with incrustation of politics of memory pursued over the past decades, untreated traumas and domestic anecdotalism. The layering of frail memories is represented through human bodies \u0026ndash; depiction of their evanescent shadows as well as complicated and ephemeral dynamics of their interaction. In the broad-scale aquarelles of the series \u0026ldquo;More then we\u0026rdquo; (2017) the artist emphasizes the entwinement of translucid figures, the creation of the integrated spotted ornament, the light-and-dark rhythm of the collective body. Faceless characters merge into each other, interfuse with the background and take the form of geometric figures, demonstrating plurality of powers responsible for such assemblages (presentative, affective, institutional). In the painted illuminated installation \u0026ldquo;Quarter to twelve\u0026rdquo; (2018) the cortege of overlap protesters, Special Police Force officers, machines and animals constantly rotate, moving in accord with a kind of social rhythm, \u0026ldquo;the music of revolution\u0026rdquo;, embodied in meditative whispering of Alexander Blok\u0026rsquo;s poem \u0026ldquo;The Twelve\u0026rdquo;. The figures inserted into historical, contemporary and futuristic narratives move along the walls like in pre-cinema cycloramas, alluding, on the one hand, to cyclic reproduction of patterns of violence and suppression, on the other hand, to unbroken and eternally renewable hope for future changes.\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"RU","place":"Moscow","category":{"en":"Born in","nl":"Geboren in","fr":"Né à"}}]}