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Exhibition mixing contemporary and tribal art
In this exhibition mixing contemporary and tribal art, curatorial work was a kind of shamanic work of mixing natural energies. When we live with objects - we start to understand what it is. Some of them have more airy energy, like Camille Claus's graphic series, and some - are more earthy, like anonymous tribal art from several African regions, which was collected by us in Europe. To mix energies is to open a portal into our feelings, and new reality. Art is a portal to everything. Is it relevant to use art objects for shamanic rituals, or can a shamanic object become a part of the ritual? As part of duo, I can say - yes.

Working in the new genre of contemplorary art, mixing contemporary art and temple arts, me and Dimi Kalyn discovered a new approach to the art objects. What could be only a decoration or even a hook to the consciousness became something else. It can be applied, but in a different sense compared to applied art. Objects collect the energy of rituals but are made in the logic of contemporary art and seen by us with a respective mindset. When we make our installations we don't constantly think about the authenticity of our creation and unique production, it can be made from ready-mades - see the altar installation presented in this exhibition, New Moon Ritual. It was made originally in the Zürich field and was a part of a shamanic ritual aimed to connect both male and female energies with kundalini. There is always a hidden part in this art, that can be discovered when you use an installation directly for your own ceremonies. It is made to save the energy of ritual and open a door to it.

When we found several African objects in antique shops, we checked if the energy of the objects contains any dirty traces. It is hard to integrate energies that are too heavy, but feelings of an art collector touching something unique becomes easily imaginable. No matter if it is old or expensive, you feel the the vibrancy of things or you don't feel it.

Silkscreen prints of Camille Claus, the most famous painter of Alsace of the XX century, became a part of the exhibition not because of their level of shamanic potential, but because of the opposite quality. His fantasy landscapes are so airy and light as some of the best representatives of French art, that only these kinds of pieces can hold the space of true African objects with their natural materials, blackness, and truly ritualistic purposes.

Victoria Marchenkova

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