28/24: Alexei Shulgin - MONTAGE
Alexei Shulgin (1963) - Artist, curator, musician. Lives and works in Moscow.
1987 Work at the GIPRONEFTESPETSMONTAZ institute, "Others Photographs" project 1988 Founded "Immediate Photography" group 1994 Created electronic photogallery "Hot Pictures" on the Internet 1995 Founded Moscow WWWArt Centre (http://sunsite.cs.msu.su/wwwart/) 1997 Invented Form Art (http://www.c3.hu/collection/form/) 1997 Started Easylife site (http:// www.easylife.org/) 1998 Founded 386 DX cyberpunk rockband (http:// www.easylife.org/386dx) 1999 Webmaster at FUFME, Inc. (http://www.fu- fme.com) 2000 Professor at Pro Arte Institute, St. Petersburg 2002 Curator of Read_Me software art festival, Moscow
“These photographs are like old vinyl records, scratched as if by life itself. The songs recorded on them resound from a nostalgic past which has not yet gathered dust. The artist, curator and musician Shulgin did not write these songs – he found them, listened to them, chose the best, included them in his programme and then made us listen to them, experiencing the distant past…
…One can write about this series of photographs like one can about music, and the method used to record it, using the similarity and consonance between the phonograph and photography. In one’s turn talking about music, following Goethe, one can also talk the same way about architecture. To do that one only has to imagine music without movement, as if it were photographed. The difference in performance of a musical or architectural work also seems minor: in music, the musicians play under the direction of the conductor, in architecture, building workers follow the directions of the site foreman. Both the former and the latter performers raise, elevate, hoist, assemble, heighten and build up…
One can argue about the assembly principles in modern creative works, where a DJ spins other people’s records, and a VJ splices together clips from other people’s films. Arrangement today is simultaneously a process of installation and collection, assembly and gathering together… It is also disassembly, that is, a means of deconstruction in which the bunkers in Normandy, according to Verilio, can be represented as archaeology of the architecture of the future, the laying of pipelines somewhere in Tyumen – like a construction site of the modern architect Koo lhaas-Nouvelle-Moss, while documentary photography ‘for staff only’ – as a collection of artistic masterpieces …
One may simply observe that the anonymous photographs found by Shulgin at the time of his work in the Institute of Specialised Oil Installations really depict an arrangement of specialised engineering constructions. And nothing more than that”. (Yu. Avvakumov)