The exhibition takes place within the framework of the series of solo shows Camera Solitaria organized by the curator Svetlana Baskova at ISSMAG gallery, using one wall in a small space to present the work of artists. The curatorial restriction, which deals either with imprisonment in spatial constraint, or with the modernist plane, prompts from restraint to look for ways of creative ingenuity, loudness, overcoming. A wall as the repository of family history: the artist’s father’s bricolage of bookshelves, paintings, fishing gear, communist propaganda leaflets and exotic masks have been meticulously reassembled in their original arrangement in the Moscow gallery. Baskova points out this re-assemblage’s connections with mapping, a graphic principle that has become characteristic of the artist’s work over the past four years since her graduation from Baskova’s BAZA Institute, where conceptual fitting out with reductive procedures is programmatic to the educational process.
A neologism left behind by another fatherly figure here is the “history-made”. This was the term that Anatoly Osmolovsky, after Duchamp's ready-made, used to denote the time capsules of real socialism, like those Ian Ginzburg compiled from the interiors and object materiality of the later USSR, appropriating Ilya Kabakov’s total installations for mnemonic poetics at a time in which the devastation of real capitalism had become apparent. At the dawn of the 2010s, the mid-century modernism of wooden furniture, so overused by the “new bores” among Stas Shuripa’s adherents, acquired a localisation at the hands of Ginzburg in the writers’ villages and other habituses of cultural workers found within a 101-kilometre radius of Red Square. With Kudrina, it takes on a non-capital extraction too: adapted in hybrid form for Yakutia in the town of Lensk, founded in 1962, and now exported from a distant semi-colony.
To create something new, one has to abandon the claims to superiority of presentism and, on the contrary, recycle what has already been created, through immersion in the past. To become a citizen of the world, a universal spirit, one must renounce universalist homogeneity and accept one’s rootedness, limitations and prehistory. We refer here to being foresworn to restlessness far from the homeland, to the decreed abandonment of loved ones left unburied, to leaving the past without looking back. Being an important experience for those who hail from places far from the metropolitan centre, especially the more ethnically and culturally unique regions, this demands expression in the space of contemporary culture.