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Essay 30. juli 2005
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Essay: Darwin my Friend

Sergei Sviatchenko, visual artist and director of Senko Studio in Viborg are showing his new exhibition "Darwin my friend" in the italien Galleria Arturarte. In this essay the curator of the exhibition Maurizio Coccia elaburates on Sergei's art.

Text: Maurizio Coccia, director of Trevi Flash Art Museum for contemporary art
Photo: Massimo Lupoli and Sergei Sviatchenko

The exhibition " Darwin – my friend" is on at Galleria Arturarte, Nepi, Italy from 23. June until 23. September 2005

Click here for Danish version
Charles Darwin and Sergei Sviatchenko
The evolution theory of Darwin has been, until quite recently, object of many heated polemics. And still today, in certain obscurantist ranges of society, it has not been perfectly assimilated. But the discussion of its physiological and metaphysical aspects is not important to us in this place. What we need to focus our attention on, instead, are the concepts of variation, hereditary transmission, adaptation.
The term "evolution" does not only apply to matter and biology, but also to conscience, binding itself to the idea of time. As a matter of fact, the concrete interior experience of the flowing of time affirms itself as "duration", that is compenetration of states of conscience in an amalgam in continuous evolution, that we normally call memory.
The work of Sergei Sviatchenko seems at first sight to betray its derivation from the historical avantgardes, particularly from Constructivism. But more than the technique (collage), or a certain formalistic taste, what  links him to that movement is the tendency towards an informative and not representative art, that has to be able to establish a circuit of intentional communication between the author and the public.
In this show, however, there are at least two elements that define the originality of Sviatchenko. In the first place, the stratification of heterogeneous material, typical of the collage, becomes annihilated by the photographical reproduction of the original material. And then, the jumps between scales, that modify spatial capacity with disproportionate images, almost as if, through their dimensions and articulations, to search for an unheard of three-dimensionality.
It proceeds through allusive figurations. Big representations that follow one another in a discontinuous rhythm. Geometrical forms of a flat chromatism. Photographic samples like imprecise cuttings from enormous magazines. And on everything, behind everything, the threatening clot of dominant red.It is a sequence of flashbacks, not a linear story. It is a visualization of a suffered oscillation between nature and humanity.
Now it is clear: we are inside a flux of conscience. And the flowing of thought doesn't respect the grammatical rules. The syntax jumps and the words, maimed, melt together.
Our conscience feeds on memory. Memory is the accumulation of the accidental variations that are useful for survival. The variations are transmitted to our descendants. The descendants, because of these characters risen from natural selection, are stronger (adjusted) than those who preceded them.
Sergei Sviatchenko informs us, in real time, of his personal effusion of memory and experience.
Music for the exhibition is composed by Alessandro Gabin
Related links:
Galleria Arturarte - www.arturarte.com
Senko Studio - www.senko.dk
  Related articles:
Interview: Senko Studio and Kforumvienna. By Elena Basteri
Interview: Aldo Giannotti. By Hans Henrik Jakobsen
Portrait af Sergei Sviatchenko. By Hans Henrik Jacobsen
Essay: Senko Studio 3 år. By Jan Falk Borup
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