The exhibition is dedicated to the art of masks as an integral part of the folk carnival culture.
Many are attracted by the dramatization of life - a holiday, a carnival. Carnival action does not know the ramp, the separation of performers and spectators. The ramp would destroy the carnival: they do not behold it - they live in it. While the action is completed, for its participants there is no other life, everything is subject to the laws of carnival freedom. The carnival is universal in nature, it is a special state of the world, its revival and renewal, to which everyone is involved. A mask is an integral part of the carnival.
The mask is associated with the joy of change and reincarnation, with cheerful relativity, with a cheerful denial of identity and uniqueness, with a denial of coincidence with oneself. The mask is associated with transitions, metamorphoses, violations of natural boundaries, with ridicule. The game’s beginning of life is embodied in the mask, it is based on a very special relationship between reality and image, characteristic of the most ancient ritual-spectacular forms. It is impossible to exhaust the polysyllabic and polysemy symbolism of the mask. It should be noted that such phenomena as parody, caricature, grimace, antics, grimaces, etc., are essentially derivatives of masks. In the folk grotesque behind the mask there is always the inexhaustibility and diversity of life.
The mask retains its international carnival nature; this nature is indestructible in her. Indeed, even in ordinary modern life, a mask is always shrouded in a special atmosphere, perceived as a particle of some other world. All carnival forms seem to belong to a completely different sphere of being.
The world of masked carnival and theatrical art is presented at the exhibition “Masks. The game of Venice ”through the prism of the gaze and perception of the masseurs of the studio“ MASter and Katerina ”.
The study of masks in the culture of different nations is the core of the art and inspiration of artists. It is no accident that the first letters of their creative pseudonyms form the word “MASK”. Perhaps no one has yet considered the mask so seriously and deeply. But if we carefully look at the "mask", we will see that it accompanies a person from early childhood until his death. Both literally and figuratively.
The creative tandem “MASter and Katerina” opens up the direction of contemporary art, where ancient, multifaceted, multinational and truly nationwide mask art is at the forefront. The path to creating their own works was long and meaningful - for more than 20 years, artists have traveled the world in search of inspiration. Europe, Asia, Africa, America - everywhere they found masks and assembled their own collection, studied the history of masks of different nations and the techniques for their manufacture.
Most of the works of MASTER and Caterina are art objects that combine masks, sculptures, paintings, art photographs and handmade jewelry. Artists do not just create works of art, they develop original concepts, stories and projects. Plots and work-making technologies have historical roots, while each of them has its own fascinating legend.
A distinctive feature, a peculiar signature of the creative tandem is the presence of a ball or image of a circle as a symbol of the unity of the history of mankind and the unity of the national-carnival attitude. This attribute is present in all works and personifies the mask's deep belonging to the culture of different peoples of our planet.
Along with this, the artists are representatives of Russian culture and Russian art. Their creativity is inherent in the emotional scope and depth of feelings.
The main idea of the exhibition is to present to the public the unique grotesque world of mask art as an integral part of the carnival and theatrical culture of mankind, a world on the border of art and life itself, whose essence is so close to the work of Fyodor Ivanovich Chaliapin, in whose estate the exposition is open.