Planned obsolescence” is the international exhibition project bringing together 15 leading young Russian and foreign artists. All artists, presented at the exhibition are exploring issues around the process of identity formation, the impact of technology on human body and the changing attitude towards the concept of corporeality, materiality, aesthetics and beauty. Artists are questioning the way the modern world makes us treat our bodies, especially with the digitalization, virtualization, new means of communication and the following changes in our perception of physical and material world.

The title of the exhibition refers to “planned, dynamic, or built-in obsolescence” which is the creation of a product with an unjustifiably short life span with the aim of forcing the consumer to make a repeat purchase. The process was first developed in the 1920s and ’30s with the advent of large-scale production, when each and every minute of the production process came under scrutiny.

When analysing the contemporary situation of the technological overproduction of developed capitalism, it is a simple matter to diagnose the penetration of planned obsolescence processes into the very fabric of our age. Concern over obsolescence is a feeling that penetrates and conditions our behaviour, way of thinking, purchasing power, and relationship to self, to our external appearance and identity. The obsolescence of the latter is perhaps pushed even harder than in the case with the material goods, that barely manage to replace one another in the endless cycle of renewal. Accelerated capitalistic processes, market forces and technological progress all demand rethinking of our relationship towards radical innovations.

The artists of the exhibition were invited to create new works for the exhibition held in the spaces of the high-tech fitness center remotely in the “accelerated artistic production” mode. Limited to a period of one week, in between their other exhibition projects and commitments scheduled for this summer, during their flights between the countries, on the run. Not all participants fulfilled their commitments, but most artists have sent their projects by mail, fax or the Internet. The projects were sent by artists from different countries by post, fax or internet.

13719512_992936260754932_4163247297312552222_oRuth Angel Edwards, Ctereogrammy 2016 – Stereograms

IMG_0967Josip Novosel, Opportunism (bugchasing), 2016

13669358_992936387421586_8596383453564000257_oJosip Novosel, Opportunism (bugchasing), 2016

IMG_0977Josip Novosel, Opportunism (bugchasing), 2016

13708373_992936454088246_1499944973748637801_oJosip Novosel, Opportunism (bugchasing), 2016

13767424_992936467421578_1076721895394267282_oTom Huett, Danny Taylor (Miami Pro), 2016

13738193_992935984088293_2266756347762689734_oBogdan Ablozhnyy, 5 theses on desire, 2016

13710599_992935967421628_7955116217542596832_oBogdan Ablozhnyy, 5 theses on desire, 2016

13735081_992936014088290_1935082243506532024_oBogdan Ablozhnyy, 5 theses on desire, 2016

13680266_992936100754948_180864127701175838_oBogdan Ablozhnyy, 5 theses on desire, 2016

13717340_992936040754954_679140363244748973_oAnne de Boer, What I need to see, 2016

13717208_992936147421610_6564424905088060576_oAnne de Boer, What I need to see, 2016

13708306_992936274088264_7561436091640020450_oAnne de Boer, I can see everything, 2016

13723921_992936270754931_8164248046524721285_oAnne de Boer, I can see everything, 2016

13767403_992936640754894_3980072868266223989_oPatrick Goddard, Planned Obsolence, 2016

13730884_992936664088225_5380410331983320176_oIsaac Lythgoe, Recent Poetry, 2016

13730834_992936777421547_893404053908846701_oFrances Malthouse,  Soup 2016 -Ready meal

13691160_992936904088201_4009133259862217181_oMaria Gorodeckaya, Concrete Slab, 2016

13708388_992936917421533_3743994644716309204_oMaria Gorodeckaya, Concrete Slab, 2016

13734889_992936914088200_1251795022733684525_oMaria Gorodeckaya, Wax Slab, 2016

13723852_992936960754862_7404881943045993953_oMaria Gorodeckaya, How to survive the art world, 2016

13698257_992936997421525_1297486327738675432_oMaria Gorodeckaya, How to survive the art world, 2016

13669350_993017437413481_2921370919103952462_oMaria Gorodeckaya, Concrete Slab, 2016

13719448_993017594080132_2216870063676187116_oMaria Gorodeckaya, Concrete Slab, 2016

IMG_1003Adam Christensen, Fleshy pearls, 2016

IMG_1008Adam Christensen, Fleshy pearls, 2016

IMG_1007Adam Christensen, Fleshy pearls, 2016

13735022_993033057411919_525097724462301375_oEloïse Bonneviot, Fight, 2016 – Encounter 2016, part of series “Thinking Like a Mountain”

13701088_993032490745309_5693269738453892485_oEloïse Bonneviot, Fight, 2016 – Encounter 2016, part of series “Thinking Like a Mountain”

13701233_993035170745041_3017095422759052080_oRacheal Crowther, Levonelle, 2016

13735088_993035440745014_5389580404835214188_oRacheal Crowther, Levonelle, 2016

IMG_1015Racheal Crowther, Levonelle, 2016/ Josip Novosel, Opportunism (bugchasing), 2016

13765672_993041420744416_9186626681537854467_oCory Scozzari, Gabriel, 2016

13767299_992937010754857_7377555198840279721_oAmalia Ulman, PRIVILEGE, 2016

13652952_992937014088190_6636705606426796433_oAmalia Ulman, PRIVILEGE, 2016

13731858_992937030754855_7348578339424778360_oInstallation view


Planned Obsolescence
by Prolog.Vision
at Body-digital fitness / miltronic club
w/ works by Bogdan Ablozhnyy, Anne de Boer, Eloïse Bonneviot, Racheal Crowther, Adam Christensen, Ruth Angel Edwards, Patrick Goddard, Maria Gorodeckaya, Tom Huett, Isaac Lythgoe, Frances Malthouse, Josip Novosel, Cory Scozzari, Amalia Ulman and ВАСЯRUN
Curated by Alexander Burenkov
10 July – 10 August, 2016