Projects that stood out for their particularly original approach.
Brief descriptions of the projects were provided by the open call participants at the request of the curatorial team. Texts are presented with minimal editing.
NOYD, Russian Field of Experiments
During the Venice Biennale, we propose to erect !temporary shadow pavilion! opposite the RP. Completely enclosed volume, geometric, structurally-modular copy of the Shchusev’s pavilion shape and structure. The shadow pavilion is both a working platform and the result of rethinking the pavilion space. Easily erected frame, possibly from recycled materials (wood, metal, etc.). Each cell is a rotatable, removable. This kind of structure allows you to rebuild the volume with an unlimited number of variations, changing the space and its connections, combining levels and zones, building on, removing elements without damage to the original Pavilion. 1:1 scale Mockup.
SKNYPL, The Dream of the Russian Pavilion
During the period of work on the pavilion reconstruction project, we announce quiet hour! Sleep as a space of complete imagination and freedom, in which the most unthinkable and absurd ideas are possible. The value of such a space is the ability to demonstrate the most “extreme” forms of thoughts. The performative form of action is an absurd or hypertrophic reflection of each of the internal design processes and the arguments of the architectural bureau. The structure of the work of the pavilion is a mechanism of sleep and wakefulness of the second and first floors, which inventory the past and visualize the ideas of the future. The first floor is the office of the architectural bureau as a source for the processes taking place on the second floor. The second floor is a dream of dreams, that is, a stream of thoughts, hypertrophied and raised to the point of absurdity, taking place in the form of performances. These sessions will vary in time and topic (ecology, identity, history, openness).
Dmitrii Prikhodko and Anastasiia Gerasimova, Fossil
Pavilions in general are made not to be utilitarian; they are exceptionally symbolic and do lack of purposiveness. Yet, the Russian pavilion has being built as a house type – “palaty”, which makes us to misread the type. Basing on the discussions upon utilitarian and celebratory, how can we rethink the use of space in renovation of the historical (usually type-oriented) heritage? Is it still relevant to think through typologies? We propose to create a landscape that allows all activities at once with minor alteration of space. The space is filled with mono-surface that can be flexible and adaptive towards the existing structure.
Saga, Open House
Our proposal refers to three independent installations of Slavic origin at the 2018 Venice Biennale (Virtual Pavilion, Belarussian Pavillion, Tupic Hedonism). So the pavilion functions as a hub that caters for performances and dialogues and radically move the exhibition function from the pavillion. The entrance hall will enclose a publishing house producing a daily digest of the activities of the pavilion and disseminating knowledge, charting the research of the new institution. The central hall plays host to a bar, invoking the architecture of piazza as a traditional gathering space and site of public communication, organised around a central bar station and fountain element, and leading to the adjacent Lagoona view terrace.