Performative practices in contem¬porary art and the funeral ritual (the case of the project “The Garden named after” by Artem Filatov and Alexey Korsi)

Performative practices in contem¬porary art and the funeral ritual (the case of the project “The Garden named after” by Artem Filatov and Alexey Korsi)

The author analyzes the project “The Garden named after” created by artists Artem Filatov and Alexey Korsi in the Crematori­um in Nizhni Novgorod as a space of heterotopia. The project is con­sidered to be a memorial complex. The article demonstrates how this memorial garden was rooted in the practi...

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Bibliographic Details
Main Author: Zh. V. Vasilieva
Format: Article
Language:English
Published: Russian Presidential Academy of National Economy and Public Administration. RANEPA 2022-03-01
Series:Шаги
Subjects:
communicative memory
heterotopia
collective memory
participatory art
digital archive
site-specific art
crematorium
nizhny novgorod
Online Access:https://steps.ranepa.ru/jour/article/view/49
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Summary:The author analyzes the project “The Garden named after” created by artists Artem Filatov and Alexey Korsi in the Crematori­um in Nizhni Novgorod as a space of heterotopia. The project is con­sidered to be a memorial complex. The article demonstrates how this memorial garden was rooted in the practices of street art and partici­patory art in Nizhny Novgorod. If art projects in situ usually actual­ize the collective memory of a place, “The Garden named after” has been working with personal memory and collective digital archive. The new practice offered by artists Artem Filatov and Alexey Korsi gives a chance of a personal touch for a commemorative practice and for sharing personal memory with other people. The author draws an analogy between the project “The Garden named after” and the ex­periments made by Russian avantgarde architects such as Nikolay Ladovsky. Ladovsky considered architecture as a programme that defines how people could feel and perceive space. That understanding of architecture is close to the experience of time-based art. In other words, we could speak about some kind of a zone of transition be­tween architecture and performative and social practices. The project “The Garden named after” exists in this zone of transition.
ISSN:2412-9410
2782-1765

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