Order No. 184

BENIGN DUPLICATES

Book
Softcover, 200×260 mm, 128 pages, first edition of 10 copies. English.
Gluschenkoizdat, 2019.
〈...〉 In writing down his every step, Kozakov remains unknowable, like outer space — the conquest of which he devotes so much attention to in his notes. Who is he? A man of the ‘60s? An intellectual wretch? Your father’s older brother? Anti-Semite? Loser? Poet? Extraterrestrial? The diary is clearly not intended for anyone else to read: Kozakov writes it for himself and remains hermitically sealed within its text, exposing the reader to the principal and tragic impenetrability of “the Other.” Kozakov’s peculiar relationship with reality has no parallel in today’s world. It is like a message in a bottle that he sent not 50, but 500 years ago 〈...〉 Maria Kuvshinova, “A Little Life”


Museum der bildenden Künste Leipzig

»VENEZ«. WILLKOMMEN IM IDEAL

Installation

“The group exhibition marking the 15th Marion Ermer Prize for the promotion of young contemporary artists in eastern Germany features work by the award-winners Fine Bieler, Ronny Bulik, Kirill Gluschenko and Jana Schulz. The four artists convinced the jury with their entries in the fields of photography, installation and video art.”
“Endowed with prize money of EUR 5,000 each, the award — which includes a group exhibition and four individual catalogues dedicated to the award-winners — is again being held in cooperation with the MdbK.”

Curated by Elizabeth Youngman

Marion-Ermer Stiftung
Museum der bildenden Kunste Leipzig
Elizabeth Youngman, “On Behalf of Gluschenkoizdat”: Kirill Gluschenko is not only an artist but also the founder and sole employee of the Gluschenkoizdat publishing house. This, at first glance, is not an unusual combination in the art world. But the publishing house is fictional, although it is all too real in the life and work of the artist. His works are commissioned by Gluschenkoizdat. He does not travel as an artist to the places where his works are created, but as the publisher's representative. Gluschenko thus establishes a constructed framework for himself in which he pursues his artistic work. The artist orientates himself on the Soviet publishing industry of the 1960s to 1980s and, according to his perceptions, tries to recreate the working conditions of the time as authentically as possible. He travels primarily on regional trains and stays in hotels from the Soviet era. Since 2010 Gluschenko publishes his works under the name Gluschenkoizdat and thereby allows his fictitious publishing house to appear in public. As an artist, he sometimes withdraws entirely behind it. However, the playful choice of the name (a combination of his surname Gluschenko with the Russian “izdat” as the final syllable—the short form of “Izdatelstvo,” which means “publishing house” and was part of many earlier Soviet publishing house names) always enables ascription. Read more...

Order No. 169

VENETS. INTRODUCTION

Video
Introduction to “Venets” project for the exhibition “Marion-Ermer Preis” at Museum der bildenden Künste Leipzig.

“…The Moscow train pulls into Ulyanovsk early in the morning. These days the city welcomes you with bustling streets and squares, the courtyards and guardians the scarlet shade of leaves that have not yet fallen, the mirrored vitrines of shops, and a myriad of new buildings. If there’s anything particularly characteristic of Ulya­novsk’s new look, it is the construction cranes and scaffolding.”
V-A-C Venice

VENETS. ASCENSION TO ‘OLYMPUS’

Installation

Heading off on assignment, an employee of Gluschenkoizdat spent seventeen days in the ‘Venets’ Hotel. During this time, the correspondent stayed one night in a room on each floor, working his way up floor-by-floor from the bottom to the top, until at last, on New Year’s Eve, he reached the recently-opened rooftop bar, ‘Olympus’.
Hotel ‘Venets’ was part of a larger complex of buildings, that were specially constructed to mark the anniversary in Ulyanovsk, a small Soviet town formerly known as Simbirsk, renamed in honour of its most famous son, Lenin (born Ulyanov). A photo album discovered amid the archives of the local history museum, published by the Leningrad architects who designed the hotel, contained photographs of the hotel when it first opened, revealing its original interiors. During its 47 years of operation, the hotel underwent many distinct renovations. For ‘SAPCE FORCE CONSTRUCTION’, I used one of these photographs as a reference for reconstructing a three-room luxury suite within the palazzo in Venice. Accompanying this is a selection of postcards featuring photographs of today’s Ulyanovsk, titled Ascension to ‘Olympus’ (a rooftop bar called ‘Olympus’ recently opened in the Venets.). These images capture my experience of travelling to Ulyanovsk on the eve of the centennial anniversary of the October Revolution. Checking into the hotel, I worked my way up from the first floor to the very top, spending one night in each room, until at last, on New Year’s Eve, I reached ‘Olympus’.