Author: Vyacheslav (Yura) Useinov
Co-author: Alexander Mikhailov
This installation project is realized as the object of a gold pantheon, which is based on the history of the alleged fact described in Miroslava Stingl's book The Mystery of the Pyramids. In the 18th century in Peru, during the conquistadors, Colonel Laros found a treasure with golden butterflies, they were of amazing beauty and possessed aerodynamic properties. Each butterfly was not heavier than one gram. Colonel Laros melted all the butterflies into gold bars, leaving none of them. This historical evidence is very similar to the myth, actualizes the moral problems of human values already in our modern world.
The meaning of the project is not to moralize about good and evil, but to bring forth sincere regret and longing for lost beauty. This project is addressed directly to us to our psychological choice, from which our everyday mores of the social state flow. Natalkivaya viewer on the visual perception, he fixes his own substance of hidden values. In this lies the ferment between evil and good, which in some ways is universal for both the East and the West. Appealing to Peruvian history, I use the postmodern method as a necessary tool, enticing another mythology in the Central Asian context. But in fact, this is an actual gesture for our Uzbek reality, where the "Pantheon of Gold" exacerbates, first of all, moral issues. But it is also a hint of architectural "pantheons" erected in Tashkent and throughout our country type of the Palace of forums, which are built in the style of the East-Stalin empire. This project, as a barometer of the state of mind, registers our silence and powerlessness before the ruling elite in the post-Soviet existence, which is already similar to the foundations of a feudal, communal and clan society. In the proposed object, it is important for me to focus on the reception of linguistic aberration to sharpen the question between the meaning of the irrational idea of the world, the paradigm of irrepressible human greed, money-grubbing, its greed and aggression, so to indicate the question of the meaning or senselessness of negative deeds. Assuming at first glance the formative context of a rather detached narrative narrative, as a certain display strategy, I build a semiotic tangle of proportionality of every detail, showing the grave cult of the likelihood of linguistic trance, thus pointing to the not-visible side of leper tranquility, which, in general, characterizes the reigning The atmosphere of the psychological condition of people in Uzbekistan.
The project will look like this. A rectangular black cube whose design should be desirable from some dense material, thin plywood or thin sheet metal, or at worst a black, dense cellophane. On the perimeter of the cube will be cut through butterflies, and the interior will consist of consecration, pedestal "head of Laros", and ingots of gold. Dimensions of the cube: width 300cm. Length 300cm. Height 300 cm. In its cavity under bright consecration will be placed on black wooden decking 12 gold ingots denoting their form coffins (imitation of plaster). Throughout the black cube's plane, chaotic cuts of butterflies are cut in a chaotic order so that from the outside the viewer can look inside the cube through these silhouette slits of butterflies and look at the gold bars and on the head of Colonel Laros in a bronze imitation that will be placed on a clay Podium. The light that will come from the inner space of the cube, it will light in a slightly muted room light texture. The closed decoration of the golden tranquility will be concentrated in the silhouette emptiness of every butterfly killed by Colonel Laros, and this is the truth of what was done.
The installation project "Pantheon of gold" was tested in Tashkent in October 2010.
Translator: Google Translate
The prototype of the image of Colonel Laros in this sculpture was a butcher with the nickname "Hungry" from the Alai Bazaar in Tashkent.