ARChITeCTuRe, DISPATCHES ART, MusIC, ARChITeCTuRe, FILM, shoPPInG, neWs AnD ThInGs To MAke AnD Do… ART, MusIC, ARChITeCTuRe, FILM, shoPPInG, neWs AnD ThInGs To MAke AnD Do…
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BRAVE NEW WORLD:
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DuBOssARsky AND ViNOgRADOV
,
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r
e
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In Russia, Depeche Mode has always
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been a really huge band. The reason
e
n
o
being that the tunes are so simple
t
s and so mid-range, you can bootleg
d
a
l their tapes dozens of times,
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d copying one from another, and the
n
a
harmonies, instead of corrupting,
t
s
i
just seem to become ever more pure
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r
a
and heartbreaking.

e
h
t

y
The same can be said for the figures
s
e
t
that populate the wall-size paintings
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u
o
of Dubossarsky and Vinogradov,
C
graduates of the Central Art Academy
.
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l of Moscow, who first came to attention
i
t
s in the 1990s, and who will be showing

n
o new work at London’s Vilma Gold this
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t
c
month. Be they fashion models, porn
u
d
o
stars, political figures or movie
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p

icons, the denizens of their paintings
,
)
–
have been culled from the gutter press
4
0
0
of the West with scant regard for
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context or chronology, and conjoined
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e (sometimes coitally) in Arcadian land-
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e or seascapes.
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e
M
ThE sTRANgER:
It’s not so much that D & V’s giant
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u
shiRiN NEshAT
o
socialist realist paintings look like
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t
i
renderings of fashion shoots; it’s
W

It was only after shirin
n
more that they share a common aim:
e
m
neshat returned to Iran in
o
to show a world devoid of pain,
W
1990, for the first time since
poverty and sexual deprivation.
the Islamic Revolution (she
It’s a world of lush exuberance and
left in 1974 to study art at
salacious dreams so banal and generic
Berkeley), that she became an
that it is almost impossible to
artist. ‘until then’, she has
believe it’s what we want. Adam Jasper
Men Without Women (1927), which
said, ‘I felt I had nothing
is full of searing images of DuBossARsky AnD VInoGRADoV
to contribute.’ neshat’s
fragmented, damaged men. The 26 JAnuARy – 2 MARCh
attempts to go back in recent
reference is certainly apt:
VILMA GoLD, LonDon
years have been blocked, and
in Zarin (2005) we watched a
WWW.VILMAGoLD.CoM
now more than a decade has
prostitute scrub herself raw
passed since her last visit.
at a public baths, while in
you might expect her work,
Mahdokht (2004) a woman who
which is so informed by the
is terrified of her sexuality
experience of displacement,
but obsessed with fertility
to pale with the passing
is finally transformed into a
years. Instead neshat is
tree that bears fruit. ‘I’ve
taking ever more ambitious
come to realise lately that all
steps towards narrative,
of my female protagonists are
cinematic filmmaking. This
somewhat tragic, either “mad”, m
month she presents the latest
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“outcasts” or “sinners”’,

5
in her Women Without Men 9
neshat recently told an
1
series of films (2004–), based

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interviewer. ‘none ever quite

on characters from the short
5
9
fit the society. Just like I
1
novel by shahrnush Parsipur,

,
remember dervishes living on
n
a fellow Iranian who was
e
n
the streets of Iran, never i
imprisoned because of her work
l
seemed to belong to anywhere.’

n
and who now lives in the us.
o
In exile herself, neshat

l
i
continues to pose intriguing
o

Parsipur’s novella and
,
questions about Iran and the
4
0
neshat’s films take their
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lives of its women. Cath Clarke
2

name from hemingway’s ,
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collection of short stories
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a
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shIRIn neshAT, 19 JAnuARy c
a
– 23 FeBRuARy, GLADsTone
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GALLeRy, neW yoRk
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WWW.GLADsToneGALLeRy.CoM
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ArTrEvIEw 22
Dispatches_Jan.indd 22 4/12/07 10:54:23
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