Artists statement

Lada Nakonechna builds her multipartite installations and arranges her objects in a specific way so that they integrate the whole space, including the visitors in that space. The artist’s interest is in the structure of social relationships, the mutual dependence between acting and viewing and the perceptions and roles of art in them. She creates “spaces of the possible” in the territory of art, in which these relations can develop, reveal themselves, and clarify themselves.
Lada Nakonechna conceived her new work “Mobile Portable Model” (Mobil’naya Perenosnaya Model) especially for the gallery EIGEN + ART. Here she places a metal tower that sheds light in the center of the gallery. By resembling a lighthouse, the tower first leads to itself. But since it illuminates the surrounding area like a watchtower, it leads our gaze away from itself.

The lighthouse points to a specific site. This site is a site of wishes, an island in the sea of uncertainty, helplessness, and loneliness. The lighthouse brings one to land, even lures one to it, and is itself a sign of hope for people in their fragmented and atomized world – a world ruled by fear. The tower, in contrast, has the effect of a promise to defend personal security against danger.
Placed in the middle of the gallery, the tower also points to this concrete site, a site of stability. It appears that, with the remnants of its welfare state, Europe is still able to guarantee its citizens certainty for the next day and to give them a feeling of security.
But the light from the lighthouse falls on walls, unmistakably pointing to boundaries that raise doubts about the legitimacy of the center: is it perhaps only an imagined, constructed, and cherished wish on the part of those who placed it in this center?
The lighthouse occupies the center. Apart from dreams and hopes, there is nothing here. Our uncritical attitude, born of fear, makes us prisoners of the four walls; we sit in a trap of our own making. It seems as if the viewer has no choice except to follow the logic of the system. But at the same time, he is unwilling to subordinate himself to it.
Without people around it, the construction in the gallery is meaningless, nothing but a set of metal objects. Even the mechanism within the work comes from people. The ideas on which social relationships are based serve oppression and exploitation. As long as the distribution of roles is predetermined, the center dictates its rules; and as long as the boundaries clearly determine relationships, your fate depends on the side of the boundary on which you are located.
Lada Nakonechna draws parallels between a different understanding of boundaries, the center, and angles of view, always depending on their specific context. She asks, “How can mechanisms, instruments, and methods applied in art help us to understand a system of social relationships? In art there is not an idea of a stable center and a periphery that depends on it; art does not fetter itself to any fundamental, exclusive way of viewing things as a rule. Every artistic whole propounds its own, self-determined perspective that thereby in turn takes into consideration the plurality of positions and perspectives.

Art has a long history of extending its boundaries. And now that, as it seems, art suffuses all spheres of life, working with boundaries takes on another character. Drawing boundaries and taking centers as methodological assumptions allows us to bracket away knowledge, to concentrate on some particular area, or to provoke a conflict therein, in order to display the resulting relationships. But one can also encounter other ways of seeing things, for example, by breaking loose from a borderline situation.
The set of tools that art develops, and art’s competence, cannot be shifted to any other area; such a thought lies outside the set framework and understanding and refuses the clichés uncritically produced by sociocultural institutions. Intellectual work’s means of production are inalienable and have to be liberated from service to police goals.
The emancipatory potential inherent to art, which does not submit to the general system of competition and the free market, can be used as an exit from the closed circle of eternal subject-object power relations, in which the exploited tries to take over the role of the exploiter. We are speaking of a new kind of relationship that grows outside of the customary system of subordination, but which has no center and no periphery.