Nizhny Novgorod artist Anton Morokov will share observations and impressions from his hidden performances as part of the public program accompanying the 2nd Garage Triennial of Russian Contemporary Art.
In Pierre Cabanne’s book Dialogues with Marcel Duchamp, the artist mentions: “I live like a waiter.” Drawing on this remark, Anton Morokov asked himself about the real sense of place experienced by contemporary artists, and what happens if artists find themselves not only “in their place” but also participating in a larger number of the processes accompanying cultural production than usual.
Anton Morokov views cultural institutions as balanced ecosystems consisting of employees, artists, and visitors, where anything “excessive” or “foreign” can introduce disruption that requires a response. Garage is a very simple and accessible museum for visitors, but it is also a desirable venue for artists and has a complex internal structure. Algorithms for interacting with the institution are very diverse, but also extremely laconic and regulated. They imply being neither overly intrusive, nor reducing personal or professional distance. At the intersection of such rules Anton Morokov has added an additional element to his hidden performances, in the form of a contribution to the Museum’s life. He got involved in the Triennial’s work process and created an unusual reaction with his short-term, atypical interactions with participants of the project.
You are Being Served… Today at Your Service… took place at Garage September 2–19, 2020. Artist Anton Morokov’s was reincarnated as various technical staff of the Museum. Over the course of the project, he worked incognito as a waiter, a security officer, an installation intern, and a tour guide. While performing duties not related to the direct production of art, he filled these processes with artistic implications. Many participants of the project, be they café employees, fellow artists or Museum visitors, were unaware of the artist's real occupation. Having entered into professional communication with the “undercover artist” and received the requested service, assistance or product, they thus developed a new type of relationship, exposed the backstage of a large institution. This kind of exchange is important for the artist as a legitimization of their practice and operates as a type of fee for the information collected during the project.
The presentation will feature video documentation of interactions between the artist and project participants and a conversation between the curators of the 2nd Garage Triennial, Anastasia Mityushina and Valentin Diaconov, and the artist.