786:. Compared to other installations, Red Wagon is rather simple. Entering a large gallery with a high ceiling, the viewer finds an unfinished wooden ramp and a series of ladders and platforms. Able to explore the construction, the viewer discovers the final ladder is directed upwards diagonally but does not lead anywhere. Moving past the unpainted wooden construction, the viewer enters what might appear to an American to be a trailer home but which is modeled on a Russian wagon, which at one time could have been used as a railroad car. The exterior is decorated with Socialist Realist paintings. Music emanates from the wagon's darkened interior, and, upon crossing the threshold, the viewer finds a mural depicting an idyllic Soviet city, peaceful, harmonious, and prosperous, with a blue sky filled not with clouds but apparently with an airshow of biplanes, hot-air balloons, and zeppelins. Benches are placed opposite the mural, allowing the viewer to rest and take in the music and imaginary scenery. At the rear of the wagon a final door takes the viewer to a room strewn with piles of garbage, but, unlike most of Kabakov's other installations, a narrative is not offered to clarify the setting.
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even more notable is that nothing refers to the former Soviet Union, and it is only the knowledge of
Kabakov's previous installations that lends itself to comparison. The diminutive installation does not offer text to further explain the closet, but the concept behind the group show, utopia, informs the viewer what is being addressed. In the Closet effectively updates Kabakov's earlier installations of the Soviet era communal living spaces by conflating the idea of privacy with a phrase, âin the closetâ, that is almost universally defined as a hidden deviance from the norm. Thus, Kabakov finds the idea of utopia, a recurring interest of his, in anything but the average and everyday. More significant, perhaps, is the artist's preference for a private utopia, rather than a colossal public project.
749:
one of the residents who built a catapult-like contraption to shoot himself through the roof into outer space, where he would travel on powerful streams of energy. A text describes the story as narrated by three of the other residents, one of whom happened to know the cosmonaut better than the others yet admits, âI didnât know him well.â The room still contains the contraption, a gaping hole in the ceiling, and scientific drawings and diagrams tacked to a wall that is covered with wallpaper composed of old Soviet propaganda posters. A diorama of the town shows the man's expected projectile path into outer space. The text explains that shortly after the man went into orbit authorities arrived and boarded up the room.
948:
and call it an installation, which they do. Kabakov's text offers the criticism from a fictional artist, who denounces the series of events as a conspiracy. The final imaginary statement is from an art historian who accepts âthe naturalness of this process.â The story is meant to be ironic, and maybe even critical, of the way in which the art world can work at times. Through the voice of the art historian everything from the creation to destruction and subsequent rebirth of the artwork is justified. The message is left ambiguous, just as the very title allows the viewer to be the final judge of, and contributor to, the artwork.
805:, Germany. Visitors entered a small building to find a public restroom containing six toilet stalls. The room, however, was filled with furniture and appeared to have been used as a living space with a bed, crib, dresser, nightstand and a table that looks as if it were in the midst of being set for dinner. There was more clutter left about and some of the toilet stalls became storage closets. As in many of Kabakov's installations, the viewer was left with the impression that the inhabitant had just stepped out and might return at any moment.
881:, in 1999, the monument includes 38 installations out of a self-declared oeuvre of 140 artworks. The installations within Monument were chosen because they all reference the Soviet Union, or the lost civilization. The monument serves as a reminder to the Sicilians in Palermo who hope to create a new society. Emilia Kabakov warns, âDonât repeat our mistakes, look at your dreams clearly, but donât sacrifice the people in the name of ideology.â
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settings. The narrative of The
Untalented Artist describes the man as 50 years old (approximately Kabakov's age when he created this work), who took some art classes when he was younger and now works for the state. The paintings resemble the crude works created for propaganda, agitation and advertisements for official events. The narrative suggests the works are âa dreadful mixture of hack-work, simple lack of skill.â
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other. Countless items hang from the strings and below each item a small piece of paper explains its origin. The character writes about garbage, lamenting that the world that surrounds him is a dump and wondering if every other country is likewise covered with garbage. He points out that the land, owned by no one, has become a dump and looms threateningly beyond the walls, submerging the apartment.
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will ask directions to the garden and be told they must find the final room, only to discover the door to the garden, which the artist equate with paradise, locked. In part due to the monument's enormous size, viewers would enter and forget where the exit is, but never forget what is outside as they begin to feel an atmosphere resembling the Soviet Union, thus giving âan idea of totalitarianism.â
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project, the viewer is told that this installation refers to the entire world. The text continues and promises the viewer that within the palace are over 60 projects, some complete, many not, but one that, perhaps, is the viewer's own and which will give meaning and significance to his life. The text insists that a life is worth living only if it has a project of some sort.
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In the Closet resembles a simple wooden armoire crammed with decorations and belongings that suggest it was being used for someone's living space. The closet is dreary and drab, similar to the burrows in the communal apartments
Kabakov had previously recreated, but with far fewer imaginative devices;
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is a literal question posed to viewers. A gallery is decorated with an exhibition of modern art, specifically small black-and-white photographs surrounded by white mats and black frames. Above the modern art hang the bottom portions of oversized, antiquated gold-leaf frames of 19th century paintings.
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According to
Kabakov's plans, Monument to a Lost Civilization is to exist below ground in a space without any windows, which might allow the viewer to find solace through the sight of the sky. The space was to be designed like a cavernous lair impossible to navigate where visitors will get lost. They
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With the works Where is Our Place? and The Artist's
Despair, Kabakov has moved from Soviet era conceptualism concerned with readdressing historical narratives to Western postmodernism that deals ironically with art for art's sake. His oeuvre, however, continues to evolve as some of his former motifs
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of 1994 tells the story of an exhibition. The text informs the viewer that the three paintings, which are part of the work, are chosen for an exhibition. The night after the opening the artist returns and damages the artworks. An influential art critic then convinces the gallerists to add some props
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My Dear One! When you are lying in the grass, with your head thrown back, there is no one around you, and only the sound of the wind can be heard and you look up into the open skyâthere, up above, is the blue sky and the clouds floating byâperhaps this is the very best thing that you have ever done
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Another character, The Man Who Never Threw
Anything Away collects and treasures ordinary and discarded items. The walls are adorned with Three Green Paintings along with another of Kabakov's artworks; also called The Ropes, strings are tied in rows several feet above the floor, from one wall to the
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summit. Later in the year it was placed on the corner of
Broadway and 23rd Street in New York. A red plastic woman's glove is attached to the ground and around it is placed a semicircle of nine metal music stands, each engraved with a text from a different imaginary character and written in poetic
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Created in 1984, the viewer enters the installation through a single door and is invited to visit the separate rooms, only one of which cannot be entered and must be viewed through cracks in a door that has been shoddily boarded up. The Man Who Flew into Space from His
Apartment tells the story of
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points out, the transmission from the text crackles with irony: âWhy was such an exquisite piece of new technology devoted to something so simple as a handwritten text? We had come here (to the park) to escape but, with his tender irony, Kabakov had reconnected us with the pains and the neglected
832:
The text provided states, âthe installation displays and examines a seemingly commonly known and even trivial truth: the world consists of a multitude of projects, realized ones, half-realized ones, and ones not realized at all.â Thus, despite the immediate reference to the Soviet Union's utopian
757:
In this room, three large canvases rest on the floor against the walls. Each canvas is divided in half horizontally and depicts various scenes, including a soccer match, a drawing class in an art academy, a group of workers, and three views of the countryside with assorted landmarks or industrial
915:
in MĂźnster, Germany. The sculpture resembles a 50-foot-tall (15 m) radio antenna. At the top, aerials protrude horizontally creating an oblong shape. The aerials form lines on notebook paper and there are words made from metal letters sandwiched between, with the sky used as a backdrop. The
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In a text separate from, but pertaining to, the public project, Kabakov explains his focus of attention for
Monument to a Lost Glove. From the 17th through the 19th centuries, the ability to create a sonnet, eulogy, or epigraph was highly valued. By the end of the âiron twentieth centuryâ the
821:. Mimicking the building's structure and perfectly placed within a central ring of columns is a smaller enclosure in the shape of a spiral, glowing from within and illuminating the otherwise dim interior of the Roundhouse. Built of wood, steel and fabric, the structure resembles
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literary tradition had been lost. âTo resurrect it is the goal of our projectâ, the artist declares. Therefore, the glove symbolizes the lost tradition of poetic verse and the ability to âshroudâŚthoughts in poetic form.â
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Since emigrating to the West, Kabakov's work has slowly and cautiously taken on new meaning. His installation at the 2003 Venice
Biennale was an independent exhibition, rather than in the Russian or American pavilions.
112:(1972â1975) helped formulate much of Kabakov's later work. In the albums he offers the viewer a narrative of a fictional character, which, in 1983, he began to transform into complete immersive experiences.
63:
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The frames are cut off by the ceiling, as are two pairs of giant legs garbed in 19th century attire, the only visible portions of the oversized exhibition.
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form. The texts, written in four languages (French, English, German and Russian), are recollections of the woman inspired by the dropped glove.
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in the Utopia Station pavilion, a group show without allegiance to any country, composed of a diverse collection of artworks.
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is at once the most comprehensive retrospective to date and Kabakov's grandest statement. Originally exhibited in
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829:. Kabakovâs building was ironically designed with less ambition than Tatlinâs but is far more functional.
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The text simultaneously directs the viewer's gaze to the sky and obstructs his view. Furthermore, as
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The Palace of Projects is an installation that was originally conceived in 1998 for
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The concept of the sky as a route to escape is used repeatedly by Kabakov.
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The concept of the monument is a motif used throughout Kabakov's oeuvre.
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Someone's Crawling Under the Floor (Someone's Crawling Under the Carpet)
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For a details regarding all of Kabakov's installations, please see:
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The Mental Institution or the Institute of Creative Research
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20 Ways to Get an Apple Listening to the Music of Mozart
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The Artist's Despair or the Conspiracy of the Untalented
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is a public project that was installed in 1997 for the
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The Man Who Never Threw Anything Away (The Garbage Man)
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The Palace of Culture in Fryasino (The Reading Room)
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In the Communal Kitchen: New Documents and Materials
797:is an installation that was erected in 1992 for
1005:, 2 volumes, DĂźsseldorf: Richter Verlag, 2003.
981:of 2000 was another installation shown at the
744:The Man Who Flew Into Space From His Apartment
154:The Man Who Flew Into Space From His Apartment
698:The Globe in a Different Topographical System
98:completed 155 installations between 1983â2000
8:
302:Monument to the Division of Normandie-Niemen
778:was exhibited in 1991 at the Kunsthalle in
238:He Lost His Mind, Undressed, Ran Away Naked
845:was a public project created in 1996 for
226:Incident in the Corridor near the Kitchen
100:, which were installed around the world.
82:Learn how and when to remove this message
694:Life and Creativity of Charles Rosenthal
258:Concert for a Blue Fly and Yellow Pencil
466:The Rope of Life and Other Instllations
1003:Ilya Kabakov: Installations 1983-2000
442:In the Apartment of Viktor Nikolaevich
762:The Man Who Never Threw Anything Away
654:The Observer (The Illuminated Window)
358:Incident at the Museum or Water Music
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686:'The Ring' - Day Five. The Day After
422:NOMA or The Moscow Conceptual Circle
338:52 Dialogues in the Communal Kitchen
969:are altered to address new issues.
827:Monument to the Third International
430:The Operating Room (Mother and Son)
370:In Memory of Pleasant Recollections
214:Old Furniture and Little White Men
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182:The Man Who Flew into His Picture
166:Concert for a Fly (Chamber Music)
55:needs to be edited to conform to
916:words, written in German, read:
658:The Weakening Voice (The Column)
562:Looking up, Reading the Words...
418:The Deserted School or School #6
366:Illustration as a Way to Survive
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871:Monument to a Lost Civilization
866:Monument to a Lost Civilization
682:Monument to a Lost Civilization
254:Seven Exhibitions of a Painting
574:The Hospital: Five Confessions
438:The Corridor of Two Banalities
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909:Looking Up, Reading the Words
889:Looking Up, Reading the Words
945:Conspiracy of the Untalented
638:The White Painting. Hospital
290:The Commentary of O. Egorova
270:I Will Return on April 12...
242:Labyrinth. My Mother's Album
162:The Underground Golden River
18:Kabakov's Installations
714:The Painting as Assignation
618:I Want to Go Back!(Reverse)
334:We Are Leaving Here Forever
53:. The specific problem is:
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594:Memorial to Useless Things
494:The First Image of the Car
458:This Will Happen Tomorrow!
49:to meet Knowledge (XXG)'s
642:Did You Know at Least...?
602:Four Minimalist Paintings
490:An Extraordinary Incident
274:Illustrations for a Bible
843:Monument to a Lost Glove
837:Monument to a Lost Glove
630:Two Windows (Two Tables)
614:The Painting on an Easel
522:Monument to a Lost Glove
278:My Motherland. The Flies
218:The Garden/In the Corner
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932:pleasures of reality.â
853:, to coincide with the
674:The Children's Hospital
598:Very Valuable Paintings
546:Treatment with Memories
454:Unfinished Installation
378:The Unhappened Dialogue
326:In the Communal Kitchen
266:Two Memories About Fear
250:Three Russian Paintings
150:The Rope Along the Edge
1019:Installation art works
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809:The Palace of Projects
586:The Palace of Projects
538:Voices Behind the Door
526:Healing with Paintings
298:Whose Are Those Wings?
222:Trousers in the Corner
922:or seen in your life.
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753:The Untalented Artist
718:Vibrators on the Wall
678:They Are Looking Down
646:And I Was Like You...
570:My Grandfather's Shed
550:The Fallen Chandelier
346:Three Green Paintings
186:The Untalented Artist
108:The series of albums
941:The Artistâs Despair
936:The Artist's Despair
706:The Arriving Archive
690:The Old Reading Room
514:The Artist's Library
322:Toilet in the Corner
314:Ripped Off Landscape
310:The Communal Kitchen
234:Exhibition of a Book
230:The Metaphysical Man
138:Intellectual Screens
64:improve this article
962:Where is Our Place?
952:Where is Our Place?
634:Catching the Rabbit
502:Toilet on the River
446:Unrealized Projects
406:The Boat of My Life
374:The Unhung Painting
1001:Stoos, Toni, ed.
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817:, an art space in
506:Music on the Water
474:The School Library
462:We Are Living Here
130:The Fly with Wings
913:Skulptur.Projekte
722:The Golden Apples
622:A Solemn Painting
402:Concert for a Fly
342:The Life of Flies
206:Children's Corner
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51:quality standards
42:This article may
16:(Redirected from
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726:50 Installations
710:The Happiest Man
590:16 Installations
558:We Were in Kyoto
486:Too Metaphysical
478:The Reading Room
398:The Red Pavilion
386:The Empty Museum
170:Box with Garbage
146:The Rope of Life
126:Little White Men
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228:, 1989; 28.
225:
224:, 1989; 27.
221:
220:, 1989; 26.
217:
216:, 1989; 25.
213:
212:, 1989; 24.
210:Three Nights
209:
208:, 1988; 23.
205:
204:, 1988; 22.
201:
200:, 1988; 21.
197:
196:, 1988; 20.
194:The Composer
193:
192:, 1988; 19.
189:
188:, 1988; 18.
185:
184:, 1988; 17.
181:
180:, 1988; 16.
177:
176:, 1988; 15.
173:
172:, 1986; 14.
169:
168:, 1986; 13.
165:
164:, 1985; 12.
161:
160:, 1985; 11.
157:
156:, 1985; 10.
153:
149:
145:
141:
137:
133:
129:
125:
121:
119:
109:
107:
96:Ilya Kabakov
94:
93:
78:
72:January 2017
69:
62:Please help
54:
43:
26:
650:Two Windows
582:The Meeting
518:On the Roof
360:, 1992 61.
282:The Targets
152:, 1985; 9.
148:, 1985; 8.
144:, 1985; 7.
140:, 1985; 6.
136:, 1984; 5.
132:, 1984; 4.
128:, 1983; 3.
124:, 1983; 2.
66:if you can.
993:References
977:Kabakov's
960:Kabakov's
815:Roundhouse
795:The Toilet
790:The Toilet
780:DĂźsseldorf
666:Old Bridge
470:Fallen Sky
354:The Toilet
330:The Bridge
142:Ten Albums
943:, or the
799:Documenta
776:Red Wagon
771:Red Wagon
426:For Sale!
1013:Category
734:Wordless
482:No Water
294:The Glue
158:The Ship
134:16 Ropes
44:require
902:MĂźnster
875:Palermo
784:Germany
740:, 2000
306:Repairs
122:The Ant
46:cleanup
851:France
823:Tatlin
819:London
803:Kassel
801:IX in
879:Italy
534:Wings
847:Lyon
116:List
900:in
825:âs
120:1.
1015::
877:,
855:G7
849:,
782:,
85:)
79:(
74:)
70:(
59:.
20:)
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