"Манускрипты #12"

Manusscript

gelatin silver print

signed, dated and numbered (pencil) on verso

Vadim Gushchin's works show constantly changing, everyday objects such as pills, envelopes or caps, which the artist adds to stagings à la Malevich and then photographs. He pulls them out of their familiar contexts, somewhere on their journey from the factory to the rubbish dump - or to the museum, the "sacred rubbish heap of culture", as Gushchin puts it. Looking at his photographs is likely to evoke an individual connection between consumer and consumer good. The artist succeeds in removing a product from an alienated production process and in giving the object an individual value and a personal relationship with the viewer.
(Christoph Tannert, Berlin 2013)

In his photo stagings, the artist gives things a new secret, which may be their old one, he points to something hidden in their banal objectivity, to a fairy tale context perhaps. The staging is paradoxical because, on the one hand, the spirit of the object is released in his photographic analysis of the forms and, on the other hand, he says goodbye to them by making fairytale coffins out of frozen moments in his photographs.
(Dr. Elmar Zorn, Munich 2004)

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