+++ Young Russian Photography +++
+++ Rodchenko School for Photography, Moscow +++

Lilia Li-Mi-Yan: Nausea

In “Nausea”, Lilia Li-mi-yan works with the theme of physicality and partial objects. She creates intricate tactile rhymes.

Nausea is a reaction of organism when you have absorbed too much; the food you swallowed has been split but could not be digested. In this case the tactile and optical are tensely connected. It is about the eye that receives a portion of the world which could be split into identifiable parts, but could not be digested to form the integral concept.

Here's a preview of some 'lighter' images.

Artists Lilia Limiyan & Katherina Sadovsky This book is the continuation of the Post Marble project we started in the summer of 2017 in Siberia, on Lake Baikal. Our work includes photography, video, sound, sculpture and interference into the natural space. The first and main part of the project is the research and two large exhibitions – in the forest and in the marble quarry, on the shore of the lake. The second part is the reconstruction of the work in the gallery space, taking the part of nature to the "laboratory". This transfer is in the context of an artificial and sterile space where everything is done by a person or machine. Fragments of female body resonate with the wounds on the stones, causing tension. We are no longer present in reality, we only observe the images, but we experience them through our own experience, involving the body memory. Post Marble is the experience of trauma and its exploration through nature. Perception of it as a place of trauma and perusal of anthropogenic interference through the code of corporal violence. Human life in these places has sprouted from nature for centuries and organically fused with the life of the taiga, the hills and the lake. The deposits of marble, which comes to the surface and is easily mined, became a temptation for anthropogenic intrusion. The local catastrophe of open marble mining was stopped in a step from the escalation into a catastrophe of the loss of the world's main fresh water reservoir. We saw the abandoned quarry as a monument to anthropogenic violence. Violence of any nature is always experienced and expressed bodily, causing a corporal response. We introduced our work into nature without violating it and changing its forms, and showed the naked marble flesh of the earth as a bleeding wound. This project was located in an expanded field, described by Rosalind Krauss, and was the form of marked sites, if we use her term, "marking the place." Another obvious reference is the abstraction of Otto Piene with the expressive textured surface resembling a traumatized body and referring to the trauma of the world war.