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Festival "CarbonArt - 2002", in the village
Tsipovo, means for us that for a week we agreed to live in the neglected
cells of a cave monastery of X-XII cent., to be inspired by its atmosphere
and the legends and as a result to produce our creative product.
Declared Aim of the Festival: to exchange digital reality in which a
modern artist lives for hyperreality of "real" nature. To touch
those barriers and borders that separates "given" reality and
digital reality from our self consciousness.
What is Tsipovo
In the village Tsipovo ( about 100 km on the north from Kishinev) on the
cliffy bank of Dnestr there it a monastery in the cliffs, that is biggest
not only in moldova but also in this part of Europe. Monastic association
of this monastery came into being considerably earlier than feudal state
of Moldavia was created. It is considered that some cells were gouged
out in the steep cliffy bank of Dnestr in the X - XII cent. (according
to other facts - in XVI-XVIII cent.) Period of blossoming forth of the
monastery is from 1776. During a soviet period the monastery was closed
and destroyed. In 1974 ruins were taken under the state protection, and
in 1994 church divine services were renewed. Now the monastery is open
for visits.
The Legends of Tsipovo
One of the rough banks of Dnestr during period of antiquity (IV-III cent.
B.C.) there was earthen fortress of geto-ducks. The local inhabitants
tell willingly and much about the ghosts.
They say that in the night a woman in white appears in the cells - Maria
Voikitsa, the fourth wife of Stefan the Great, legendary master of Moldova,
with which he got married in this monastery, according to another - his
first wife, Marushka, which was from this country by birth. They tell
also about mysterious "Black monk", that appears unexpectedly
from night darkness. There is a popular belief that legendary Orfey searching
Evridica got there and precisely in Tsipovo he descended Aid, the dead
realm. Tsipovo was a place where in antiquity warriors-wolves went through
initiations, i.e. werewolves. In this country human sacrifices were made
to Zalmoksis - duck's dog. At the neighbourhood of the monastery the luminous
balls of different colours appear, and sometimes during the full moon
an ancient castle is seen. Some people hear human voices from under the
ground.
Our Tsipovo Reality
We regarded the action in Tsipovo as possibility of fascinating game.
The games in stereotype of the artists with their bohemian unfocused methaphysics
and peculiar interpretation of the word "energetics". From this
game we expected that degree of unimportance which is characteristic for
a game with its specified rules at the beginning and possibility of going
out at any moment.
But reality put on these expectations reality with its veto on any planning
and its wide field of interactivity. The game of the artists broke up
for all group on additional individual component: everybody began to play
their original profession which was given by higher school system of education
and youthful utopism. As a result of such stratification the objects appeared
carrying in themselves original professional features-skills of their
creators: two architects, physicist and sculptor. Final artefact contained
architectural planning with its geometrical design and functional zonality,
sculpture, conditionally mechanical constructions, weave and whole system
of complex optical effects, meaning different times perception of the
object at different times of the day.
Here We Were Watched by Polecat
In the middle of Tsipovo expanses the moment of cashing of the professional
skills because for us emotionally serious counterargument of our group
infancy and tourist conviction. Tsipovo started to influence on us not
by its silly mystery of a deserted monastery, not by its virtual concentration
of the myths and the legends, but rather by perceptible concentration
of labour, fixed by marks of human activities in cliff rocks.
Labour, load, action, counteraction, work - became for us quintessence
of TSIPOVO. Work as the main component of erected artifact. Not from conception
to embodiment but rather on the contrary: from embodiment to developing
in parallel with the process of creation our conception.
Vertical
Indicated in poetic heritage an image of vertical advancement ("…to
rise to sky - that is the task, to rise to sky - that is the labour")
was defined for us not like metaphor, but as daily process determining
survival and planned working exercise.
Vital activity in vertical plane.
Perception of space from above to down and from below to up.
Actually space appears only when we can raise above flatness, above sheet,
above digitizer, above text.
To see the Top and the Bottom.
We with greed of the discoverers fixed the Top by visual dominants (wood
3-metres in height cross) and the Bottom ( stone foundation, reed crafts,
reflectors). We marked conditionally the elements (the cross erected on
the cliff - wind, the foundation - earth, rafts - water, reflectors -
fire and the sun), not so much for mythologisation as for singing out
functional zones and satisfaction of architectural ambitions.
How It Works, However
At 10 minutes past 5 the shade from two cliffs falls in such a way that
only a tiny place - the ravine between the cliffs, where 200 years ago
the waterfall was, remains illuminated (than this waterfalls dried up,
and monks deserted the monastery). At 20 minutes past 5 the shade from
the cross erected on the cliff falls in the circle drawn on the water
with the floats. At this moment the reflectors concentrate the light stream
of the setting sun and direct is on the monastery. Only from the dark
place one the monasterial cells of the upper row we can discern the shade
of the cross on the water. And it doesn't matter whether it is real shade
or the image created in your mind by hallucinogenic effect of the bright
reflectors. Geometry of the riverside composition serves as the frame
of "catched" hallucination, which in its turn plays the role
of peculiar project MPRS.
And so, the project MPRS, born with the direct participation of Tsipovo
and its influence on the authors, taking into consideration the factor
of total labour-therapy, consisted of:
- the cross on the top of the cliff (3 metres in heights);
- the system of points: 2 reflectors, 2 rafts for fixation of the composition
corners, a wither reed frame on the water, the circle, land-art barrier
made of comparatively white and uncomparatively heavy stones;
- the system of watching from the cell (a wicker frame and a reed fixator
of angle of view).
Also FRANDIBULA was in the system, the initiator and creator of which
punk-sculptor Eugeniy Bondarenko was. This frandibula from the creator's
point of view embodies all the architypesof the weaponsand is intended
for spiritual and visual protection of the monastery from different encroachments
on it from outside.
Implementers of the project MPRS: Max Afanasyev, Eugeniy Bondarenko,
Elena Afanasyeva, Serhiy Dyachenko
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