The project of Olga Kisseleva, Chronography, gathers a set of new works that extend the reflection of the artist over the society and more especially on time. After having explored the ‘biologic time’ and ‘individual time’ with the art piece It’s Time shown at the Louvre Lens and at the iIndustrial Biennale of Contemporary Art at Ekaterinburg, then the ‘economic time’ during her exposition Time is Money, Money is Time at the foundation Sabanci at Istanbul, the artist is gonna dig the time issue by approaching space-time continuum concept.
With her new exposition at Jozsa gallery, she will bring face to face the installations Time-Value and Particules Alimentaires. These two artworks analyses the consequences of the purely economic management of the world and time depending in which country we are.
The pictures of Particules Alimentaires, as flemish still-life coming from the 17th century, are compound by a whole bunch of articles, stolen from a supermarket by a person caught in the act. Each image is accompanied by an analyze of the thief profile written by a sociologist and an art historian.
Time-Value is a calculation considers the lifetime, the numbers of workings hours in a year, the safety index, … That allow a company to optimize the costs through the relocation of its production.
By showing those two installations in a same exposition Olga Kisseleva is pushing us in thinking about the consequences of the choices made by the actors of the society and their priority values. It’s with humor that the artist emphasizes a few incoherences of attitude, time perception, of the world or even ourselves when we are passing through the public area to the private area.
Tulipomania is a piece that sends back to the first economic crisis generated in the 17th century by the speculation. Two different times so two different space-time continiua are meeting in this artwork. This art piece is mixing former art with wall drawings of a tulip and new art with technologies and augmented reality.
The title of the exhibition Chronography finds all its meaning in a new version of the set CrossWorlds primarily build by the superposition of measuring tools of space and time.
At last, the series Contre Temps, develops from the performance, executed as part of the opening exhibition of the Louvre Lens, appears as a measure of time by space: a dance during 10 hours while a kilometer of red tissue is deployed all around the Louvre museum. This red tissue, thus disposed, creates the symbol of the infinite. This action accents the role of art which enables the ideas and the mind to cross or even to defeat the time and take them to infinity.