Victor Alimpiev

May 15 — June 3, 2015


“Fucking language!” — actresses turn their heads like two chess horses. Ran into each other, they switch their places, and the action goes on. Words change the order of things leaving the world completely modified — pawn, having reached the edge of the chessboard, becomes the queen. Words turn into actions that shape the world; words are the traces of life. 

The universe, being the most complicated system has a quality of emergence — unpredictability. At the same time, the universe is structured by the fractal rules — it means, that one mathematical operation underlies the whole existence. Repeated infinitely, it organizes all the matter we see: the trees, the seashores — all of nature. The world is a result of repentance, the result of the unfolding of the pleats of the world’s substance. Every little piece of the latter, due to the fractal rules, refers to its general arrangement thus offering to see the infinity. The infinity talks to us in many ways: with a water drop, with the queen’s move in a chess play, with the words: ‘I love you’. And what’s more, infinity talks on the language of art, and on its behalf. Not every artwork, but the subtlest one, meaning, the most autonomous, might approach the uninterrupted existence.

The new work of Victor Alimpiev “Innocent” is a one-channel video in a vertical format. All alone, like all the matter in the young universe, three actresses move in the space and sing monologues. They are to find their moral — the logic of behavior that, according to the “three-body problem” in celestial mechanics, is fundamentally unpredictable. The trajectories of their movements twist, their strange emotions twirl. Is that the sorrow or a secret rebellion, and that eyes sparkling with tears? Why is she silent? And who is SHE?

“She will not tell!”

But she will look at us.

Hours of rehearsal and notes covered with writing; as a result — 10 minutes 37 seconds of a new gravitation. The effect of muscle tremble frozen in eternity, the analogue of a motor empathy for sculpture, is the state that Victor aspires to achieve. He twirls the spins of the electrons; he puts the matter with a help of a word. The first push — the condition the artist suggested — gives the synergetic effect: unpredictable is the system behavior and the way the actresses will act. They themselves, not knowing it though, water the seas and crash the earth plates — they build the world the only way it will exist. In that sense the works of Victor Alimpiev achieve the utter autonomy. They contain the whole world, as it is and it was, including our not born children and dead grandfathers. Fucking language!