"Museum"
Kulik's projects of the last years Windows, Slogans, Museum of Nature or the New Paradise, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing fee, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing fee, as well as the new Museum are utopian and at the same time edificatory. If in Windows and Museum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing feeling that he stuffed the live and real women, with their recognisable attributes of Sportswomaneum of Nature a human figure intervenes in complex relations with it's own reflections, while in Museum the same figure suddenly regains full weight identity and volume through naturalistic waxwork.
This techique is well known in art, from Hanson to Mueck to the latest Cattelan's fallen Pope or Hitler. In all these cases, as well as in Mme Tussaulds museum or in earlier Kulik's project Tolstoy and Chicken, wax figures were used to simulate live people. In the new Kulik's Museum they are stuffed human bodies.
Kulik states that "culture has to be conservated as it was done to nature in zoological museums though not to preserve but expose the aggresiveness of culture". Hence the visible and apparent taxidermic sutures, that remind of museums where stuffed beasts stitched with coarse thread have to demonstrate the eternal, yet absent (due to human efforts) life. There's just one difference Kulik's museum is inhabited by strong and beautiful women in unexpected poses: one in a crisifix jump, another is hanged.
It's not a museum of sexual maniac, though it shows a definitely male attitude the artist referres to the well known thesis that cultural view by default is a male view. The suspended women are doomed to eternal agony, which is specific for museum. Although Kulik has museified the phantoms of mass culture, they still leave a depressing feeling that he stuffed the live and real women, with their recognisable attributes of Sportswoman, Actress, Madonna (braid, diaper dress, fake conical breast).
Museum is the next step in development of Kulik's utopian thesis that there's a zone of unconventional reality in art. Which reality allows to represents itself only when it is ultimately remote from accepted aesthetic rules.