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— "Рulviculture".
Jacob (Chkalovsk), Chairock (Nizhny Novgorod), When (Nizhny Novgorod), Stop (Nizhny Novgorod), Stas Dobry (Moscow), 0331c (Moscow), April, 2011.

"Pulviculture" is an experimental work of six artists from Nizhniy Novgorod and Moscow. This is the first experience of cooperation for all the participants which is also interesting for the fact that some of them usually work by themselves. This experiment is about improvisation, an attemp to add their "voice" to the shared "canvas" of the composition like jazz musicians usually do. This work is also remarkable for being extremelly laborous and detailed it will be removed faster than usual underlining the ephemerality of street art nature.

Basic concept of all the paticipants from Nizhniy Novgorod is declaration of collective work process and collaboration. As a trend, collaboration is the main alternative for "classic" principle of team work which is a combination of several styles within a common background; creation of a single composition according to an agreed sketch with precisely differentiated responsibilities etc. which lets to fulfil the potential of the authors. This helps each of them to influence the process and the result cooperating with each other.

Taking into consideration the beforementioned it should be clear that the experiment and the process prevail the content of the authors' works. The work within the project is not an exeption. The authors are more interested in the attempts to find the connections between several various artistic approaches, mechanisms of decisionmaking, circumstances of the creation process and obtainable experience than the results and the ideas. This way the authors research the egocentrism phenomenon in street art contrasting with the collaboration principle.

The title is a word-play of "pulvi" (powder, ash — lat.) and "pulverizer" (a tool based on airbrushing principle, an analog of graffiti spraycan). I.e. all the created and painted will sooner or later be turned into ash, gone with the wind like the paint of a spraycan.

The theme of the work refers to the narrative about industrial and traditional society dichotomy. It was expressed by a mechanical installation and a ritual bull with a shaman colliding within an eternal contest on the rain summoning field. The cities are also divided into an "industrial" (with sandwich-board people) and a "natural" one (with people as forest dvellers and leaves faded from the heat). To the right from the cities over the abandoned forest there is an image of an owl guarding the abandoned ghost town — some forgotten treasure — which observes the contest that lasts eternally. This is a story about permanent struggle of creative and destructive, industrial and natural, personal and collective.

Text by Andrey Tseluiko.

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