Artist statement
The works themselves often become a space for interaction and communication, as I try to involve urban residents and marginalized communities in the creation of works — installations and master classes. I am interested in people who exist on the margins of both the mainstream institutional gaze and the gaze of the audience — museum security guards, attendants, non-professional or outsider artists. They need a mediator to gain a voice and agency in the art system or to be perceived aesthetically.
Collaboration and interactivity are basic principles of my art. In another case, personal testimonies, interviews and communication become the basis for the creation of objects, painting and graphic series and installations.
Collaboration and interactivity are basic principles of my art. In another case, personal testimonies, interviews and communication become the basis for the creation of objects, painting and graphic series and installations.
Vladimir Seleznev (b. 1973, Nizhny Tagil) is a Ural artist and curator.
The main theme of my work is the urban space as a witness and participant in human communication and interaction. Two main characteristics of my artistic and curatorial projects are related to this theme. The first is the involvement of urban communities. This is usually expressed in the participatory structure of the works.
For me, the democratic function of social-engaged art is essential; the viewer’s opportunity to participate in the public ritual (creation of art) together with other people, thereby overcoming present social atomization. In this, I see the social mission and responsibility of contemporary art.
The second essential feature of my art is its site-specificity. I always create or adapt works or their form of display for a particular space. My work often involves sound, moving image and tends to take the form of a total installation. However, the media I choose always comes from the goal of engaging a particular type of participant.
The second essential feature of my art is its site-specificity. I always create or adapt works or their form of display for a particular space. My work often involves sound, moving image and tends to take the form of a total installation. However, the media I choose always comes from the goal of engaging a particular type of participant.
As my projects often start with my personal reaction to everyday life or needs of the particular community, my artistic practice does not have a strict structure or rules. Random observation, reminiscence or phrase could take shape during a particular exhibition. A discovery made in one work may suggest a form for the next. Reassembly and reuse of my work, which I would call art recycling, is a practice I try to follow.
Nonetheless, more and more often I lean towards socially oriented projects that have a specific connection with the place, its inhabitants and their needs, especially in curatorship. However, an opportunity for imagination and play — an indispensable part of any communal action — always remains in them.
Nonetheless, more and more often I lean towards socially oriented projects that have a specific connection with the place, its inhabitants and their needs, especially in curatorship. However, an opportunity for imagination and play — an indispensable part of any communal action — always remains in them.
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