Similar to children frolicking on the playground of King Mountain, countless legions of soldiers trail the path of the deluded notion of their own omnipotence. Their fervent aspiration for dominion over space mirrors a relentless power struggle. Only upon reflection will the audacious ambition of world conquest appear painfully fragile and ripe for hearty derision.
This installation came to life at the Napoleon–12 Festival of contemporary art in St. Petersburg, Russia, in 2012. The festival’s astute curator, Artem Magalashvili, prompted artists to delve into their sentiments concerning the French emperor Napoleon, who, in 1812, endeavored to seize global dominion before being thwarted by the Russian army.
In response, my sentiment was encapsulated in the form of laughter.
Subsequently, this installation found its place within a special project of the Russian Biennale “Uchronia” at the Moscow Museum of Architecture in December 2013. Shortly thereafter, it was showcased as a part of the “Forma” art festival at Art Play, Moscow.
UCHRONIA was conceived as a study of history, consisting of discussions and exhibitions
with the participation of authors from older and younger generations; philosophers, critics, and cultural experts.
All reflected on the alternatives of the past, present, and future, offering visions, and analyzing existing approaches,
imagery, and aesthetic forms.
One of the important themes of the project is the phenomenon of re-writing history and its role in the perception of reality