Grisha Bruskin “An Archaeologist’s Collection” VENICE BIENNALE 56th INTERNATIONAL EXHIBITION OF ART Collateral Event

The 56th Venice Biennale – according to the statements of the Director Enwezor – returns to confront decisively with the debris of history of the last centuries, with the incessant change of ideologies; to measure, through the language of art that represent it, the deep concern of the past that accumulates and destroys. “The collection of an archaeologist,” the project of the Russian artist Grisha Bruskin housed in the former church of Santa Caterina, the most relevant Collateral Events of this year, if only for the international prestige that accompanies Bruskin now for several decades, is inscribed in a very relevant in this scenario.
The origins of this complex installation are to be found in the vast painting imposed Bruskin the attention of critics and audiences outside of his country: it is “fundamental Lexicon” (“Fundamental’nyj leksikon”, 1986), the ‘ visual archive of over 250 Soviet normotipi humanity. What then could look like the fresco of anthropology immutable it turned out, just a few years later, the analytical evidence of an empire suddenly disappeared, a system collapsed and imploded.
From its boundless heading of “characters” Bruskin after the collapse of the USSR (1991) has made a series of statues, almost life-size. The then crushed, melted bronze fragments that considered most relevant, has them buried in the Tuscan countryside, next to an Etruscan necropolis, and after three years he has organized a veritable campaign of archaeological excavations (with special surveys on ‘ oxidation of the exhibits) to bring them to light. This is what we will see in the Venice exhibition. An archaeological site perfectly ordered, that trace the apparent order of power and the concrete clutter of history.

Grisha Bruskin
< >