Exhibition

ANIZOTROPIA

We stand in wonder at the gates of Being, undeterred by the sufferings of the world. From the perspective of the here and now, unrestrainedly Being-in-the-world, how to reconcile these all the varieties of the experience of time? Subject, object, place, world, cosmos, infinity, chaos. If we were to disentangle the difficult correlations between subject and object/thought and being, and their internal contradictions, from the pure reality of things Doing-in-the-world, and the anachronistic dogma of aesthetics, what kind of objects would issue forth? The apodixis of an object would be in itself an ideal form, circling back to the platonic tradition.

Arie Amaya-Akkermans 

We stand in wonder at the gates of Being, undeterred by the sufferings of the world. From the perspective of the here and now, unrestrainedly Being-in-the-world, how to reconcile these all the varieties of the experience of time? Subject, object, place, world, cosmos, infinity, chaos. If we were to disentangle the difficult correlations between subject and object/thought and being, and their internal contradictions, from the pure reality of things Doing-in-the-world, and the anachronistic dogma of aesthetics, what kind of objects would issue forth? The apodixis of an object would be in itself an ideal form, circling back to the Platonic tradition. The only gateway to escape from the burden of time, of death, is the world of myth – the eternal return: In Anizotropia, Valentin Korzhov returns to the origin of Chaos, Hesiod’s theogony, where Cronus, a primary divinity, also identified with unending duration, prior to Cosmos, begets Aether, Chaos and the Night as spirit-matter, the bound and infinite, from which everything springs, equipped with ‘neither limit nor foundation’. In this world of ancestrality, matter is ready-at-hand in the Heideggerian sense of thrown-ness, and unmediated existence coalesces with truthfulness. These sculptural interventions might not appear logical from the perspective of linear time, but insofar as they have broken the correctness of representation at the heart of the Western tradition, they do not speak of abstraction or figuration, but of present-ness – simultaneously existing in different tenses, in the underlying tensions of the hypokeimenon but without a reference to fall back upon. Without future or past, speaking from a primeval void, these creative acts move through an ethereal space, not grounded in mathematical surfaces or in the regimes of historical consciousness; they’re not grounded in general. The unconscious shines forth from the source of the mystery, throwing us upon the most vertiginous truth: Freedom is a foundation that doesn’t found.

Arie Amaya-Akkermans

The title anisotropy itself comes from the Greek concept of place – a topos, towards which everything moves along invisible trajectories, forming an anisotropic space (ánisos – unequal and tróроs – direction) in order for the thing to become itself once it has completed its motion. So, on the one hand, this is the tradition of the Russian avant-garde and the ideal world of Plato’s ideas, which, Tatlin also saw. In Tatlin’s Tower of the 3rd International, one can, in essence, see the music of the spheres of Pythagoras and Platonic bodies. And on the other hand, there is Heidegger with his metaphysics of form.

Valentin Korzhov

Untitled 12, 2020
Optic fiberglass, сeramic urinal, stainless steel, polyurethane
185 x 55 x 23 cm

Untitled 2, 2019
Optic fiberglass, stainless steel, concrete
120 x 100 x 60 cm

Worst of all, if we do obtain any leisure from
the body’s claims and turn to some line of inquiry, the body intrudes once more into our investigations, interrupting, disturbing, distracting, and preventing us from getting a glimpse of the truth. We are in fact convinced that if we are ever to have pure knowledge of anything, we must get rid of the body and contemplate things by themselves with the soul by itself. It seems, to judge from the argument, that the wisdom which we desire and upon which we profess to have set our hearts will be attainable only when we are dead, and not in our lifetime.

Plato, The Phaedo

Untitled 12, 2020
Optic fiberglass, сeramic urinal, stainless steel, polyurethane
185 x 55 x 23 cm

Made with Cappasity

In the Russian avant-garde tradition, Tatlin is of immense significance for me, and the International Tower is a continual source of ideas and a subject for the contemplation. I think it’s a transcendental portal into a world of platonic philosophy.

Valentin Korzhov
Iconic Tatlin Tower or The Monument to the Third International by Vladimir Tatlin (1920-21). Never Constructed except in model form (Building the Revolution: Soviet Architecture and Art 1915-1935, Jean-Louis Cohen, Royal Academy Publications, 2011)

The world reveals itself, and the artist only catches the opportunity to fix it in the material. Reflection begins after the work has been created. Reflection on the work and the thought processes that commence around it, become my reality.

Valentin Korzhov

Untitled 11, 2020
Stainless steel, concrete
48 x 42 x 30 cm

Made with Cappasity

You spoke about the meaning … of our … life… the selflessness of art … Take music, say … It’s the least connected with realities of life, or, rather, if it’s connected, then it’s without any ideology, it’s connected mechanically, an empty sound, without … without associations. But nevertheless, music, in some miraculous way, gets through to your very soul … Something resonates within us in response to the harmony of noises provided, does it not? And transforms it, for us, into a source of exalted ecstasy? And unites! And stuns! What’s all this needed for?!  … and, most importantly, for whom!? You reply: for no one, to no end, it’s just … impersonal…
Of course not …After all, everything in the final analysis has its own meaning … meaning, and cause…

FROM THE FILM STALKER, DIRECTOR ANDREY TARKOVSKY (1979)

Untitled 8, 2020
Optic fiberglass, сeramic urinal, stainless steel, polyurethane
185 x 120 x 95 cm 

Made with Cappasity

So, in a way, each completed work is an experiment in which, at the start, you don’t know what will come out to be a dominant – colour, shape or some random combinations, solutions, or perhaps texture will come to the fore.

Valentin Korzhov
Henry Moore (1898-1986), Working Model for Three Piece No. 3: Vertebrae, Christies

The modernism era, for me, is captured by the works of Henry Moore, and to my mind, as a sculptor, this is the absolute quintessence
of the formation of form.

Valentin Korzhov

Untitled 5, 2019
Stainless steel, concrete
220 x 150 x 80 cm

So, what we see in the objects is a play and drama of a form and the formlessness, the well-ordered and chaotic, the senseless and intelligible, absurd and logical (proportional). There is also an allusion to Plato’s elements (fire, water, earth, ether).

Valentin Korzhov

Untitled 13, 2020
Fiberglass, concrete, metal, glass, faux fur
100 x 63 x 45 cm

From the dark opening of the worn insides of the shoes the toilsome tread of the worker stares forth. In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of the wintry field. This equipment is pervaded by uncomplaining anxiety as to the certainty of bread, the wordless joy of having once more withstood want, the trembling before the impending childbed and shivering at the surrounding menace of death. This equipment belongs to the earth, and it is protected in the world of the peasant woman. From out of this protected belonging the equipment itself rises to its resting-within-itself.”

Martin Heidegger, The Origin of the Work of Art (1935)
A Pair of Shoes, Vincent Van Gogh, 1886

Untitled 1, 2019
Optic fiberglass, stainless steel, concrete
120 x 100 x 60 cm

Made with Cappasity

The use of a readymade refers to the presence of that very archetypical origin in our daily routine. Having a Heidegger’s look at the porous brick, we can see the earth (clay), the burn (fire), and the parallelogram (the development of a cube), and the rhythm of archaic geometry as a bore (hole) and the golden ratio with proportion as a basis. The work also has other readymade artifacts of the present day, which have the reflection of that blow (Cronus) and the energy of the sleeping chaos.

Valentin Korzhov 

Untitled 7, 2020
Optic fiberglass, ceramic sink, stainless steel
225 x 200 x 95 cm

Made with Cappasity

Anisotropy is the turning inside out of objects
in an attempt to discover within them
their ontological foundation.

Valentin Korzhov

Exhibition Catalogue

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