[{"id":20617,"title":"Total Exposition","dimensions":"","date_begin":"2015-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"total-exposition","description_ru":"\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003eТотальная экспозиция.\u0026nbsp;\u003c/span\u003e\u003c/span\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003e2015, смешанная техника\u003c/span\u003e\u003c/span\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003e\u0026laquo;Тотальная экспозиция\u0026raquo; \u0026ndash; проект, посвященный Московскому концептуализму. Даже название его объединяет термины, рожденные\u0026nbsp;главными представителями школы Ильей Кабаковым и Андреем Монастырским: \u0026laquo;тотальная инсталляция\u0026raquo; и \u0026laquo;экспозиционное поле\u0026raquo;. Отправной точкой работы Яна Гинзбурга стал программный проект Андрея Монастырского \u0026laquo;Земляные работы\u0026raquo;.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/745/medium_500/installation_view_2.jpg?1542391156","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/745/large/installation_view_2.jpg?1542391156","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003e\u003cem\u003eTotal exposition\u003c/em\u003e is a project dedicated to Moscow Conсeptualism. Even the name of it combines the terms coined by the main\u2028members of the school, Ilya Kabakov and Andrei Monastyrsky: \u0026#39;total installation\u0026#39;\u0026nbsp;and \u0026#39;expositional field\u0026#39;.\u0026nbsp;The starting point of Ian Ginsburg work became a program project of Andrei Monastyrsky \u003cem\u003eEarth Works\u003c/em\u003e.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20616,"title":"Genius’ Room. Aphorisms of Joseph Ginsburg","dimensions":"","date_begin":"2018-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"genius-room-aphorisms-of-joseph-ginsburg","description_ru":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003e\u0026laquo;Комната гения. Афоризмы Иосифа Гинзбурга\u0026raquo; объединяет две инсталляции. В\u0026nbsp;проекте художник исследует границы между идеалистическими представлениями о\u0026nbsp;том, как должна быть устроена жизнь творца и\u0026nbsp;бюрократической прозой повседневности. Идея комнаты изначально была предложена бездомным художником, философом, анархистом, Иосифом Гинзбургом (1938 \u0026minus; 2015) в\u0026nbsp;качестве дара Яну Гинзбургу \u0026laquo;для раскрытия сверхспособностей человечества\u0026raquo;. В\u0026nbsp;инсталляции представлены 144 портрета \u0026laquo;гениев\u0026raquo;, а\u0026nbsp;также картотека на\u0026nbsp;62 персоналии советской культуры с\u0026nbsp;которыми Иосиф Гинзбург находился в\u0026nbsp;контакте. Залы первого этажа представляют собой оригинальную мемориальную экспозицию, собранную из\u0026nbsp;объектов, при жизни хранившихся в\u0026nbsp;специализированном складе (боксе) Иосифа Гинзбурга. Часть из\u0026nbsp;них являются аутентичными предметами, часть восстановлена Яном в\u0026nbsp;качестве пластических объектов. Проект\u0026nbsp;представляет собой вторую часть (после экспозиции \u0026laquo;Механический жук\u0026raquo;) серии, посвященной исследованию жизни Иосифа Гинзбурга и\u0026nbsp;формирования его как личности.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/743/medium_500/Ian-Ginsburg-4387.jpg?1542388449","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/743/large/Ian-Ginsburg-4387.jpg?1542388449","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003eIn the project the artist explores the borders between the idealistic perception of how the life of the creator should be organized and bureaucratic prose of the everyday life. Originally, the idea of a room belonged to a homeless artist, philosopher and anarchist, Joseph Ginsburg (1938 \u0026ndash; 2015), who shared it with Ian Ginsburg as gift \u0026#39;for revealing extra powers of humanity\u0026#39;.\u0026nbsp;Installation provides 144 portraits of \u0026#39;geniuses\u0026#39;\u0026nbsp;and filing cabinet of 62 personalities which Joseph Ginsburg was in touch with. Halls on the first floor present a unique memorial exposition, consisting of objects, which used to be kept in a special repository (box) when Joseph Ginsburg was alive. Some of these objects are authentic, while others were reproduced by Ian as a ductile forms. This exhibition is a second part (after \u003cem\u003eThe Mechanical Beetle\u003c/em\u003e exposition) of a series, dedicated to the analysis of Joseph Ginsburg\u0026rsquo;s life and formation of his personality.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":20615,"title":"The Mechanical Beetle ","dimensions":"","date_begin":"2018-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"the-mechanical-beetle","description_ru":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003eВ новом проекте \u0026laquo;Механический жук\u0026raquo; проблематизируется идея инсталлятивности, переосмысленная через призму московской концептуальной школы. В отличие от советского опыта, для которого было важно бытование в коммунальной структуре, искусство Яна Гинзбурга пребывает в расширенном социальном поле. Для художника нет разницы в работе с материальным носителем или дигитальным, а следовательно, пластические решения инсталляции в пространстве галереи \u0026laquo;мерцают\u0026raquo; в двойственном экспозиционном поле. В проекте рассматривается постсоветское состояние капитализма,\u2028в отсутствии биполярного деления мира. Образ жука здесь становится связующим звеном между высоким искусством прошедшей эпохи и новым духом имматериального производства нашего времени. (Мария Калинина)\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/739/medium_500/Ian-ginsburg-2799-e1516530063395.jpg?1542387361","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/739/large/Ian-ginsburg-2799-e1516530063395.jpg?1542387361","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003e\u003cem\u003eThe Mechanical Beetle\u003c/em\u003e brings out the problem of installativity idea, redefined from the perspective of Moscow Conceptual School. Unlike soviet experience, for which presence in the commune structure was crucial, Ian Ginsburg\u0026rsquo;s art exists in a wider social spectrum. For artist, there is no difference between material and digital mediums, therefore, ductile aspects of installation in gallery space shine in dualistic expositional field. Project debates post-soviet capitalistic state in a nonbipolar world. The image of a beetle becomes a link between higher art of the past and new spirit of immaterial production of our time. (Maria Kalinina)\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22782,"title":"Reuse If Necessary","dimensions":"variable dimensions","date_begin":"2019-01-01","material":"ready made","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the Artist ","cached_tag_list":"VAC ready made","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"reuse-if-necessary","description_ru":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eИспользовать повторно в случае необходимости\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2019, инсталляция, редимейд\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eИнсталляция состоит из нескольких элементов: четыре лопаты на велосипедных подвесах, поднятые практически до потолка и три принта шин в цепях (изображения из презентации компании Фискарс с выставки советского импорта/экспорта промышленных товаров начала 70-х годов). Одинаковые лопаты установлены в промежутках между изображениями колес и направлены перпендикулярно стене, настраивая на проблематику редимейда Дюшана.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eРабота представляет собой концептуальную схему отношений между двумя типами объектов нон-конформисткого и конформисткого искусства. \u0026laquo;Лопаты\u0026raquo;, напоминающие форму транспаранта и выставленные как редимейды, противостоят конформисткому бульдозерному колесу в цепях, распечатанному на ковре и повешенному на стену. Схематическое, формальное противостояние двух типов объектов иллюстрирует историческое событие так называемой \u0026laquo;Бульдозерной выставки\u0026raquo;, состоявшейся в 1971 году и проявившей ключевую проблему для советской культуры того времени \u0026ndash; проблему отношений между официальным и неофициальным искусством в СССР.\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/580/medium_500/Reuse_If_Necessary_1.JPG?1573051112","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/580/large/Reuse_If_Necessary_1.JPG?1573051112","poster_credits":"(c)Ian Ginsburg","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe installation consists of four shovels on bicycle suspensions raised almost to the ceiling and three printed images of tire chains. The latter are taken from the Fiskars presentation made at the exhibition of the Soviet Import / Export of Industrial Goods in the early 1970s. Identical shovels are placed in between the images of the tires and installed perpendicular to the wall, thus leading to the problem of the Duchamp readymade.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe work serves as a conceptual scheme represeting a relationship betweens two types of objects \u0026ndash; of the non-conformist art, on the one hand, and of the conformist art, on the other. \u0026quot;Shovels\u0026quot;, which by their shape resemble a banner and are installed like a readymade, stand against conformist bulldozer wheels, which are printed on a carpet fabric and are hung on a wall. A schematic, formal confrontation of these two types of objects illustrates a historical event of 1971, the so-called \u0026ldquo;Bulldozer Exhibition\u0026rdquo;, which revealed a key problem of the Soviet culture at that time, that is the relations between the official and unofficial art in the USSR.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22783,"title":"Sovpis","dimensions":"","date_begin":"2019-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"VAC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"sovpis","description_ru":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eСовпис\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2019, инсталляция\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eВыставка \u0026laquo;Совпис\u0026raquo; продолжает серию проектов Яна Гинзбурга, посвященных писателю и художнику нонконформисту Иосифу Гинзбургу. Обращение к биографии и творчеству Иосифа дает ключи к новым прочтениям разных аспектов советской и постсоветской культуры. В качестве отправного пункта для выставки \u0026laquo;Совпис\u0026raquo; послужил следующий эпизод: в 1974 году Иосиф Гинзбург разослал по адресам из справочника советских писателей копии своего сборника с 853 сочиненными им афоризмами. Спустя некоторое время он обзвонил всех своих адресатов собрав и опубликовав их мнения: недоуменные, сочувственные, испуганные, моралистические, восторженные, издевательские.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eВ выставке представлен \u0026laquo;совместный\u0026raquo; альбом текстов Иосифа Гинзбурга и шаржей Иосифа Игина (Гинзбурга), собранный Яном Гинзбургом, а также картотека с мнениями 62 персоналий о творчестве Иосифа Гинзбурга. Среди авторов рецензий: Агния Барто, Евгений Евтушенко, Аркадий Стругацкий, Михаил Шолохов и другие. Во втором зале представлена экспозиция 16-ой полосы \u0026laquo;Литературной газеты\u0026raquo; с коллажами Вагрича Бахчаняна и афоризмами Иосифа Гинзбурга и портрет вымышленного писателя Евгения Сазонова.\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/583/medium_500/ian-ginsburg-sovpis-osnova-4964.jpg?1573051631","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/583/large/ian-ginsburg-sovpis-osnova-4964.jpg?1573051631","poster_credits":"(c)Ian Ginsburg","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;Sovpis\u0026rdquo; is a continuation of a series of Ian Ginsburg\u0026#39;s projects dedicated to Joseph Ginsburg, a writer and nonconformist artist. Appealing to Joseph\u0026rsquo;s biography and art, Ian makes a new focus on various aspects of Soviet and post-Soviet culture. As starting point for the exhibition \u0026ldquo;Sovpis\u0026rdquo; Ian took the following episode: in 1974 Joseph sent copies of his compilation of aphorisms to addresses of Soviet writers he found in the directory. After a while he phoned all of his addressees to gather and publish their opinions, which were puzzled, sympathetic, frightened, moralistic, enthusiastic, and mocking.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe exhibition feature a \u0026ldquo;collaborative\u0026rdquo; album presenting texts of Joseph Ginsburg and cartoons by Joseph Igin (Ginsburg), compiled by Ian Ginsburg, as well as a file cabinet with opinions of 62 people about the work of Joseph Ginsburg. Among the authors of the reviews are Agniya Barto, Evgeny Evtushenko, Arkady Strugatsky, and others. In a separate there is a exposition of the 16th page of \u0026ldquo;Literaturnaya Gazeta\u0026rdquo; (Literary Newspaper) with collages by Vagrich Bakhchanyan and aphorisms by Joseph Ginsburg, as well as a portrait of the fictional writer Evgeny Sazonov.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22784,"title":"Room of Geniuses","dimensions":"","date_begin":"2019-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the Artist  ","cached_tag_list":"VAC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"room-of-geniuses","description_ru":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eКомната гениев\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003e2019, проект инсталляции\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u0026laquo;Комната гениев\u0026raquo; \u0026ndash; проект Яна Гинзбурга, часть мемориально-экспозиционного проекта, посвященного всеми забытого художника нонконформиста Иосифа Гинзбурга (1937 \u0026ndash; 2015).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eИосиф Гинзбург внес значительный вклад в культуру самиздата в 1970-е годы в Москве, распространяя запрещенную литературу и самодельные словари на идише. Середина 1970-х и начало 1980-х годов \u0026ndash; время пребывания Иосифа Гинзбурга в психиатрической больнице: он стал жертвой карательной психиатрии, пострадав за диссидентскую и сионистскую деятельность.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eНаходясь в психиатрической больнице Гинзбург занимался искусством, используя детские тетради для ведения записей и рисования. В процессе работы Гинзбург начал рисовать в технике автоматического письма. Рисунок делался закрытыми глазами, затем дорабатывался художником, лишние линии стирались и добавлялись простые обозначения лиц в виде точек и закорючек. В 2015 году во время интервью Иосиф Гинзбург, вспоминая о своем пребывании в психбольнице, рассказал об идее создания комнаты для лечения и творческого вдохновения, в которой стены будут обклеены портретами великих мыслителей, что будет усиливать творческий потенциал находящегося там человека.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eИнсталляция \u0026laquo;Комната гениев\u0026raquo; представляет собой воображаемую комнату с открывающимися, как ширма, стенами и 144 портретами сумасшедших людей, размещенными внутри. Портреты взяты из любимой книги Иосифа Гинзбурга, собранной профессором Сухаребским: он изучал патологии психики и их отражение на человеческой мимике.\u003c/p\u003e\r\n","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/589/medium_500/Room_of_Geniuses_1.png?1573052092","cached_actor_names":"Ian Ginsburg","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/589/large/Room_of_Geniuses_1.png?1573052092","poster_credits":"(c)Ian Ginsburg","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;Room of Geniuses\u0026rdquo; is part of a memorial and exhibition project dedicated to the forgotten non-conformist artist Joseph Ginsburg (1937 \u0026ndash; 2015).\u003cbr /\u003e\r\nJoseph Ginsburg made a significant contribution to the samizdat culture in the 1970s in Moscow, distributing prohibited literature and homemade Yiddish dictionaries. The mid-1970s and early 1980s he spent in a mental hospital: Joseph Ginsburg became a victim of punitive psychiatry, having suffered for his dissident and Zionist activities.\u003cbr /\u003e\r\nWhile in a psychiatric hospital, Ginsburg was engaged in art using children\u0026#39;s notebooks for his records and drawings. It was then when Ginsburg turned to the technique of automatic writing. The artist would make a drawing with his eyes closed, then refined the piece removing extra lines and adding schematic facial feautures in the forms of dots and squiggles. In an interview of 2015, Ginsburg recalled his idea from that period which suggested building a room foor treatment and creative inspiration: its walls should be covered with portraits of great thinkers thus enhance a creative potential of a person there.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;Room of Geniuses\u0026rdquo; is an imaginary chamber with its walls folding in a manner of a folding \u0026nbsp;screen and 144 portraits of insane people placed inside. The portraits are taken from one of Joseph Ginsburg\u0026rsquo;s favorite books \u0026ndash; a compilation album by professor Sukharebsky, who had studied psychopathology and its impact on human facial expressions.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]