Andrey Bogush and Sinaida Michalskaja
Zwei Schwestern
2 - 20 June 2020
Zarinbal Khoshbakht
Albertusstrasse 24
50667 Cologne
Guardian (The art market wants porn, but it doesn’t want it when it comes from feminism), 2020
UV print on curtain, eyelets, PVC hangers, steel rack 100 x 160 cm
seal/dichtung 3 (allmxlqxhtsdantasien/4K reality pro), 2020
Two-channel Full-HD video, 49“ screens, Raspbery Pis, 60 min, no sound, galvanised scaffold pole mounting 324 x 64 x 70 cm
Proposal for hoover, cat cut out and distorted face (The living web of care is not one where every giving involves taking, nor every taking will involve giving), 2020
UV print on foam board, robot hoover, styrofoam, concrete stones, transparent PVC, cabinet battery LED
51 x Ø120 cm
10 of Clubs (back to binary), 2020
UV print on foam board, rhinestones, screws 170 x 114 x 1.9 cm
Exhibition view
All images courtesy of the gallery and the artists.
Zwei Schwestern features works by Andrey Bogush and Sinaida Michalskaja, and reflects the two artists’ dialogical reading of Beatriz Preciado’s Countersexual Manifesto, along with ideas of de-realisation that continue to inspire their respective practices.
The exhibition unfolds a dissociative approach to thinking about contemporary visual culture, one which articulates technologies of desire – and involves methods of scaling, digital printing and ornamentation, while also drawing on architectural elements and the objectification of images – by making nonsense of them.
In Guardian (The art market wants porn, but it doesn’t want it when it comes from feminism), 2020, Bogush inserts a quote by Preciado (1) onto a blown-up, low resolution image of a key from a computer game; the image itself is printed on an IKEA shower curtain. In an echo of the production process, the curtain hangs on a steel rack with unpolishedcorners.
Proposal for hoover, cat cut out and distorted face (The living web of care is not one where every giving involves taking, nor every taking will involve giving), 2020, is a kinetic sculpture composed of a stand-up cat-shaped display with a human face printed on it; this in turn sits on a robot hoover that is confined to an elevated, round compound. (2)
Bogush’s practice is inspired by the ‘digital condition’ of images that are shared and consumed online through social media or publishing platforms; it embraces this flatness in different, even opposing ways. By printing images on industrial vinyl curtains and placing them on floors, walls and ceilings, they seek out situations of discontent or detachment in them: “I wonder if self-alienation could be an analogy for the life of images online”, Bogush says about this side of their practice.
Sinaida Michalskaja presents two works installed opposite each other, connect- ed by the curtain. The two screens of seal/dichtung 3 (allmxlqxhtsdantasien/4K reality pro), 2020 are mounted vertically, one above the other, on a free-stand- ing scaffold pole wedged between the floor and ceiling of the exhibition space. The work shows two videos of the same silver isolation strip that sits between the panes of a double-glazed window. The videos were recorded simultaneous- ly on the same vertical axis – one higher up, one lower down. Rather than a moving image, the effect is an iridescent relief that translates the promise of a union between two distinct objects, as they attempt to overcome the gap between being one and being different – and strive to be neither/nor.
10 of Clubs (back to binary), 2020, a UV print on a card-shaped, human-sized foam board with rounded corners, is a high-resolution scan of a playing card embroidered by the artist. The significantly enlarged image features two blue-eyed white cats, adorned with small rhinestones on the print’s surface.
The amplification of the card’s offset print raster heightens the effect of the highly stylised depiction of the cats, placing them somewhere between overly cute and quite pornographic.
Reflection and glittering effects, as well as working with the transparent and opaque qualities of images, are a central part of Michalskaja’s practice. Equally important are the strategies of reduction, transmission, flatness and opulence the artist employs, which often produce a sense of visual satisfaction and estrangement at the same
time.
1 Beatriz Preciado. Museum, Urban Detritus and Pornography. Zehar 64, 2008, p. 30
2 In the parenthesis of the title, Bogush uses a quote by María Puig De la Bellacasa. Matters of Care: Speculative Ethics in More Than HumanWorlds. University of Minnesota Press, 2017, p.112.
Biographies
Andrey Bogush, born 1987 in Saint Petersburg, Russia, is a visual and performance artist based in Helsinki, Finland. Selected recent exhibitions include: Skız(e)m, Ostrava, Czech Republic, ARS17, Kiasma Museum of Contemporary Art, Helsinki, and When Everything Is Over So We Can Discuss, at The Finnish Museum of Photography, Helsinki. Their work has been featured in Artforum, The Plantation Journal, and Foam Magazine, as well in the surveys Photography is Magic published by Aperture, and Unlocked, published by Atopos. They havebeen working in several residencies, including HIAP, Helsinki, Sterna Art Project, Nisyros, Greece and Art Colony, Nida, Lithuania. Bogush holds a BFA and MFA in Time and Space Arts from the Academy of Fine Arts, University of Arts Helsinki.
Sinaida Michalskaja, born 1985 in Moscow, Russia, lives and works in Berlin, Germany. Selected recent exhibitions include: Ici et là-bas,Goethe-Institut Paris, Zuhause, Kunstmuseum Bochum, and Soft Hits, Kunstraum Ortloff, Leipzig. Her work has been featured in Aperture Magazine, Philosophy of Photography, Photomonitor, POP. Kultur und Kritik, and The Guardian. Michalskaja was Meisterschülerin of PeterPiller and Heidi Specker at the Academy of Fine Arts Leipzig, and holds an MA in Contemporary Photography; Practices and Philosophies from Central Saint Martins, London, and a BA in Communication Design from the University of Applied Sciences, Düsseldorf.