March 5, Gallery XL opens an exhibition of Moscow artist and director Evgeniy Granilshchikov "Weakness." The name of the exhibition refers to the video of the same name presented in the exhibition. In addition to the two video works, the exhibition will show the objects and drawings of the author.
Evgeniy Granilshchikov - a graduate of the Institute of Journalism and Literary Art (2009) and the Moscow School of Photography and Multimedia named after A. Rodchenko (2010-2013). Winner of the Kandinsky Prize (2013) in the nomination "Young Artist. Project of the Year ”, winner of the goEast film festival in Wiesbaden (2016), finalist of the Innovation award (2014, 2015). The artist's personal exhibitions were held at the Manezh Central Exhibition Hall (“Something will be lost”, 2014), the Multimedia Art Museum (Untitled (after defeats), 2016) and the Winzavod Center for Contemporary Art (“The Last Song of the Evening”, the White Workshop, 2018).
“Three years ago I wrote a small script: it reproduces the dialogue between the director and actress,” says Granilshchikov. - In this dialogue, my heroes constantly touched upon the topics of power, vulnerability, time and time loops, discussed ethics and political cinema. Now it's time to visualize this text. True, everything will be a little more complicated than I say.
According to the director, the idea of “Weakness” has been hatched for several years. His initial idea appeared almost by chance and changed many times until it finally formed. Friends of the artist - Anna Filiptseva and Vladimir Nadein - became heroes of the project. Since the work of Granilshchikov balances on the verge of staged and documentary photography, the author avoids calling his performers “actors”.
As the artist says, this project has no direct connection with the previous ones, however, all the works of Granilshchikov are somehow connected with each other. Their characteristic features (non-linearity of the plot, ragged rhythm and vague tension permeating everything that happens) are usually combined with the characters' discourses on acute social and, on the contrary, deeply personal themes. The technical features of the shooting for Granilshchikov are also tools that allow to emphasize the ordinary or exclusive history. In “Weakness”, such filming nuances will also play a special role, however, the author is in no hurry to talk about this in more detail and calls it a “secret” that the spectator himself has to solve.