This project alludes to the bygones of the past, outside the ideology of the portrayed similarity, outside the circumstances of social tension, outside is the subordination of social status, but only in a vague impulse to behold an emanation of the last century in its selectness, to capture the stay of the individual who has already quit the world in the atmosphere of the passed. Who and what he was once:  worker, intellectual, commissar, basmach, communist, etc.  does not matter, because  canvasses in the silk-screen technique are, according to Fergana culturologist Alexander Ivanovich Kuprin, a testifying fact of the art itself in its providential substance when the native is higher than the true and just, by transfer of the image to the publicity, so that it could become, for at least someone, a part of time regained. As Rilke said, "once means now". The project "The sepia of non-mention" as an object of exposition in the exhibition hall establishes a kind of a script of photographic anonymity of authorship in the gap between the historical and mythological existence. It is almost a humble will of supreme powers to slightly open to us the fleetingness of the last perception of the world in the point of what it once was with you in the body of the father, mother, close friends and relatives. In addition, black and white fluids in the screen visibility of sheets are in the renovated print in the elusive intention of contemporary art to assign a certain place of fixedness, where a mark of the instantaneous becomes a message of possible.

Thereby, the facial statics of photos dissected by the anonymity of scratches, swellings, cut-downs and negligence of darkening stains awakens by the figurativeness of ordinary tranquility and genuineness of the inescapable everyday practice. We hear a man's voice on the air of the exhibition "broadcasting" from the loudspeaker aluminum case; he focuses the nimbus of the hospitable-to-strangers case in the amalgam of faded photos. His reading reproduces the effect of visual navigation on the other side of the event, "where the things agreed before you to be considered as the other." In addition, the voiced performance relays the call signs of the poetic text again and again and mimetically reproduces the metaphorics of a fragment from Jean Cocteau's film "Orpheus". It should be noted that the pixel grid of the stencil print on the surface of bleached coarse calico sort of directs the fleshliness of fabric tissues to be a match for the biblical shroud or the grave-clothes of a forgotten Sufi and seems to be likened to an empty shot which keeps the starched heat of first love. In a rectangular hall, a telegraph pole leaning against the metal frame of the red bicycle and a stumpy hanging of sheets on the clothesline keep within an object conception of the visibility of the installation as a mystery of  place in the eventlessness  of an old courtyard, this is  a response, bringing to us a documentary look around in the cavity of the warmth of the widespread reticence. Peering into the whitishness of the images you invariably recognize a distance of unattainable proximity of  simple things welcomed by a shape-generation force of the creative act, which, in fact, every time changes in a new way  the optics and the very understanding of the subjects. This project consists in the idea of the necessity to fix a sign of the very impossibility of art to influence anything and in the urgency of the poetic voluntarism to recode itself in the sources of the same vibration. This is the internal sharpening of the photographic matter involved in waiting for the inevitable moment when the cooing air will manifest itself by the face of growing dusky sepia. On top of all, in one of the photos, I remember, there was a wooden porch, which was not even noticed in childhood , and only after a long span of time you suddenly realize that it was a donation of an  imperceptible flash in the then sensation of your parents and loved ones. The sunlight, the gate, the yard, neighbors, the red dog called Keshka,  the vineyard twining on the roof of the house, the room cool in the summer heat, a ditch on the side of the road, withered grass along the sidewalk, a  corner of the house at the intersection of the quiet streets, unhurried conversation with a friend etc. These signs have uttered into our mouths a momentary this-sidedness of the dust patronized by the dust itself in the offering of our appearance at the altar  of the with a portrait semblance to the others and the  Other.

The text by Vyacheslav (Yura) Useinov edited by Shamshad Abdullayev.

Project by Vyacheslav  Useinov and Shamshad Abdullayev.

Translator: Natalya Nadolskaya

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