Total Installation: 5 Famous Projects by Ilya Kabakov

Contents:

• "The Machine Gun and the Chickens"
• "The Trash Bin"
• "The Man Who Flew into Space from His Room"
• "The Red Wagon"
• "The Toilet"

Ilya Kabakov is a prominent Soviet and Russian artist known for his unique installations. His works occupy a prominent place in contemporary art, and several have achieved record prices at auction, becoming the most expensive works by Russian artists. Kabakov continues to exert a significant influence on the cultural scene, attracting the attention of collectors and art historians worldwide.

Kabakov was born in 1933 in Dnepropetrovsk, but during World War II, his family was evacuated to Samarkand. In 1943, he entered the art school at the Leningrad Institute of Painting. From 1945, Kabakov continued his studies at the Moscow Secondary Art School, and then transferred to the graphics department of the Surikov Institute.

Kabakov's career officially began in 1956, when he began working as an illustrator of children's books and magazines. However, for the artist himself, this activity was only a means of earning money.

Kabakov believed in his projects, which he created outside of his official work. In the 1960s, artists' studios emerged in Moscow, becoming centers of unofficial art. The works of these artists were not exhibited or discussed in the press, but it was here that creative experimentation and an exchange of ideas took place, in which Kabakov actively participated.

In his works of that time, the artist explored the life of the Soviet people using metaphors and irony. His style was characterized by schematic and primitivism, and graphic elements were complemented by original authorial texts, representing an innovative approach in art. This method allowed for a deeper understanding of the social and cultural aspects of existence in Soviet society, focusing on the inner world of man and his interaction with the surrounding reality.

In 1965, Ilya Kabakov's artwork was featured at the "Alternative Reality II" exhibition in Italy. This event marked an important step in popularizing his work outside the Soviet Union. Following this, Kabakov participated in exhibitions of unofficial Soviet art in Germany and Great Britain, which contributed to growing interest in his work internationally. With each new exhibition project, the artist's name became increasingly known in the art world.

In the 1970s, Ilya Kabakov began experimenting with installation, using everyday objects and trash to create conceptual works reflecting Soviet reality. Gradually, his small art objects evolved into large-scale projects and entire series, which Kabakov called total installations. These works not only raised questions about life in the USSR but also became an important part of contemporary art, attracting the attention of both critics and a wider audience. Kabakov continues to influence the art world, and his approach to installation remains relevant today.

In 1989, Ilya Kabakov received a scholarship from the German Academic Exchange Service and moved to Berlin. From this point on, his career began to actively develop beyond Russia. Nevertheless, reflections on Soviet reality remain the central theme of the installations of Ilya and Emilia Kabakov, with whom he began working in the late 1980s. Their works immerse viewers in a world where personal and collective memories intertwine, creating a unique atmosphere reflecting the complex aspects of life in the USSR.

Ilya Kabakov, a prominent artist and representative of Russian conceptualism, passed away on May 27, 2023. His work had a significant influence on contemporary art and became an important part of cultural heritage. Kabakov was known for his installations that explored themes of memory, history, and human existence. His works were exhibited in leading museums worldwide, and he became an icon of the Russian art scene. Ilya Kabakov's death left a deep mark on the hearts of his fans and colleagues, and his legacy continues to inspire new generations of artists.

We present several of the artist's projects, including both personal works and collaborations with his wife.

"Machine Gun and Chickens"

This is one of Ilya Kabakov's unofficial works, completed in the 1960s. A machine gun and chickens are depicted in gouache on a large plywood frame covered in canvas and unevenly plastered. This work is distinguished by its deliberate sloppiness and spontaneity, creating the effect of a child's drawing. Kabakov uses simple forms and vibrant colors to evoke an emotional response in the viewer, making this work significant in the context of his work and Russian art of the time.

Kabakov chose this form to directly and without complex analogies convey the feelings of underground artists during the Khrushchev Thaw. The chickens depicted in the recesses of the canvas symbolize the security they feel until they dare venture outside and find themselves under the gun's sights. This expression of vulnerability and fear experienced by artists at the time reflects an atmosphere of creative suppression and the search for freedom.

"Trash Box"

The theme of trash occupies a prominent place in the work of Ilya Kabakov. Trash, both literally and metaphorically, represents what fills a person's life, their everyday life, thoughts, and memories. In this installation, the artist presents the "treasures" of a fictional collector, which reflect the complex aspects of human existence and interaction with the environment. Kabakov explores how trash shapes our identity and memory, creating profound philosophical reflections on what we leave behind. This work draws attention to the importance of understanding one's place in the world and responsibility for the space around us.

At the center of the composition is a wooden box surrounded by old newspapers on which various objects are placed. The configuration of these objects has changed over time. Among them, you can see old shoes, dishes, brushes, shards, and paint cans - about 150 items in total. Each item is labeled with curse words instead of the traditional signature. A chair stands nearby, on which a list of all the items is placed. This installation creates a unique atmosphere, allowing the viewer to reflect on the meaning and value of forgotten objects.

On the one hand, these are real objects that shape a person's everyday life. On the other, they are a metaphor for the existence of various people who, by coincidence, find themselves in a confined space, such as a dormitory or communal apartment. Such places become an arena for interaction, communication, and mutual understanding, reflecting the diversity of characters and life stories.

"The Man Who Flew into Space from His Room"

This installation is part of the "Ten Characters" series and is made in the format of a full-scale communal apartment. Kabakov created some of the compositions back in the USSR, while others he created together with Emilia after emigrating. Visitors walked through a long corridor, peered into the rooms of various characters, learning their secrets and relationships through notes left behind, and were immersed in the oppressive atmosphere of communal living. The installation reflects the unique aspects of life in communal apartments, highlighting the social and psychological challenges faced by people in this housing format. The installation, "The Man Who Flew Into Space from His Room," is a compact space with posters adorning the walls. In the center is a wooden crossbar supported by two chairs and a spring structure, presumably used by the character to leave his room and launch himself into space, breaking through the ceiling. The floor is strewn with small pieces of plaster, and the ceiling features a round hole through which light filters in. This installation evokes reflections on the desire for freedom and dreams of flight, creating a unique atmosphere that invites immersion in a fantasy world.

"The Red Carriage"

This is a large-scale installation by the Kabakovs that illustrates the history of the Soviet Union from its inception to its collapse. The project was presented in Düsseldorf just a few months before the end of the USSR, which makes it particularly significant in the context of this historical era. The installation showcases key moments and changes that occurred in the country, reflecting both the achievements and challenges of the Soviet era. The Kabakovs' works contribute to a deep understanding of the Soviet legacy and its impact on modern times.

In front of the entrance to the carriage is a complex wooden structure, reminiscent of scaffolding, with a staircase leading upward. This is not only the beginning of the exhibition, but also a symbol of the hopes and ambitious plans that arose at the dawn of the Soviet Union. The structure captures the spirit of the times, when many ideas and projects were being realized, personifying society's desire for progress and change.

The exterior of the carriage is decorated with paintings reflecting key moments in Soviet history. Inside, a large illustration depicts an idealized future. It depicts a prosperous Soviet Union, where avant-garde architecture harmoniously coexists with vast, cultivated fields. Hot air balloons and airships soar majestically above the city, symbolizing the combination of technology, agriculture, and culture. Viewers are invited to contemplate this bright future while seated on a dark brown wooden bench. However, upon exiting the carriage, they are confronted by a contrasting pile of construction debris, highlighting the gap between ideal and reality. The "Red Carriage" installation is part of the collection of the Hermitage General Staff Building. It is currently undergoing restoration, temporarily suspending its accessibility to visitors. This unique work attracts attention with its artistic concept and historical significance. Once the restoration is complete, the installation will once again delight viewers and become an important highlight of the Hermitage's exhibition program.

"Toilet"

Ilya and Emilia Kabakov presented their total installation at the Documenta contemporary art exhibition in Germany. In Kassel, next to the historic Fridericianum museum, a small concrete structure was installed, representing a typical Soviet public toilet of the 1950s-1970s. However, the interior of this toilet proved unexpected and provocative, offering viewers a unique experience of Soviet culture and architecture. The installation was divided into two parts with separate entrances for men and women. Inside, three toilet stalls were located, separated by doorless partitions with holes in the floor. Next to them was the furnishings of a simple and cozy Soviet living room: a sofa with soft cushions, a set dining table, a wardrobe, a painting on the wall, and a chair with some clothes left behind. This composition creates an atmosphere that reflects everyday life, and the contrast between the functionality of the toilet cubicles and the coziness of the living room highlights the complex aspects of human intimacy and public space.

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