LUGANSK DIESEL LOCOMOTIVE
6.11 - 19.11.2007
The desire of the art gallery named “Tzeh” to get the conception on the vivid product in the form of industrial characteristics is obvious. Moreover, who else, but the habitats of Vorowilovgrad, can assist in that? After all, every Lugansk citizen has a genetically disposition to be a diesel locomotive operator. Let us tell everything one after another. A very great history of our town is closely concerned with locomotive factory, or else the way locals say “OR” (“The plant of October Revolution”). A heavy machinery-construction ORganically mixed up with destiny of town people, and with some time this connection started to show up not only in domestic, manufacturing and social-political relationships, but put some certain stamp on aesthetic opinion and brought specific various moments in formation of local urban mythology. The other symbolic stuff of Lugansk – its geographical belongings – a river, which named the town itself. It turned out that Lugan (a river’s name) begin being a natural boarder that divides the city and the factory. First appeared the river, then the factory, after that the city and then Me.Derkach – that is the sequence of objects in the situation. It seems that Jaroslav has nothing to do with it. However, the events order of this story: October revolution – locomotive- artist Derkach, who confesses in his works a doctrine of creative impulse, which changes the reality – “dezorientieren art”. In general, we could talk about the ideas and thesis of this artistic phenomenon from the position of different lifestyles and from any point of view. Especially, in the direct meeting-point of sleepers and railings, as a symbolist aspect of combining the visual abstraction of another-being with the industrial pragmatism of factory routine that is separately expressed in the archaic of technological commandment of the junction ways. The railings of contemporary art – its two steel flat bars, which bring the passenger parallel to the islands of being, that flashes like destination points thru the buzz of railway crowd and the silence of not yet cultured landscape. The perspective leads gauges into one point on the horizon line. The route lays parallel to life and transversely to space. The concreteness of this picture in every certain moment in fact is the conditional visualization of the matter of being, the aim of traveling. The phenomenon of highway sample is based on the grating of metal and wood, the crossroad of rails and the rank of sleepers, with the smell of downtrodden ecology by the human’s activity –the beams are sodden by creosote, the substance, in which name and meaning combine a well-founded manufactory idea with an insanity of creative rush. From all this stuff made a dash line of wheel din, which always accompanies the train run. A travel drumming, a trip rattle– this sound reflects an acoustic side of excitement around scandalous premiere of contemporary art. A ticket for all this shows is a railroad ticket – a license for travel romantics in the carriage of dezorientiren art. This receipt today look too bureaucratic, you cannot send it by mail to a friend that left on the platform instead of the arrival card to the destination place. In addition, except this ticket is the other following documentation, for example, the pass - a machinery construction engineer ID. Here is a task of this exhibition – to force, to persuade or at least to bring attention of the ministry of junction ways for the travel documents design. To change it by taking on its basis the paintings of the Lugansk artist, the workers of the famous “OR” plant compatriot. His creative works inspired by heavy machinery building and pierced by their precepts. Let us take, for example, a canvas “The wheels of joy” where the transport bacchanalia of phallus-centrism is saturated of a hometown factory vanity. Or else, a picture “Jora and the hammer” - it is a portrait of the real character, who works on the factory. Heroic working force appears thru inexpressive everyday routine, dissolving in itself architecture and instruments of manufacture process. None of the careful details of soc realism, by all its eloquent detailed elaboration, do not allow to open to the spectator those mysterious mechanism of being, the way the miracle of approximate reflecting of archetypes of absolute and caricaturist flipping of the reality in the style of Me.Derkach does . A false ski-track of the traditional art loses to true iron main line of Contemporary-art. Citizens do not notice the unseen presence of machinery hangar in each yard of Lugansk, and that is why a hidden motive of the mass backward and general waste not revealed to them. The city separated in two camps by this principle: the first are those who realize the horror of industrial influence and stand it; the others – are those, who cannot see and do not accept the main social aspect and lives used by the system and using it itself. Some are Me.Derkach and other friendly migrants, who form “TorchPotrebSojuz”. The others – it is the rest is hellding company “Luganskblednovoz”. The course of thought in the channel of this idea divides the psychological space of the Lugansk city in two halves, the same way as the river Lugan separates the city and the factory in the reality of geographical landscape.