project 56/

A UNIVERSAL SYSTEM FOR DEPICTING EVERYTHING

B. Zhirnov, Student, Zaborsk

For many decades now, many artists have been trying to resolve the problem which it seems graphic art is totally incapable of solving: it is impossible to show on an immobile and flat canvas what only a book or theater is capable of showing - to transport the action either to the distant past or to another place of action, to another space and not in a series of some sort of paintings, but all in one and the same painting simultaneously.

How, in what way can such a means be found, such an "optics."

Until now such a task has remained unfulfilled. In actuality, however, it is possible. We shall try to formulate those characteristics which should be inherent in such a painting: 1) it should contain inside itself the perspective of the viewer, it should wind up somehow inside the painting; 2) the space has to be spherical, taking into account the view from above toward the horizon as well as below, toward the very same horizon, that is, to encompass infinity; 3) somehow, what has occurred before the moment of depiction must be depicted, as well as what will come after it. Of course, such a point of view, such an optics resolving these problems is possible from another space which was inaccessible to all artists of the past, that is, from the "fourth" dimension. Such a painting, viewed from there, appears in the following way (cf. illustration): A trip on a boat is depicted in it. In the upper part the sun at its zenith is depicted, below is the ocean, moving away, toward the horizon. Time in the depiction moves from left to right. The past is on the left. Each time of the day is a separate "slice," a unique light "capsule" encapsulating the light of day. The present forms the very largest "capsule" in terms of size, located at the center. On the left is the morning of this day, on the right is evening. Farther, "slice" by "slice" comes future time being flattened into one line until they become completely indistinguishable: an arrow indicates the place and dynamics of the movement by the viewer-observer, who first flies near to the yacht, then flies away from it to a great distance. A few details are clearly visible, some are sort of in a fog. In the fog are those parts of reality (the sail, wind, and others) which on account of his high speed are inaccessible by the subjective view of the viewer while he is approaching the object (boat).

A UNIVERSAL SYSTEM FOR DEPICTING EVERYTHING

1. The entire exposition consists of 13 drawings with texts arranged in thin lacquer frames on the wall. The texts are written under the drawings in Russian, therefore placards with translations of the texts typed on them are arranged in the exact same kind of exposition under them.

2. The matte under all the drawings is light gray.

3. All the drawings are appended to this project in a special folder, like a special appendix.

4. The arrangement of the exposition hung on the wall should correspond to the proposal indicated below on the sketch.