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[Works] |
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Syntopielabor
Featured works:
• System of Coordinates
• The inner Observatory
• Banderole 4000
• Lost Connection
• Networks
• Koenigsbergertafel
• The inner Crucifixion
Diamond-Graphite |
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Untitled 1997-2007, graphite, tissue samples, high-grade steel, aluminium [detail] |
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Untitled, 1997-2007, graphite, tissue samples, high-grade steel, aluminium, 438cm x 93,5cm x 5,5cm; diameter of graphite element 104cm x 4,5cm
installation view Kunstmuseum Bonn 2007-2008 |
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Pulverschrank, 1998-1999, graphite, tissue samples, 32cm x 80cm x 5cm |
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Inserted in a graphite block is a strip with the prints of the development of a human embryo.
This is a small, “pre-natal” history, yet a history completely discernible even against the background of
geological landslides, as it is the necessary constituent component of the processes of the realization of
life. The sensation of the unity of the temporal processes is upheld by the visual reference. This strip of
prints – a form of vertical chronological prospecting hole – looks like a vein or the impregnation of one layer
in the massive mineral bed of the other. |
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Pulverschrank II, 1998-1999, graphite, tissue samples, 50cm x 130cm x 5cm [detail] |
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Untitled, 2006, graphite, acryl, synthetic material, 3 elements, each one diameter 122cm x 6cm
installation view Kunstmuseum Bonn 2007-2008 |
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"For Sacharow-Ross, graphite represents a concentration, an objectification of this temporal issue. With
its transcendental connotations, the word “represents” is ideally suited for expressing his relationship with
graphite; the artistic (media), the natural scientific and the mystic are merged in one. In his mind, graphite is
a concentrate of life, a clot of fore-consciousness, the same “mute designative” of Derrida that the artist
summoned to deliver from “muteness”. Sacharow-Ross’ graphite blocks, beams and columns are objects of a “screen” type, prototypes of
mirrors, monitors, etc. The pressed millennia of organic life, permeated with the energies of fore-consciousness,
look at the viewer from these screens. Whether reflected or not, the artist links up with the remarkable
tradition of Russian philosophical poetry, linked to “geological” metaphors and expressed most consistently
in Osip Mandelstam’s Slate Ode – the imagery of which, in turn, accumulates in Derzhavin and Lermontov –
with its chain of flint, shale, lead, chalk and slate. In search of itself, culture turns back to the sources of
speech, where “the water teaches them and time sharpens them,” i.e. nature “teaches” or prepares a primordial,
sheep-and-goat culture, from which a “slate” or written culture emerges." |
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Untitled, 2006, graphite, brass, synthetic material, sound
installation view Kunstmuseum Bonn, 2007-2008 |
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The inner Mirror, 2006, graphite, high-grade steel, 250cm x 120cm x 8cm
installation view Museum Moderner Kunst Passau 2006 |
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Untitled, 1997, graphite, 200cm x 40.5cm x 7,2cm |
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"The connections are not depicted in a linear fashion, but in layers and points of transfer. For the first time, I show here a huge "negative mirror", consisting of six parts, that threatens to absorb all light. The finely polished graphite plates also are of such a quality that the beholder can never recognize himself, only other persons in the space. The black mirror thus emblematizes the recognition of the other, necessary for us to find ourselves. Metaphorically speaking, in the mass of graphite dust, compacted over huge spans of time, the history of the planet can be reawakened."
-Igor Sacharow-Ross in an interview with Dieter Buchhart (Curator, Art critic, director of Kunsthalle Krems)
[click here to read the whole article.]
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installation view Ludwig Museum in the State Russian Museum, St. Petersburg 2007 |
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installation view Heike Strelow Galerie, Frankfurt am Main 2008 - 2009 |
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