For outsiders, the Committee seeks to maintain the image of a successful structure with all goals set and all resources for their implementation reserved. Availability of projects and willingness to present them to selective commissions and boards are crucial in this case.
Even at the first stage of development, the Committee has avoided the risk of staying in a gray zone because of acting as a formally created enterprise structure, rather than an artistic community, which made it more familiar with official institutions.
The directive task, the reservation of the largest number of places and sites for the “cascade of exhibitions openings,” was implemented with promotion methods used by institutions, commercial and state companies.
Finally, several completely different places were chosen: a music club, a skate park, Central architects’ house (the ex-Soviet club for the professional community), music and arts festival Forma, the Moscow Museum of Modern Art, Smirnov and Sorokin art fund workshops, and the US apartment of the artist Viktor Skersis. Some of the mentioned places turned out to be unavailable after intensive legal document exchange and talks (possibly their administrators had figured out our real intentions).
In 2015-2016, the process of turning museums into cultural industry units became noticeable, as did the flow of their ads in social media. PR-agencies started promotion campaigns of events using their selling texts and catching pictures without any adaptation to the new category of clients. The main form to present art has transformed into festivals, offering an excessive number of events and entertainment activities evenly distributed across the city center.
The Committee of the XXI century was at the top of its strength during the preparation and opening of the 5th Moscow Biennale for Young Art. New promotional trends led to the decision to “capture” the Biennale media space with the implementation of their techniques, reversed.
We worked as an event-agency with the aim to provide good attendance and positive feedback for the project activities united under “dom – dvorets – salon – muzei – amerika – otshib (house – palace – saloon – museum – america – outskirts)” name, while striving to:
– minimize the volume of the unique content created (all posts were generated automatically using a special script that mixed phrases and pictures from the posts by Russian key figures in the cultural industry);
– fill in all reserved places (the volume is more important than the content);
– try to avoid talking with site owners and curators about specific projects during the reservation of the places;
– provide the maximum conversion into visitors with the help of advertising methods.
Sure, because of the large number of the Committee participants, the ratio and degree of inclusion varied. Some regarded it as a project of a “serious” exhibition planning, some as an art project by Ryabova and Novozhenova.
All of the various types of activities, many of which ended immediately after the action in one place or another, were represented via the careful documentation.
The project management itself aimed to find means and other resources to promote events, is perhaps the main result of the Committee activities and the only artwork presented during its functioning.
The event was shown online only, and the connections with the art fund workshops and its curator were used as a symbolic promotion during other official talks.