"My Project: The Viewer Takes Their Time." A Conversation with Irina Korina

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Irina Korina's project entitled "The Nature of Things. "Update" is on display at BoscoVesna until August 1st.

A unique exhibition can be found at the shopping center on Arbat Street. This combination of diverse installations, located both inside and outside the building, is organized like a literary work, with each chapter reflecting the author's reflections on the connections between the natural and artificial worlds. In a conversation with us, the artist shared how this project differs from traditional museum and street art, and also talked about who makes up her audience.

An artist from Russia, winner of the Innovation Prize in two nominations, participated in the Venice Biennale, and was one of the highlights of the 2023 Archstoyanie festival.

Key symbols in the work include spring, the onset of a thaw, and the architectural details of an ancient estate. What is the connection between these images?

— I sought to tap into the memories of each individual. These are wonderful trips out of town, during which you can see classic architectural landmarks. The artists added images of plants, foliage, people—everything that originally comes from nature. For me, the presence of elements that connect culture with the surrounding world is of great importance.

One of the works is called "April 14th." What events took place on this day?

— This is a truly wonderful question, which captures the essence of the entire study, as April 14th was marked by many significant events. First of all, a huge number of people were born on this day. Among them, we can highlight such personalities as Denis Fonvizin, Viktor Borisov-Musatov, as well as Lydia Vertinskaya, a talented artist and actress, Vertinsky's wife, and Pyotr Mamonov.

On April 14, 1912, the Titanic collided with an iceberg, while in 1923, the Nauka publishing house was founded, and in 1927, the first Volvo car rolled off the assembly line in Gothenburg, Sweden.

The essence of my work is that every detail matters.

My project explores the idea of ​​a lack of hierarchy, where nothing is more important or less significant. April 14th has a unique meaning for each person. I find this date especially beautiful. Since the project is focused on spring, one of the elements is called “April 14th.”

— You classify spaces into “protected” and "Unprotected." What does this distinction mean?

— A "protected" space is a pre-arranged setting. It's an interaction between the artist and the public, where people get to know each other. It's not a chance encounter between strangers on the street who strike up a spontaneous conversation. On the contrary, the participants in this dialogue are already prepared for the possibility of communication.

I'd like to share my thoughts on interaction with the viewer. At the moment, I'm not ready to undertake street projects in places that are already saturated with urban drama. I prefer an atmosphere where the viewer is open to encountering art. I haven't yet found my voice in this specific genre of street art and I'm not sure how to approach it.

— How is the audience prepared to perceive your works of art at BoscoVesna?

— I think it's a unique and very exciting situation. First of all, this space, in my opinion, symbolizes safety. I was once impressed by the beauty of the galleries in Bologna. This architectural phenomenon has become an integral part of the culture. These colonnades were built in collaboration with shop owners, which gives them special significance.

This protection from rain and sun creates a comfortable environment for passersby, allowing them to take their time and not seek shelter indoors, but to move calmly between the different shops. On the one hand, it is attractive, and on the other, it provides the necessary protection. I like that the BoscoVesna store is accessible to pedestrians. There is no need to purchase a ticket here, as is the case in museums or art galleries.

Thus, I came to the conclusion that this place can be viewed as a unique architectural structure, perhaps as ancient ruins or another open public space that anyone can enter. I found this to be a comfortable environment for communication.

What is the profile of the audience for this project?

— These are people, who are not in a hurry.

I would like to see people of all ages among them. For example, I see travelers who have arrived in the city. Spending a whole day walking can be quite exhausting. So they strive to find an opportunity to relax in some cozy place and simply enjoy the surrounding views.

This could be someone who doesn't plan to make any purchases. Perhaps they're parents with children, tired or sheltering from the rain. Or simply those lounging around or waiting for an appointment. In any case, these are people who aren't in a hurry.

— How important is consistency in the workflow?

— To be honest, no. I'd like these to be elements that you can stumble upon unexpectedly and assemble into a collection. That is, as you move through the different floors, you can find fragments of the project in a variety of places. It doesn't matter if something goes unnoticed or is discovered in a different order. The main thing is that the viewer can use their imagination.

The titles of each "chapter" are easily recognizable and correspond to traditional literary canons. You instantly recognize that they belong to a novel or a collection of short stories. These elements are the building blocks from which a story can emerge that anyone can create on their own.

— What genres can be distinguished in this work?

First of all, I thought of all the theatrical experiments that have become popular in recent years, including various wandering performances and other innovative formats where the active participation of the audience is a key element.

The genre of this work is largely beyond my control. Initially, I thought that creating a full-fledged story required poetic talent or the support of poets. However, in reality, it can be both a comedy and a tragedy. Ultimately, the choice is up to the audience.

How do works of art interact with their surrounding environment, in particular with the interior of the store?

— I adore hanging fabrics with their unique texture. I love the way large masses of clothes in a variety of shades are located around, each with its own texture. I wanted to camouflage and conceal my pieces so they wouldn't be immediately noticed, but rather stumble upon unexpectedly.

Therefore, I'm using a variety of fabrics created specifically for this project. These materials are based on my phone photos of spring fields at my dacha. These fabrics could also be used to create unique outfits. They are hung, form amazing draperies and fit harmoniously into the interior of the store.

— With what Did you encounter any challenges during the project preparation process?

In my work, I often collaborate with museums and galleries, using a variety of materials. My projects incorporate textiles, welded iron, and prefabricated items. All of these elements are created with the help of various contractors.

This project presented certain challenges, as the BoscoVesna shopping center served as a museum. Bringing together such a large number of contractors responsible for creating exhibits proved to be quite a challenge. Typically, such issues are handled by museum professionals. It was a complex process, and I am truly grateful that we were able to pull it off.

My favorite company, Aerodinamika, has created impressive inflatable sculptures. This company has been producing standard inflatable equipment for many years, which is in demand by a number of commercial organizations, and actively collaborates with a variety of artists. Some work with metal, others create pieces from foam. They also have a theater troupe that sews soft sets. Combining all these directions turned out to be not so easy, but in the end we succeeded.

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