Text: Alexander Dashevsky
The River of Time Project Does not Tolerate Ice is an exhibition triptych reflecting on what questions art in a commercial gallery answers (has answered and probably will answer), how to show it, and what relationships it enters into when it crosses the gallery threshold in one direction or another. How ideas about fashionable, respectable, expensive, prestigious, modern, daring, permissible change. About how a ray of fame and success wanders over the heads of artists, about how oblivion turns into demand, and annoying inappropriate junk becomes an invaluable legacy of a classic in a matter of months. How the works are whispered in the darkness of the gallery storage. Who buys art and why. The project is built in the form of successive iterations: the curator alternately collects three different narratives in the exhibition space, using the works of artists with whom the Marina Gisich Gallery has collaborated since its foundation, collaborates and, possibly, plans to collaborate.
The final third part is called "The Garden versus the city." It is dedicated to those who see the act of acquiring art as a social statement. Those who wish to broadcast their views, taste, values, perspective and focus to their contemporaries and descendants. Those who assemble a large whole from individual works, those who return the corrected art history to the professionals and the audience with their own hands. For those who see collecting as a mission, a challenge, a vocation, a duty, a destiny. And generously, orbi et urbi, tells about his journey. At the same time, it is an exhibition about the stage where everyone involved in the field of art performs. It is about a discrete proteic space that constantly gathers and loses its cultural identity. About a city that becomes an auditorium, about its inhabitants, to whom the artist's and collector's messages are ultimately addressed.
