Dissociation
Exhibition Dates: 01 Dec 2011 - 01 Jan 2012
One day, Zhuanzi dreamed that he was a butterfly. And when Zhuanzi woke up, he couldn't realize who he was? Zhuang Tzu who dreamed he was a butterfly? Or a butterfly who dreamed he was Zhuangzi?
If Zhuang Tzu had gone to a psychotherapist with such a question, then after an examination (including the “butterflies” of the Rorschach test), a diagnosis would have been made: dissociative disorder.
Dissociation means disintegration. Complex structures disintegrate into simple components that do not remember their kinship.
Hamlet, the Prince of Denmark, succinctly defined this state: “The time is out of joint”. The time is out of joint. Or - “the days are out of joint”.
Andrei Babchinsky is by no means Hamlet. For him, asking “how can I connect their fragments” is not a question. “In the postmodern era, the witty combination of different stylistic and multi-temporal techniques has become the norm for some artists,” writes the author, who quite solidarizes with this position. Babchinsky is not burdened by Hamlet's obligation to “correct the dislocated time”. He plays with historical and authorial styles like a child plays with cubes - easily and with pleasure.
I would advise you to start viewing the exhibition with “Swastika”. But not in order to recall the meanings of the ancient solar sign, or to pay attention to the “labyrinthine” structure of this work, which is popular in postmodernism.
If Zhuang Tzu had gone to a psychotherapist with such a question, then after an examination (including the “butterflies” of the Rorschach test), a diagnosis would have been made: dissociative disorder.
Dissociation means disintegration. Complex structures disintegrate into simple components that do not remember their kinship.
Hamlet, the Prince of Denmark, succinctly defined this state: “The time is out of joint”. The time is out of joint. Or - “the days are out of joint”.
Andrei Babchinsky is by no means Hamlet. For him, asking “how can I connect their fragments” is not a question. “In the postmodern era, the witty combination of different stylistic and multi-temporal techniques has become the norm for some artists,” writes the author, who quite solidarizes with this position. Babchinsky is not burdened by Hamlet's obligation to “correct the dislocated time”. He plays with historical and authorial styles like a child plays with cubes - easily and with pleasure.
I would advise you to start viewing the exhibition with “Swastika”. But not in order to recall the meanings of the ancient solar sign, or to pay attention to the “labyrinthine” structure of this work, which is popular in postmodernism.
