I met Andrei Molodkin a September evening when ' opening of a tunnel Milan. Andrei was born in Russia, St. Petersburg and worked for two years military service in Russian. During this period Molodkin has approached the practice of design, which achieves the same with those pens that are given to soldiers to write letters to their families. Realized in this way the great tele-posters that have overwhelmingly dominant figure as that of the skull, often associated with words of explicit reference to political and religious. "Who is afraid of the Democratic death" is the phrase that stands on one of these paintings, mural size that is two huge skulls, painted on a blue background and red. The reference to American country is made explicit by the choice colors that recall the U.S. flag as well as that of Russia. Also during the period of military service, Andrew decides to use his work to another medium, not just purely artistic oil.
The idea of \u200b\u200busing this black liquid, slimy and smelly, definitely comes from a few episodes of the military period, but has a particular meaning of explicit political valence. In
'work entitled "In God We Trust" Molodkin made two small Plexiglas sculptures representing Christ crucified: one is filled with red liquid, blood-red, and the other hand, is filled with oil. The two sculptures are connected by small tubes, a pump, just like the iris of the heart, pushes the liquid it contains, without ever an exchange that occurs between them. Everything is filmed by a CCTV camera and projected to the entire wall. To make the work even more common, the artist has a microphone connected to the pump, every time it pushes the liquid into the sculpture, the noise is amplified and transmitted on a regular basis, just like the beating of the heart. 'S work with its pumps and the mechanism of emptying and filling of the sculpture becomes a metaphor for a transfusion, as if oil was the blood of the earth, which infects at the same time gives life. The three-dimensional sculptural form and the dynamism of the oil that passes through them into metaphors for transformation and the dynamic tension between life and death. And 'as if there were a few references to the concept of resurrection, through the idea of \u200b\u200bblood, having stopped flowing in the veins, is transformed into another liquid, deep and eternal that sneaks into the arteries of the world.
In the other works ever with oil, Molodkin, use three-dimensional writing of various kinds: "Democracy," "Justice," "y € s", "$$", all symbols and words that refer to values \u200b\u200bin which the company today tend to believe, but today have become meaningless and empty, for Molodkin so the only way that these have to be able to recover the value is to be "filled" with the oil that flows like blood in his veins, assumes the importance of the heroine of the twentieth century. The materialist view of Molodkin embodies a criticism that may sound trite and repetitive, but is expressed by the artist in a new and very original. His sculptures, which have a vocation as a museum rather than from the gallery, have a strong visual impact, even if you can not share his thoughts and his complaint, one can not help but be impressed by the strength and the major artists of his work.
'work entitled "In God We Trust" Molodkin made two small Plexiglas sculptures representing Christ crucified: one is filled with red liquid, blood-red, and the other hand, is filled with oil. The two sculptures are connected by small tubes, a pump, just like the iris of the heart, pushes the liquid it contains, without ever an exchange that occurs between them. Everything is filmed by a CCTV camera and projected to the entire wall. To make the work even more common, the artist has a microphone connected to the pump, every time it pushes the liquid into the sculpture, the noise is amplified and transmitted on a regular basis, just like the beating of the heart. 'S work with its pumps and the mechanism of emptying and filling of the sculpture becomes a metaphor for a transfusion, as if oil was the blood of the earth, which infects at the same time gives life. The three-dimensional sculptural form and the dynamism of the oil that passes through them into metaphors for transformation and the dynamic tension between life and death. And 'as if there were a few references to the concept of resurrection, through the idea of \u200b\u200bblood, having stopped flowing in the veins, is transformed into another liquid, deep and eternal that sneaks into the arteries of the world.
In the other works ever with oil, Molodkin, use three-dimensional writing of various kinds: "Democracy," "Justice," "y € s", "$$", all symbols and words that refer to values \u200b\u200bin which the company today tend to believe, but today have become meaningless and empty, for Molodkin so the only way that these have to be able to recover the value is to be "filled" with the oil that flows like blood in his veins, assumes the importance of the heroine of the twentieth century. The materialist view of Molodkin embodies a criticism that may sound trite and repetitive, but is expressed by the artist in a new and very original. His sculptures, which have a vocation as a museum rather than from the gallery, have a strong visual impact, even if you can not share his thoughts and his complaint, one can not help but be impressed by the strength and the major artists of his work.
Anna Bernini
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