Raw and cooked

(Le  Cru et  le  Cuit)  exhibition-interview in  basic exhibition of the Russian ethnography museum. ==History==In addition to the projects that were created for the First Comy Biennale, the National Gallery of the Republic of Comi of Syktyvkar in the autumn of 2021.

Twenty-three artists took part in the project: Apollinaria Brochá Brošnya Igor Airplane Tim Parskov Tanya Ahmetgalieva Mateo Revillo Edgar Sarin Jan Ginsburg Vlad Kulkov Victoria Košeljev Ustín Yakovlev Rhodion China Daniel Anthropniya Voronov Ulyanhov Podkorytov Gann Zubkov Vladimir Logutov Go Andrei Xailov Annoshke Sofa Skidan Alice Gorshein Vavlov (Lisokot) Ivan Gorshkov each visited Komi and personally interacted with the cultural context, interacted with local residents and studied their traditions.

By carrying the objects created for Komi Biennale in  the halls of the Russian ethnography museum curators chose the scene of a full comprehensive intervention in  halls with  permanent exposure. Thus, the exhibition project shifted the results of artistic research from one particular region  — Comi — to the other cultures and  raised questions about the  the typical socio-cultural problems of different regions of the country, about the  the diversity of cultural landscapes and  ethnic identity, and  o  the comparison of these categories with in&nbsp0; the territorial specificity of both Russian North in&nbsp1; the whole of Russia.

The title of the exhibition in  the Russian ethnography museum <laqua; Cheese and  prepared&raquao; refers to the class work <laqua; Mythology. Cheese and  prepared by&raquao; French philosopher, ethnographer, sociologist and  father of structural typologies of myth Claude Levy-Stross, who compiled detailed records of legends and  North and  South America’s Indian tribes; and  who identified myth’s hidden patterns as such. In  a book of the world ' s fundamental views of the world ' s cultures and&nbsp0; the nature of relationships and&nbsp1; the dialectics of natural harmony (» and&nbsp2;) and&nbsp3; acquired (» and&nbsp4;).

Like the inspired scientist who inspired us, the project’s handlers came to the conclusion that, like the formation of a myth (based on  Levi-Stross), Comie’s passing biennale is perceived as a structural whole, consisting of `nbsp; units that are conceptually connected with one another. And each single job is certainly capable of transforming, then  has to adapt to  geographic and  historical context. The global transformation started with the  the transition from the  the collective demonstration (biennale) that gathered work in the  a defined place (the Comi Republic Map Gallery), not  which has no specificity, to the  the presentation in the  the profile museum of a completely different kind.

By intervening in the  conceptually suitable halls, building a link between contemporary art works and  objects from the  museum collection, we  provide an occasion for dialogue, both with separate objects that build communication among themselves and  created a structural whole that enters into the  even more in-depth discussion with  an viewer who has the opportunity to look at a new way of  history, culture.

The system we have chosen for the existence of modern art within the exhibition is subject to the rules of transformation, i.e. adaptation to the  geographic and  the historical context of each room. The Ethnographic Museum is also viewed by the spectator as a new order within which the relationship between the exhibits is developed, re-thinking their value in the  the context of a new-time man’s world view.

So the questions we’re asking are not  only a single region  — the Republic of Comy, in  the context of this exhibit is becoming the starting point for rethinking Russia’s cultural heritage in  a goal.