Час не чує, але він чекає на нас. On the nth Ground of the 6th Ocean: Ocean-Sensing Practices
Performance by Kirill Savchenkov (Russia)
How do we understand the consequences of the relationship between toxic content and our emotions? In his performance “Час не чує, але він чекає на нас. On the nth Ground of the 6th Ocean: Ocean-Sensing Practices,” Kirill Savchenkov examines the process of vicarious trauma formation as a result of selective terror employment and distribution of information about it. Profound impact of the witnessing experience in the ocean of data in social and digital media has changed the role of the disorder in everyday life. Pseudomorphism of the military and the civilian has engaged emotions as a tool of irregular information conflict where politics becomes the continuation of war, not the other way round. Savchenkov addresses social media texts containing memories of the victims of tortures and executive authorities’ despotism as well as William Turner’s poem that was placed next to his painting “The Slave Ship” (1840) dedicated to the Zong slave ship massacre in 1781. The performer’s speech in a dialogue with the Foucault pendulum in the KPI library — a marker demonstrating the Earth’s rotation — is the act of testifying the past but endlessly recollected experience.
Kirill Savchenkov (born 1987, Moscow) works with various media including performance, installation, and video. He has been a lecturer at Rodchenko Art School in Moscow since 2013. In 2019, he took part in the Time, Forward! (V-A-C Zattere, Venice) exhibition curated by Omar Kholeif and Maria Kramar. He participated in the 12th Gwangju Biennale and the 4th Ural Industrial Biennial of Contemporary Art. In 2017, he presented his solo exhibition Office of Sensitive Activities/ Applications Group supported by V-A-C Foundation at Moscow Museum of Modern Art. In 2016, he presented the Museum of Skateboarding as part of the Power and Architecture program (Calvert22, London). He was awarded a New Generation Prize at the Innovation Prize art awards in Russia, and received a stipend of Garage Museum of Contemporary Art.