Starusev_artworks

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1. Dmitry Starusev Artist, photographer, lecturer Date of birth: 05.12.1984 Moscow E-mail: jahndra@gmail.com Graduated from Russian State University of Cinematography (VGIK) in 2012. Graduated from Rodchenko School, department of photo and multimedia curated by Sergey Bratkov. Media: http://www.colta.ru/galleries/specials/13078#ad-image-0 https://officiel-online.com/news?id=9066 https://supportyourart.com/columns/light-hell-blossom https://vimeo.com/393995219
2. Artist's Statement In my artistic practice, I engage with analogue and hybrid photographic processes, their sense of unpredictability, tactility and handmade character that allow the viewer to perceive each work as a physical object. The fixation of the emotional dimension of reality, as expressed in abstract compositions and through the medium of photography, is of primary importance to me. I create large-scale analogue photographic prints on different structures and surfaces actualizing the discussion about the very essence of the photographic medium and its autonomy. I break it free from the canons and stereotypes that guided it previously. Possibilities of analogue photography emancipate it from its function of documenting reality, creating sensuous liminal images that marginalize the object and foreground experience as such instead. The layers of memories, images drawn from reality, images resulting from the developing process, longitude of exposure, natural chemical reactions, penetrate each other, creating a special indivisible fabric that preserves the trace of the emotional state at a certain moment. The carrier of all these emotions is a print itself, unique and non-reproducible, a protest against the dematerialization of photography. On the backdrop of endless information flows, developing technologies, and replicated images, appeal to an abstract analogue photography becomes a political gesture. Trying to return to a negative, to a rough print, I focus on the uniqueness of the moment and propose an experience of a unique non-reproducible print.
3. 2020 When we returned to the caves, PinchukArtCenter, Kyiv, Ukraine 2019 Light Hell Blossom, ARTSVIT, Dnipro, Ukraine 2018 Three Sisters, within the PinchukArtCentre Prize, Kyiv, Ukraine 2016 Donbass, photobiennale, Moscow Museum of Modern Art, Moscow Folklore expedition, parts 1&2, photobiennale, Moscow Museum of Modern Art, Moscow Selected group exhibitions 2020 Almost There, digital exhibition created within the Museum Without Walls project of the British Council 2019 Faith in Deep Crisis, Viktoria Gallery,Samara, Russia Ukrainian House, Davos, Switzerland Alarm!, Winzawod center for contemporary art, Moscow, Russia heartline timezone, RU ARTS gallery, Moscow, Russia 2018 Academiae Biennial (curated by Christian Jankowski), Fortezza, Italy Ruin. Experience of Recreation, Machine Museum, Tula, Russia Captivity, within the parallel programme of Moscow Young Biennial, Moscow Test Group, Ekaterina Cultural Foundation, Moscow 2017 Versus, PinchukArtCentre, Kyiv, Ukraine Impossibility of Intimacy, Fabrika, Moscow Marina, XII Krasnoyarsk museum biennial, Krasnoyarsk, Russia Cosmos. Love, ARTPLAY, Moscow BRATFEST, Regina gallery, Moscow 2016 Field of Vision, within the parallel programme of Moscow Young Biennial, Mosco About Rodchenko School, Multimedia Art Museum, Moscow CoolCrazyTooMuch, Svalka, Moscow
4. When we returned to the caves, 2020 In this installation, me reveals the sensitivity and problems shared by all of humanity but invisible to the human eye. He problematizes the human capacity to put up with the disasters and horrors of history, such as collective deportations, mass murders, atomic bombings. The artist here acts as a supporter of apocalyptic sentiments, where tragic inevitability is presented as a black undifferentiated world. He claims that there is no authorship anymore, there is energy. There is no identity, there is the Planet. There is no truth, there is life. In his opinion, the time is coming for expression free of life itself, as a nonlinear and chaotic dimension. The presented elements of the installation reproduce the sacred space which was lost in the time when all the heresies and post-truth won, when multiple versions of interpreting reality became possible.
10. With this project I continue my practice of exploring possibilities of analogue photography and expand it into a site-specific work by making a print inside the gallery space previously having transformed it into the darkroom. Light Hell Blossom investigates the notion of obscurity, which can be interpreted as a state of mind, psychological exhaustion and my reflections upon vanity and surrounding social banality. With this series I am thinking about general globalization of culture. Referring to a marginalized practice I am trying to speak out against the global spectacularization of culture and protest again boredom and vulgarity. light hell blossom, 2019
16. Three Sisters, 2018 The idea of the Three Sisters series first emerged when I stood on the border of three states: Ukraine, Russia and Belarus. These works combine low fleshly experience (mutilated bodies, chopped innards, new life sprouting from empty, scooped out voids) with religious awe, the elevated sense of reverence, wonder and fear at something beyond words and touch, something lofty and important. These images are evocative of the Biblical “the windows of heaven were opened” and reflect on the beginning and the end, the nonexistence and existence beyond time. Large-format photographs are constituted of two parts: a product of a purely technological limitation, these sutures are evocative of scarred human flesh, mutilated vaginas, abutting borders and territories. Silver prints, developing out paper negatives, wet plate collodion negatives Sizes: 2m x 3m; 1m x 1,35m; 8cm x 11 cm
22. Flood, 2017 In an idyllic spatium it is easy to speak about the Apocalypse. I’m watching the sea and thinking about extinction of a kind. We will be frozen up in our contemplative poses, we will be washed down by the sea The book is built up of four parts: 1. I’m afraid of staying among the palm-trees 2. Andrey 3. (untitled) 4. The deluge Series of 90 pages, silver prints.
26. Marina, 2017 In work “Marina” I am dealing with the themes of false memories, phantom pain and the condition of a world before the coming war. Human, his feelings and concepts, one’s personal experience gets molded with posthistory, it comes unrolled against a background of dead, destructed industrial society. I also orient on the lower layers of reality: the banal, casual, well-known, underestimated – and all of it gets estranged. Developing-out paper negatives. Size: 1m x 1,35 m
30. Moses, 2017 In search for a way to outline Ukrainian identity the author was inspired by a Bible story of the Burning bush and the wanderings of Moses. Developing out paper negatives. Size: 1m x 1,35m
32. The Planets, 2016 Series of 6 works, Developing out paper negatives. Size: 1m х 1,35m