The Splash Room is a new installation by the artist Camille Tsvetoukhine that examines the human and scientific condition of place, state and being, mixing anthropological methods with modern and popular techniques. Playing with cultural material, imaginary resources and the archive of Russian ballet tradition in which painting, dance and music converge at the same time, the artist uses the space of a swimming pool as a place to look at the ground of cosmetics and well-being universe. The living-room becomes an empty swimming pool, which edge becomes part of the interior decoration of the room and lends itself to various uses: around the tub, the ground floor is converted into a shelf that presents ceramics, textiles, objects and drawings created by the artist from scratch.
A collection without a défilé. Tsvetoukhine explores the archive of the Russian ballet, a company created by Serge Diaghilev in the early twentieth century, focusing on the absence of the ballet dance itself from the archives. Dance is secondary, preferring the suggestion of a representation that exists only in mysterious way. In The Splash Room takes place a metaphorical bathroom in the ballet of Apogon’s protagonist Octave, which can be seen through the embellishment and the ornament staging at the surface.
Contouring - Extra firming neck – Precious skin. Cosmetic and ceramics clays products are some of the materials involved in the rheological study, an interdisciplinary science that seeks the knowledge of deformation or of flow of matter. The aim of the artist’s research consists in exhibiting the products designed to enliven the show through a formal investigation, somehow between a surgical clinic and an operating room, in which the artist works with transformation processes and emphasises that physic is strictly connected to physiology as the mind is interwoven with the very fabric of nature.
The newsletter’s trailer Sans titre (SOL), 2016, is a video filmed in Madrid Planetarium where an impromptu juggler puts into practice the art of manipulating objects - the ceramic letters S, O, L - twirling in the air. The three sculptures draw/perform a status, a statement, a “concrete poetry” that embraces the surrounding environment and current season, creating purely haptic relationships quickly developed between language and context. (VV)
In collaboration with MataderoMadrid