ART FAIRS 2014
At FRIEZE ART FAIR in London Raster presented works by Slavs and Tatars.
Regent's Park, London
Project cofinanced by the Ministry of Culture and National Heritage of the Republic of Poland
Love Letters series of carpets address the issue of manipulation of alphabets across Arabic, Latin and Cyrillic, through the Russian Revolution’s most well-known, if conflicted, poet-champion, Vladimir Mayakovsky.
The pole exchanges its topless dancer for something no less racy: a giant, fleshy tongue twirling around and down the pole, a nod to the 60 odd years of changes in parts of the former-Soviet, Turkophone world from Arabic to Latin to Cyrillic back to Latin.
Long eclipsed by the mouth, as source of libidinal linguistics, Swinging Septum restores the nose as an equally discursive and desirous organ of language. A flat silhouette nose sways from left to right, evocative of the facial acrobatics the septum must perform to reach the sonorous heights of /ɛ/ or /ɔ̃/.
The daily taming of hair is an act of civilization, battling the unruliness of the body. In this sense the rituals of daily existence, such as combing one’s hair, echo as objects the counsel of the Mirrors for Princes genre.
The autumn of 2014 was teeming with good news for Slavs and Tatars: after two critically acclaimed solo shows in Kunsthalle Zurich and Dallas Museum of Art, Raster presented collective’s works at Frieze Art Fair London where their “Love Letter (No. 7)” tapestry was acquired by Tate.