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Venue
Moni Lazariston / Bazaar Hamam / Warehouse C, Thessaloniki Port Area / Museum of Byzantine Culture / Courtyard of the Archaelogical Museum of Thessaloniki
Artist
Georgii Litichevskii
 Artists's biography |
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Aida – Safari, 2007 |
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| It is not yet possible to define the role of art as a tool for “resacralisation” or “desacralisation”. Even when it is most critical, the secular art of the “avant-garde” either way contains the bug of sanctity, since it is not in a position to function without raising the question of sanctity and desecration. This ambiguous nature of art is particularly evident in the illegitimate children of visual arts, such as comics for example. In Russia comics were not acceptable; they did not even exist, whereas in the West they barely managed to coexist with high art. Nevertheless, comics cannot but cause a reaction, since they constitute the most democratic and private form of art, which at the same time addresses the most primeval levels of our conscience. Despite all this, the desacralisation of time should, apparently, go together with the desacralisation of space. The absolute comic-installation can become a centre of experimentation inviting us to clarify the limitations of art as an instrument of desacralisation.
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