Steamboat Dionysius (2004), Seven Exercises (2004), Festive Dream (2005), March (2005), Intermissions of the Heart (2009)
Olga Chernysheva is a Russian artist, a participant in the Venice Biennale in 2001 and 2015, works in various media – video, photo, audio, graphics, painting. As part of the “Digital Exchange" project, The Pushkin Museum shows works that reveal the principal artistic method of Chernysheva – fixing a life of people, observing the moments of an artistic behavior, the aesthetics of events in which people are getting involved. The artist calls her work “social geometry”, singling out visual, ornamental dimensions of documentary video.
The longest work of the program “Steamboat Dionysius” (2004) shows a world that more than 15 years after the shooting provokes nostalgia. At the same time, this is a fixation of the eternal, enduring holiday regime. “Seven Exercises” (2004) are plain sketches of reality. Artist's heroes, skating or running across the road immersed in their thoughts act intuitively, caught off by the camera, which displaces them to the heart of the composition.
“Festive Dream” (2005) divides reality into the past and the present, fictional and real. The charm of this video novel is the establishment of connections between the characters, the vitalization of time and insignificant plots through the common poetics of the world comprehended intuitively. The next work, “March” (2005), as well builds on the contrast and discloses invisible dialogues. Characters exist in two different worlds, meeting in unexpected social conditions, they observe each other with interest.
And the last work of the program is “Intermissions of the Heart” (2009). Here artist interprets the work “Anchor, Another Anchor!” by the artist Pavel Fedotov. The video narrative expands the plot of the picture, showing the hidden sides of the routine actions of Fedotov's character. The poodle is distracted, a communication unfolds between him and the heroine interrupting the rhythm of the exercise. The game is not monotonous, the viewer begins to notice a counterpoint of documentary details of everyday life that emphasize the feeling of loneliness of the heroine. Instead of the winter landscape outside the window, the artist puts a TV that transmits interference – a pure and endless background of meditative isolation.