The Rose Has Teeth in The Mouth of The Beast

Brescia - 07/02/2015 : 31/03/2015

Mostra collettiva dal titolo "The Rose Has Teeth in The Mouth of The Beast".

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APG SRL
Piazza Tebaldo Brusato 35 - Brescia 25121 - I
Tel e Fax + 39 030 3758554
www.apalazzo.net - [email protected]
THE ROSE HAS TEETH IN THE MOUTH OF THE BEAST
curated by Andrey Parshikov
The Rose Has Teeth in The Mouth of The Beast is an enigmatic, imaginatively catchy, and, therefore, totally
absurd, or let’s say, non-sense quotation from the Part II of Wittgenstein’s «Philosophical Investigations».
This phrase comes from the synonymic “pain in someone else’s body”, pointing that, in fact, “ one has no
notion in advance where to look for teeth in a rose”

Besides the eternal question mark, raised up much
further in relativist doctrine, “what seems totally logical and what — absurd due to the human linguistic
apparatus”, the poetics of these phrases and metaphors goes deeper into the dark and decadent context in
cultural scene of fin de siècle and first decades of 20th century. Lots of occult movements, which appeared at
that time, sought for completely new, synthetic ways to explain, how it happened that the present state of
things came to that flickering and unstable existance, on the very edge of a global catastrophe.
German expressionism at that time is one of the best examples of how art explores the world, pertaining the
nature of supernatural power. “Mysticism and magic, the dark forces to which Germans have always been
more than willing to commit themselves, had flourished in the face of death on the battlefields. The
hecatombs of young men fallen in the flower of their youth seemed to nourish the grim nostalgia of the
survivors. And the ghosts which had haunted the German Romantics revived, like the shades of Hades after
draughts of blood” (Lotte H. Eisner's The Haunted Screen, 1952). And the point of this dark revolution in
culture and philosophy is the point of changing the wind. Due to historical narratives, as we can see them
from the present perspective, the political wind in the geographical centers of mystical, occult, demonological
fascinations changed far to the right. The individualistic, eschatological doctrines which tried to convince it’s
potential adept in their advantages of perceiving the world and it’s processes in non-materialistic way,
developed in opposition to the socialistic and Marxist theories, disputing their from the most essential points.
One of these was so-called “interior vision”. According to Kasimir Edschmid, the important cognitive tools of
expressionists are visions. “The chain of facts: factories, houses, illness, prostitutes, screams, hunger” does
not really exist - there is only interior vision those sights provoke. The aim of the artist is “to grasp what is
behind them”.
Coming closer to the times we do live in, to the gaze we use to analyze the different systems operating the
world, we can claim that modus operandi of the political mood turning to the right all around is again facing
us to the interior vision of the artists. When the reality is giving the artistic community the new task to think
further than the materialistic movements and post-Marxist analysis, when the regime of the slow-motion
apocalypse moves the spectators and actors to the other states of life, and, at last, when the Icelandic
government legalizes elves, then the artists and theorists think again of the «New Escapologies» (C. Esche),
of the interior vision, of the conspirology and supernatural processes, and, of course, imagine apocalypse
and the ways of dealing with post-apocalypse new world order.
Alexandra Sukhareva is working with the historical narratives of the occult sciences, researching its ecstatic
schemes and real actors. She builds the interiors, which can reproduce the mystical memories of the past,
and examines hysteria as a real phenomenon, taking its roots in the dark times of the distant past when
science and faith were going hand by hand, giving the only possible experience of the real cognitive
practices.
Chiara Fumai, the High Priestess of the Coven in contemporary art, elaborates the historical connections
between occultism, feminism and leftist movements, such as Trozkism. Her performances and collages
investigate the role of women and its development in this slow-motion apocalypse, positioning the question,
what truth is waiting afterwards.
Susan MacWilliam is a real scholar and researcher of the paranormal activities and its history. Where the
poltergeist comes from, how and why some people see it, what the real mediums know and feel, and what
scientific tools can help the ordinary people to take a look beyond the materialistic reality — these are the
questions within a field in which her art is placed.APG SRL
Piazza Tebaldo Brusato 35 - Brescia 25121 - I
Tel e Fax + 39 030 3758554
www.apalazzo.net - [email protected]
Doctor Wolfgang Hauptman II who is an Alter Ego of a well-known American artist Lisi Raskin, is working
with traumas of the previous Cold War, as we agree that we have a new one evolving right now. As a
psychoanalytic he works with people who have the fears of the USSR secret weapon of mass-destruction,
which they think was used and is still somehow present in the atmosphere of East-Coast.
Shifra Kazhdan, a transgender artist, who had suppressed her real personality for many years, shows the
series of drawings, based on the TV news about the premillennarian religious sect of people who lived
somewhere in Siberia under the ground waiting for the Apocalypse for a long time, and the tragedies which
happened to them.
Florian Aschka and Larissa Kopp in their photo project create a mythological figure of a contemporary
queer narcissus in a creepy and uncanny environment, closely related to the examples from the classical
paintings.
The artists on show would create a space for the viewer, which should emancipate them not only through the
different temporality, but with also through the cognitive tools and questions, putting together Crowlean
brothers and sisters of right and left hands in order to examine the potential of non-materialistic research in
present days.
Opening: Saturday 7 February from 6:30 pm
7 February – 31 March
Andrey Parshikov (born in 1985 in Moscow region, USSR) is a moscow-based curator and art-critic.
He has made numerous exhibitions in Russia, US and Europe, including Underneath the Street, the Beach in
Fondazione Sandretto Re-Rebaudengo, We Have Nothing that is Ours Except Time, in the second district of
Vienna city, open air, I Remember It Differently from You in MUZEON park of Arts in Moscow, Great
Repression in White Box gallery in New York during Armory Show and in SB gallery in Paris during la Nuit
Blanche, Ultra-New Materiality in Moscow Museum of Modern Art in Moscow and Contemporary City
Foundation and many others.
His texts were published in Springerin magazine, Manifesta Journal, Moscow Art Magazine, Art Chronicles
magazine, Openspace.ru web-site. He made residencies in fondazione Sandretto Re-Rebaudengo in Turin,
Tranzit. at in Vienna, studied in the class of Maria Lind and Juan Gaitan in Salzburg.