‘Jewel’ at Art Basel

In a generally downbeat review of this year’s Art Basel, the critic Ari Akkermans describes Pepperstein as a ‘jewel’ among a lot of dying and dead stars: “Amid tons upon tons of repetitive work, there were some unexpected jewels to be found. These included the paintings and drawings of Russian conceptualist Pavel Pepperstein at Kewenig”.  The full article can be read here: http://hyperallergic.com/306912/hints-of-the-real-world-in-art-basels-elitist-bubble/

pepperstein-art basel 2016

Pepperstein-Art Basel 2
(Both photos by Yelena Walker)

New exhibition “The Suprematic Bible” @ Loushy | Art & Projects

Pepperstein-Suprematic Bible 1
Image © Pavel Pepperstein

Pepperstein-Suprematic Bible 2
Image © Pavel Pepperstein

Pepperstein-Suprematic Bible 4
Image © Pavel Pepperstein

The exhibition will be open until 24 July 2016

Loushy   | Art & Projects  www.loushy.com

 

 

Pepperstein @ ArtBasel 2016

Pepperstein’s primary dealer Kewenig Galerie displayed several of his works at ArtBasel 2016. The works here below, Endless American Flag and Khrushchev’s Speech to the UN General Assembly, deal with the theme of cold war politics and are suggestive of the posturing and self-aggrandisement which accompanied US-Soviet relations in contemporary history.

HyperFocal: 0

Endless American Flag on the Moon, acryl on canvas, 150 x 200 cm, 2015

 

HyperFocal: 0

Khrushchev’s Speech to the UN General Assembly, acryl on canvas, 150 x 200 cm, 2015

Images © Pavel Pepperstein. Photo by Eric Tschernow, Berlin

Kewenig Galerie, Art Basel 15-18 June, Hall 2.0/D5 https://www.artbasel.com/catalog/gallery/

“Memory is over”- new exhibition at PLATO – platform for contemporary art, Ostrava

Pepperstein-Memory is over, exhibition view 1
Image © PLATO, Ostrava

Pepperstein-Memory is over, exhibition view 2
Image © PLATO, Ostrava

Pepperstein-Memory is over, exhibition view 3
Image © PLATO, Ostrava

The exhibition will be open until 21 August 2016.

Pavel Pepperštejn:

 

 

Galerie Iragui presents Pepperstein at Art Brussels 2016

A History of Futuristic Hallucinations.

In this series, curated by Pepperstein’s Moscow-based dealer Galerie Iragui, various personages from the past (saints, slaves, neanderthals, Ancient Roman senators, frauleins, Indian and Buddhist ascetics, exalted ladies of the 19th century, British colonial generals, Russian cosmists, prostitutes, monks, kings and the like) are captured in those thrilling moments in their lives when a vision of the distant future opens up before them. The result is a meditation on the connexions between different periods of time, between dates in the past and in the future – connexions which harness the hallucinatory potential of the human consciousness.

OLYMPUS DIGITAL CAMERAImage © Pavel Pepperstein

The images of the future appear suddenly and unexpectedly, of no apparent use to anybody, and yet manage to bluntly interject themselves into the aesthetic fabric of everyday life, bringing with them elements of other aesthetic codes. Before our eyes the symbolic languages that have been partially forgotten, the languages that we have largely lost the ability to understand, intertwine with languages of which we know nothing and about which we can only have a foreboding. A suprema or a shell floating up from the depths of an ocean can both be a mode of transport allowing the past and the future to consort with one another behind the back of the present moment, which is all too bewitched by itself.

Text © Pavel Pepperstein, 31.01.2016

OLYMPUS DIGITAL CAMERA  Image © Pavel Pepperstein

Galerie Iraguie, Art Brussels 21-24 April 2016, Booth A12. http://www.iragui.com/en/Artists

Pepperstein Expands into the Fashion World

Russian Vogue recently visited the studio of Pavel Pepperstein, in Moscow, to document his new and exciting foray into the world of high-fashion. Pepperstein has launched his brand – ‘Pepperstein’ – and is thrilled to be expanding his talents into the fashion-scene.

WELL_Peppershtein _#VG04-2016-21.indd

Pepperstein and his muse Kseniya Dranysh (dress: Monument to the Yellow Colour) in his Moscow studio.

Image©Vogue Russia

Pepperstein-Vogue 1, 2016

Pepperstein’s bold and unique style. From left to right: dress: Column; dress: Fir-tree; jacket: Future-Landscape

Image©Vogue Russia

Exhibition at ‘Ekaterina’ in Moscow

Works by Pepperstein are on display at an exhibition of contemporary Russian art at the Art Fund ‘Ekaterina’ in Moscow. ‘Ekaterina’ is the personal collection of Vladimir & Ekaterina Seminikhin. The fund owns several works by Pepperstein including Flag on the landscape and America. In a recent interview Vladimir Seminikhin said: “Pepperstein is undoubtedly gifted…and it is clear that he holds a unique place in the history of Russian art”.

The exhibition will run until 31st July: http://www.ekaterina-foundation.ru/rus/

 

 

 

 

Permanent Pepperstein wall-painting at the Hermitage

The Hermitage Museum in St Petersburg has added a wall-painting by Pepperstein to its permanent collection. The work is called ‘The Convict’ (Уголовник). The painting was originally produced on canvas for his solo exhibition at Pace London. When the renowned curator Kasper Konig saw it, he asked Pepperstein to reproduce it on the wall at Mainfesta 10 in 2014. Hermitage liked it so much they decided to acquire it from the artist and keep it permanently on display. (The original is now in a private collection).

Pepperstein-Convinct. Manifesta 10. 2014Image © Pavel Pepperstein

 

‘Hunters of the marble heads’ – Pepperstein exhibition at The Russian Academy of Fine Arts Museum, St Petersburg

Pepperstein-Hunters of the Marble heads-1

Hunters of the marble heads (archaeology of the future).

In about 50 years from now (i.e. somewhere in 2066) people all over the world will start finding in the most unexpected places marble heads, like fragments of some graven image. The attention of researchers will immediately be drawn to the following circumstances:

  1. It will be impossible to establish when the heads (the so-called ‘x heads’) were made, even using the most advanced technology.
  2. Even though the heads will look like they have broken off from statues, nobody will be able to find the other parts of the marble body.

An entire caste of seekers of these mysterious heads will spring up and enter the collective consciousness as ‘the hunters of the marble heads’. Many violent and not so violent disputes will break out over the discoveries. Scientists and other curiously-minded folk will put forward a variety of hypotheses about the heads, some quite audacious. One hypothesis will say these heads are not from the past but from the future. Another version will claim that the ‘x heads’ are the work of aliens. But it will remain unclear why aliens, or people of the future, had needed to flood the Earth with these fragmentary sculptures. The number of heads found will steadily increase, ‘x head’ museums will appear in different cities across the world, and a market will emerge where these strange artefacts, possessing neither author nor history, will circulate.

The lack of legend associated with these pseudo fragments will be offset by the influence that the ‘x heads’ will assume over real people. By getting close to the heads the sick will be cured whilst some will claim that physical proximity to the artefacts enhances their minds with telepathic or clairvoyant abilities. There will be many myths and adventure stories about the ‘the hunters of the marble heads’. Representatives from all walks of life will pour into this special caste which will be shrouded in an atmosphere of legend and daring exploits.

Today, from the perspective of 2016, it would be presumptuous to describe in detail the process of finding the heads and their impact on mankind. Our goal is modest: we want only to hint at those phenomena (e.g. bifurcation of time) which will soon face the earth’s inhabitants.

For many centuries sculpture has been the ‘focus and likeness of neurosis’ in the words of Sigmund Freud. The toppling and destruction of statues has long meant much more than the statues themselves. The world is littered with their fragments, and, who knows, maybe not only the past but also the distant future contributes to the inexhaustible archaeological layer, capable of serving up more and more surprises.

© Pavel Pepperstein, 2016

The exhibition will be open until 28 February 2016.

http://www.nimrah.ru/exhibitions/current/760/

The Cold Center of the Sun. Short stories by Pavel Pepperstein (published by Hatje Cantz)

NEW TITLE INFORMATION
The Cold Center of the Sun
Short Stories
Pavel Pepperstein
Introduction by Lorand Hegyi, Olga Sviblova, Texts by Pavel Pepperstein

English, French, Russian
112 pages, 62 illustrations

19.60 x 27.00 cm, softcover
ISBN 978-3-7757-4066-1

Pepperstein-catalogue cover The Cold Center of the Sun

This catalogue containing seven short stories with illustrations is available for purchase from Nahodka Arts at a price £23.00 (sterling). Please send requests via the ‘Get in touch’ on this site.

Other publications by Pepperstein

The Great Defeat and the Great Rest. Poetry. Obskuri Viri, Moscow, 1993.
Old Man’s diet. Ad Marginem, Moscow, 1998.
The Mythological Love of Castes (vol 1 with S. Anufriev). Ad Maginem, Moscow, 1999.
The Mythological Love of Castes (2 vols). Ad Maginem, Moscow, 2000
Interpretation of Dreams (with V. Mazin). Novoye Literaturnoye Obozrenie, 2005
War Stories. Ad Marginem, Moscow, 2006
The Swastika and The Pentagon. Ad Marginem, Moscow, 2006
Spring (Vesna). Ad Marginem, Moscow, 2010
Prague Night. Albatros Media a.s., Prague, 2011
Prague Night. Artwords Press, London, 2014

Pepperstein is currently exhibiting at Kewenig Galerie, exhibition “Abstract Memories” ( http://kewenig.com/)

‘Abstract memories’- Pepperstein’s new exhibition at Kewenig Galerie.

Sculpture

‘Flying Shell’ or the Monument of Ammonites!

Modern scientific research shows that there was a period in the history of the Earth that lasted for about a million years when the only form of life on the planet were giant seashells, called ‘ammonites’. The planet in those days was completely covered with water, and ammonites hung in the thickness of the world’s oceans, near the surface, feeding on the sun’s energy, joined to the ocean floor by their long stem-tails. They slowly drifted in the ocean waters as far as their stems would allow, and, according to my hypothesis, this million year period of the earth’s history was in fact a golden age, a time of earthly paradise, a time of absolute peace, enlightened tranquillity and harmony.

I think ammonites were endowed with the highest intelligence and were able to communicate with each other at a distance, and as far as I can tell, all subsequent philosophical activity of mankind is but a faint echo of their profound conversation. Their minds were so perfect that they required no further development. They didn’t need things to be happening, nor did they provoke history, and I suspect that their wisdom, like the green waters in which they were blissfully happy, reflects the subsequent turns of the earth’s history, including the long-term future, about which we so far still know nothing. Nostalgia for the great civilization of the Ammonites, as a manifestation of a certain embryonic human memory, has at times appeared in human culture and aesthetics. One may at least recall those periods for which the word ‘shell’ (rocco) was the root – Baroque, Rococo.

This sculpture is a draft monument to the great civilization of the Ammonites. The living, rustling tail connects the shell to the earth, she herself floating in the air, all knowing, without embarrassment, not knowing fear, regret, greed, anger, and craving for perfection. But she has already achieved perfection. And meditating in her direction, we will be able at least to a small degree to tune into her essence and virtue. The Shell will never leave us, she is always with us, she is the focal point of our brain. The most mysterious organ called the ‘middle ear’ or ‘snail-shell’. And, thanks to its presence in our body and in our soul, the most absurd and vile thoughts are balanced-out by the rustle of the ocean waves, constituting our ‘musical unconscious’.

© Pavel Pepperstein, 2016

Photograph by Nils-R. Schultze. www.schultze-krause.de

The exhibition will be open until 16th April 2016. http://kewenig.com/

 

 

 

Artists 4 Paris climate 2015. Pepperstein imagines a new way to travel – safe and enviromentaly friendly

Pepperstein-Cloud-Planes in the Year 2066, 2014

Cloud-Planes in the Year 2066

Image © Pavel Pepperstein

In 2064 a group of aerospace engineers working under the direction of a certain E., successfully launched production of the so-called  ‘cloud-planes’ – and after a while all civilian passenger flights were switched over to the new technology.

E. suggested dividing the propulsion units and the passenger module into two autonomous assemblies, connected on the tug-boat principle by a special hawser equipped with hyper-responsive sensors (the material for the hawser was created in 2049). If a breakdown or malfunction occurs in the propulsion section, the hawser is uncoupled mechanically. The passenger module is composed of a jelly-like, transparent, but exceptionally strong material, permeated with nano-capillaries. The form of the module changes in flight, according to the dynamics of the air currents, but it most often resembles a spindle-shaped cloud, with elements of a flying tree seed. Left all alone in the sky, the passenger module goes into free fall through the air, descending to the ground very slowly. The material for the passenger module was synthesised in 2022. This material is so ductile and strong that it allows the module (the so-called ‘snot’) to land in the sea or on a mountain crest. And even if the ‘snot cloud’ descends onto sharp rocks, no mountain peak can puncture it, and all the passengers wait imperturbably for a rescue vehicle that will take the ‘cloud’ in tow…

 

© Pavel Pepperstein, 2010

Pepperstein’s science fiction short story Cloud Planes can be downloaded from: http://www.artists4parisclimate2015.com/en/artists/pavel-pepperstein/

 

The Albertina Museum in Vienna has acquired Pepperstein’s album ‘Day’

Pepperstein’s Album Day is dedicated to 9th May, 1945, marking the Red Army’s final defeat of Nazism. Pepperstein-Day 13

Image © Pavel Pepperstein

The Album as an artistic medium originated in Moscow in the early 1970s, to combine text and image. An Album is normally comprised of several separate sheets of paper (not bound) with original drawings and text. This is not the only type of Album. As well as image and text, there are text only Albums, purely figurative Albums, and abstract Albums. What unites all these styles is that every Album has a concept – an idea that it wants to communicate to the viewer. More than other art forms, the Album is an attempt to educate and persuade, as well as entertain. The co-founders of this genre are Viktor Pivovarov and Ilya Kabakov; early adopters and exponents of the genre include Oleg Vasiliev, Nikita Alexeev, Pavel Pepperstein, Yuri Leiderman.

 

 

Pepperstein in demand at auction

"Suprematist autostrada in Sri Lanka. Year 2115" (from the series "Landscapes of the Future")

“Suprematist autostrada in Sri Lanka. Year 2115” (from the series “Landscapes of the Future”)

Image © Pavel Pepperstein

At the recent sale of the Achenbach collection held by Van Ham Auction House in Cologne, Pepperstein’s much lauded series Landscapes of the future (Venice Biennale, 2009) sold for EUR 204,000.00 (inc buyer’s premium). According to sources the series was bought by a well known collector of modern art.

 

 

 

 

‘Artificial climates’- exhibition at the Espace EDF Foundation in Paris

To coincide with the United Nations Framework Convention on Climate Change to be convened in Paris in November 2015, the EDF Foundation has funded and curated an exhibition called Artificial Climates, which opened on 4th October, attracting more than 1,500 visitors on its first day. Pepperstein contributed six works to the exhibition alongside other renowned contemporary artists, including Marina Abramović, Hicham Berrada, Spencer Finch, Laurent Grasso, Hans Haacke, Ange Leccia, and Yoko Ono.

A passion for the environment, and a longing to draw attention to man’s impact on the planet, have long been driving forces behind Pavel Pepperstein’s work. In 2001 he produced a series of drawings (presented at this exhibition) entitled ‘Bikini 47’, highlighting the heavy-handed manner in which the United States of America conducted atomic tests in the Pacific Ocean, and its blasé attitude to the consequences of its actions.

From the series Bikini-47

Image © Pavel Pepperstein

The theme of this series is dramatic and disturbing. Pepperstein allows his depictions of the atomic bomb tests in the Pacific Ocean to dominate the space, creating the impression that the beautiful surroundings are of the utmost insignificance. The mushroom cloud attacks the viewer with its violent rage; the tiny fishing boats quiver in horror. And yet the works are never overcome by grand depictions of tragedy, for Pepperstein’s virtuoso skill refuses to allow even the smallest feature to go unnoticed.

The environmental disaster in the Gulf of Mexico – the BP oil spill – inspired another collection of drawings (also presented at this exhibition).  Pepperstein has often returned to the motifs and iconic images of the Russian avant-garde, just as Malevich himself repeatedly resorted to the Black Square to convey feeling. But here the ‘pure form’ is inverted by Pepperstein to represent something very impure.

The Oil Spot in form of the Black Square in Mexican Gulf, watercolour on paper, 60 x 101 cm, 2011

Image © Pavel Pepperstein

The two events featured here are separated by sixty years and yet, be it the Colossal Superpower or the Mammoth Corporation, the victims remain the same. The victims are small. It ought to be difficult to pass over these works without reflecting on mankind’s capacity for self-delusion and self-destruction.

Pepperstein’s aim is not to scare, or necessarily to shock, but to draw our attention to how ignorance, greed, and lust for power can lead to a Day of Reckoning. Can we, will we, do something and change the fate of our planet?

As always with Pepperstein’s work, the drawings are full of exquisite detail, and a true fascination with nature’s minutiae. It ought to be difficult to pass over these works without reflecting on mankind’s capacity for self-delusion and self-destruction.

The exhibition will be open until 28th February 2016.

https://translate.google.co.uk/translate?hl=en&sl=fr&u=http://fondation.edf.com/programmes/nos-expositions/climats-artificiels-510.html&prev=search

‘The Future enamoured with the Past’- the new exhibition by Pepperstein at the Multimedia Art Museum, Moscow

Pavel Pepperstein, Yelena Walker, Olga Sviblova at the opening of the exhibition in Moscow

Pavel Pepperstein, Yelena Walker, Olga Sviblova at the opening of the exhibition in Moscow

In the period 3033-3104 the system

In the period 3033-3104 the system “Black Square” was used as a portal for the contact with extra-terrestrial civilisations, 2013

Image © Pavel Pepperstein

The Language of the Future , 3105.

The Language of the Future, 3105.

Image © Pavel Pepperstein

‘The future enamoured with the past’

A man wearing a pointed black hat, adorned with a white ostrich feather, and a velvet cloak, embroidered with gold thread, wearing a sword and dirty thigh-length boots, suddenly sees something that is beyond his comprehension. This something consists of coloured lines and simple geometrical forms. However the man in the thigh-length boots is completely baffled as to whether this something is a construction suspended in the air or a hallucination, or whether he has lost his mind. Nonetheless, he is feeling as he normally does and reaches out his hand and touches this abstraction. He feels sharpness, coldness, smoothness, obliqueness, hotness and softness, however all these sensations are quite as abstract as the structure itself, which is accessible to his senses of sight and touch. This gentleman has never seen anything like this before, nonetheless he does get the feeling that he has always known that such things exist, and that they can be seen, touched, prodded with a foot in a dirty thigh-length boot, or even run through with a sword. Taking a leap several centuries back from this, let us say that several staid elderly men are making quiet conversation in the middle of a desert during a halt that provides rest and sustenance in the course of a long journey with a caravan. These elderly men also suddenly observe something abstract and multicoloured, or else without any colour, however they are not surprised by this phenomenon. Unlike the gentleman with the sword, they calmly continue their conversation without trying to touch or investigate the phenomenon that has presented itself to them. They do not even look in the direction of this phantom (if it is a phantom), they do not respond in any way to the change that has suddenly taken place in the world around them. Nonetheless, the something that has appeared influences the nature of their conversation. Unexpected new concepts suddenly appear in this conversation, even formal terms, and let it be said that no such phrase as “formal term” exists yet, and it could hardly appear as abruptly as a visible abstraction. In a completely different place and a completely different time, old women or young women, who have gathered together in a log cabin, sing a song, and this song suddenly becomes visible. Before the very eyes of the old women or young women, this song scrolls up into flourishes and is transformed into the likeness of varicoloured little shells suspended above their heads. Most probably in such situations we are dealing with the very distant past, which knows nothing of the future. And at the same time, peering into the depths of the situations described above, we see the future, about which we also know nothing, just like the characters (the man with the sword, the elderly men, the village women), there is only one thing that we know or may suspect, namely that for reasons unknown this distant, unfathomable future is enamoured with the distant past. Spurred on by this infatuation, the future plumbs the depths of the past like a diver descending towards the sea bed, it insinuates itself into the past in the form of objects either visible or invisible, in the form of constructions assembled out of unknown material, in the form of aeronautical structures that consist of the concept of “flying” without any corporeal or objective appendage to this concept. This reminds me of an experiment carried out in the 1960s, which involved a well-known telepath and medium of the time, Karl Nikolaev. In the course of this experiment Karl Nikolaev was placed in an entirely empty room and a certain object was placed in a room located several storeys higher, following which it was proposed to the telepath that he describe this object by means of seeing or sensing its qualities through several opaque storeys of the building. A recording has been survived of Nikolaev’s voice as he describes the object concerned (what the object was, I do not know): “It looks like a toy. Plastic or painted metal, a smooth surface, but with some kind of projections or notches, your finger even gets stuck in them…” Every time I listened to this recording, it somehow roused in me the suspicion that Karl Nikolaevich was describing a mobile phone, which did not even exist yet in the 1960s. Moreover, as he intones the description of this thing, his voice seems like the voice of ancient times, as if, in order to glance several decades ahead, it is necessary to take a leap several centuries back into the past. In Prince Odoevsky’s story The Year 4338, in order to gain access to this same year of 4338 and delight in all its wonders, the main character is first transformed into a 13th-century Chinese. In our time, the future plumbs the past and the present without a trace of amorousness, without even a hint of love. This future behaves arrogantly, cruelly and contemptuously towards other times. However, I would like to retain the hope that this aggressive future will be followed by a different, more distant future, which will be inspired with great love for the past and begin tenderly reconstituting it, using means currently unknown to us and materials currently invisible to us.

© Pavel Pepperstein, 2014

http://www.mamm-mdf.ru/en/exhibitions/pp/

Installation ‘The Side space of the Sacred in the USSR’ by Inspection Medical Hermeneutics

IMH-Amber Room 2IMH-Amber Room 3

Images © Inspection Medical Hermeneutics & CAC, Vilnius

‘The Side Space of the Sacred’

In speaking of the installation ‘The Side Space of the Sacred’, the very first thing to note is that, like most of our exhibition works, it possesses both “internal” and “external” functions simultaneously.

Both functions are fundamentally illustrative.

The “external” function is basically an illustration of several hallucinatory plotlines, existing at the level of fundamental patternings of delirium on the ethno-semiotic plane, and, moreover, they exist not as “legitimate” components of these “narratives from the collective depths”, but as cavities, defects, whispers, cracks, parasitic “subplots” and other flaws of these narratives. Art, like hallucinosis, encounters in the first instance the spatial and acoustic parameters of all these “lower-depths events”, and therefore the metaphor of “parasites that leave tunnels in the compacted strata” is entirely appropriate, as is the metaphor of “cracks in the foundation”.

It is “hallucinations on a global theme” that are illustrated. The important thing here is the conceptual background of “common doings and things” which pervade “common bodies and spaces” through and through. Naturally, these global themes can be themes of the state, religion, money, the city, war and so on. What is important for us is that the unfolding of these hallucinations inevitably results in a comic effect (since this is an unfolding inwards into the banal). The psychodelicised levels of consciousness that have engendered these visions create them, in a certain sense, as “self-caricatures”.

The other, “internal” function of this installation is to illustrate the plotlines of our own text-formation, as performed within the framework of Inspection Medical Hermeneutics “laboratory of discourses”. From the viewpoint of this “internal” function, each element of the installation appears as a quotation from or reference to one or another of our texts (either already written or as yet only planned, and sometimes existing as a memory of an oral discussion). This kind of “reading” of our texts is in effect possible only for ourselves and also, perhaps, for certain of our close friends and co-authors. It is this that gives rise to the requirement for textual commentaries “for the catalogue”, by means of which this “laboratory” space of intersecting and unfolding or, on the contrary, stagnating discourses can be engaged as the exhibition background of the work itself.

© Inspection Medical Hermeneutics, 1992

Installation ‘The Side space of the Sacred in the USSR’ was produced by Inspection Medical Hermeneutics in 1992. The above images are from the recent exhibition titled “t:h:e r:e:a:l: after psychedelia” at the Contemporary Art Centre in Vilnius, Lithuania, curated by Lars Bang Larsen. 

“THE OVERPOPULATION OF THE EARTH”

The Overpopulation of the Earth

The Overpopulation of the Earth

Image © Pavel Pepperstein

                                                                                                       “Let there always be the sea!”

Despite all kinds of warnings about the horrors that overpopulation of the Earth will bring with it, humankind stubbornly continues to multiply, while at the same time mercilessly brutalizing the biosphere, annihilating it – everyone knows than man is smashing, ravaging and killing the sumptuous gift that was inexplicably presented to him.

This is the way a spoilt child torments and kills a precious animal that his parents have given to him or her in the hope that the charm of this animal might awaken love in the child’s heart. How does humankind, on the whole very far from pampered, come to possess the attitudes of a detestable child of rich parents?

We are obliged to make the following assumption: this rabid reproduction and the murder of the biosphere are not some defect in the human program, but its fundamental content. Possibly humankind is programmed to fuse into a single entity, after the manner of moss or mould. This entity is ordained to envelop the entire globe of the Earth: a self-enclosed, consolidated anthroposphere, combined in the unitary, living fabric of a new entity, is destined to take the place of the Earth’s biosphere.

If this is the case, humankind has mastered the sector of space immediately surrounding the Earth merely in order gradually to export to it all the elements of the technosphere intended to ensure the safety and support the effective functioning of this unitary organism’s vital processes, i.e. not only all the plants and animals, but all the gadgets too are gradually eliminated from the surface of the earth. This surface is devoted exclusively to humans, and they pack onto it more and more tightly, until their bodies squeeze right up against each other and are transformed into the molecular structure of the new spherical entity.

Thus it turns out that all the centuries of humankind were centuries of the prenatal development of the Unified Anthropos, a reborn Purusha or Pangu or Adam Kadmon from the ancient myths. Indeed, the myths of many tribes speak of the fact that all people were once a single being – a giant who later disintegrated into his microelements, possibly as the result of some unknown cataclysm. Possibly Purusha was struck a shattering blow from outer space. Who knows, perhaps in the course of all these millennia, this gigantic body has been stubbornly gathering itself together, recovering its integral wholeness.

Imagine the globe of the Earth with its entire surface densely covered by a mass of living bodies: in that future, human beings, naked and inseparably fused with each other, will no longer need houses, gadgets and clothes: they will be permeated and connected by a new system of vital functions, the cumulative entity’s system of new internal organs, and since there will be one system of breathing for all, the layer of the moss-like Anthropos will cover not only every single region of dry land, but also the bottom of the ocean and the submerged landscapes of all bodies of water. The technosphere, operating in orbits around the Earth and controlled by the aggregate consciousness of the Anthropos, will maintain the ideal temperature for the various body zones of the spherical giant, and as for nourishment, the body of Purusha will most likely feed, like a plant organism, on light, the juices of the Earth and water.

It would seem likely that the male and female cell-creatures will be arranged in it like black and white squares on a chessboard, and all the elements will exist in a state of constant copulation: the body of Purusha will become a gigantic orgy, broadcasting vibrations and signals of ecstasy into space. In any event, that will be the situation in the “erogenous zones” of this body, and in all likelihood such zones will constitute no less than 80% of the sphere, while the remaining 20% will be devoted to drifting zones of sleep. Possibly in the beginning death and birth will still be preserved in the form of old cells atrophying and new ones being generated, but as the Anthropos progressively adapts to the atmosphere and body of the Earth, on which it is destined to live its parasitical life, it may possibly succeed in achieving secure immortality and eternal youth for all its cell-creatures.

Is not this how it will be, the day towards which humankind is slowly advancing, despite the overwhelming nightmares? Will not this be the form of the regained nakedness of paradise?

(From the book “The Secret of Our Time”)

© Pavel Pepperstein, 2008

 

New exhibition “The Cold Center of the Sun” .

Pepperstein’s latest exhibition entitled “The Cold Center of the Sun” will take place at Musée d’Art Moderne de Saint Etienne Métropole from 13th June to 6th September 2015. The exhibition is curated by Lorand Hegyi.

http://www.mam-st-etienne.fr/index.php?rubrique=32&exposition_id=291

El Lissitzky Highway in the Alps in the year 2219

El Lissitzky Highway in the Alps in the year 2219″, acryl on canvas, 150 x 200 cm, 2015

Image © Pavel Pepperstein

The Future enamoured with the Past. Presentation at Salon du dessin 2015.

 Drawing Award 2015. Contemporary Art Foundation Daniel & Florence Guerlain


Drawing Award 2015.
Contemporary Art Foundation Daniel & Florence Guerlain

“The Pensioner and the Alien” by Pavel Pepperstein (from his book “Spring”).

An alien from another planet appeared at a pensioner’s place. The alien was strong, with green, glowing eyes and he just walked straight through the wall. The pensioner would probably have been frightened to death, but all this happened in the evening, after nine, and at nine the pensioner always took his anti-anxiety and sleep medication: stugeron, zinarizin, nootropil and nitrozepam. Since the medicines had already started taking effect, the pensioner reacted calmly.

The alien sat down on his bed and struck up a conversation. He told the pensioner that everyone on the planet Earth could be changed for the better, that it was possible for people to live contentedly and not be ill, never be distressed and never suffer any unpleasant feelings at all, that everywhere could be clean, neat and tidy.

“But what can I do?” the pensioner asked. “You don’t really need my help, do you?”

“Well, generally speaking, no. Don’t worry about it,” the alien politely reassured him.

The pensioner went to sleep, unable to resist the effect of his sleeping pills any longer. Left with no one to talk to, the alien walked around the room a bit. He saw a tin box with a picture of a building with a spire, and on the spire there was a star, framed in a wreath of leaves and ears of wheat. The caption under the building said: Supreme Council of the National Economy. He opened it, and inside there were some buttons, reels of thread and prescriptions.

“A petty trifle, but it will still be some kind of souvenir from these parts,” the alien thought, and he put the little box in his pocket and set off back home.

© Pavel Pepperstein, 2010

Russian Cosmos: “It was like that: the 18 planets existed, and then one more planet appeared and this was not the 19th”

"It was like that: the 18 planets existed, and then one more planet appeared and this was not the 19th"

“It was like that: the 18 planets existed, and then one more planet appeared and this was not the 19th”

Image © Pavel Pepperstein

The drawing makes ironic play with the theme of mathematical paradoxes. Modern mathematics and physics are reminiscent of ancient theologies, which in past ages often confounded their initiates with insoluble riddles. The answer to this particular logical paradox could be extremely simple – the last planet is not the nineteenth, because it is not a planet, it is an astronomical object with an external resemblance to a planet, but its nature is actually different, and as yet unexplored. It could possibly be a sphere moulded out of bread, known in Russian folklore as “kolobok”, which has fled along some fairy-tale pathway straight into outer space.

Pepperstein nominated for the Guerlain Prize 2015.

Every year in December, the Daniel and Florence Guerlain Foundation announce the names of the three artists nominated for Contemporary Drawing Prize. This year the three artists are Tomma Abst (German), Jockum Nordström (Swedish) and Pavel Pepperstein (Russian). The winner will be unveiled in March at the Drawing Fair in Paris.

http://www.connaissancedesarts.com/art-contemporain/actus/video-le-prix-de-dessin-contemporain-2015-de-la-fondation-daniel-et-florence-guerlain-109092.php