Can I make Art every day? What kind of art can be made every day? And, most importantly, is it necessary to make (A)art every day? Today, in the age of the Internet, the production of art has become a common practice, artistic creation has become a mass daily occurrence, the figure of the artist is determined by efficiency and the ability to fit in with market conditions, political or social agenda, environmental challenges, and so on. Perhaps here the question of who will consume it all looks more relevant. "I wish I made art every day." - An exhibition in which everything is important: quotations from previous projects, new objects, and the impossibility of refusing or concentrating on one thing. This multiplicity of goals, reference points, and meanings becomes a leitmotif, a way and means of narrative. Also, the problem with which Semyon Motolyanets interacts is his desire, the possibility of "returning to a language that will not be tied to very subtle things, that will be understandable not only to a narrow community, but to everyone: a resident of Petersburg, Minsk, Warsaw...". Will it be difficult to translate works outside the context of their creator: geographically, socially or culturally? How actively this artistic product will be consumed - "...there will be quite a lot of material at the exhibition. It's important how it will be read ...". With his new exhibition the artist forms a space filled with a system of images, objects, texts. Arranging into separate series and projects, inserting fragments of expositions of previous exhibitions, the author is guided by the principles of form, media, chronology, seriality. He defines the notion of construction as the basis in the system of representation and interpretation of objects - "because everything is either crumbling or barely hanging on, everything is in tension to hold the construction, the construction itself means nothing. The beveled, unstable, at first glance, vestibule-like structure is composed of 4 doors stacked diagonally. This image evokes a sense of instability and vulnerability of the structure. This effect created by the artist is far from reality, the tension is simulated, the system is stable. Everything else is your imagination and visibility. Part of this game of simulation also involves painting - canvases with slotted holes that serve as screens, deceptions, staging the unfolding of space and action on both sides of the painting, in this "microcosm. Pyramids of multicolored pieces of soap are a subject of elusive balance that is duplicated in polaroids, ceramic objects and pictorial surfaces. Lifehack "How to Wash Your Hands with Seven Varieties of Soap?" - a first-person video tutorial, a detailed description of the unnecessary/unnecessary action, a screen saver - a pseudo-social reference to the artist's work, and a content construction option. The objects of Motolyanz's installation are identified in the field of conceptual polyphony, realized in a multiplicity of purposes, using different means, blurring the boundaries of truthfulness, truthfulness and its understanding. "I want to do everything without giving up any findings, without preferring the media, without choosing from them priority models, because, according to my observations, in this choice lies self-censorship" - from the artist's text for the project "Semyon Motolyants' Anti-Personal Personal Exhibition, who realized that he understood nothing in contemporary art" (2018, Borey Gallery, St. Petersburg). The artist, on the one hand, proclaims the autonomy of art and the author, strives "not to instrumentalize art," but on the other hand, he realizes and acknowledges the impossibility of such a state of affairs. In the project "I wish I made art every day," Motoljanec himself defines the rules of the game, forms the conjuncture, marking the boundaries of his gesture. In one way or another, this is the place where it is possible to play the game of autonomy, freedom of statement - a kind of ghetto, a self-proclaimed field of creative effort, in which, as if there is no censorship, neither institutional, nor authorial, there are no criteria of evaluation of quality, value, relevance of works... The Motolian operates in the zone of form and communication, where form produces a message. From project to project, from series to series, defining his coordinates, he deliberately fixes his doubts, manifesting the hesitation of the author who does not dare to make a choice, to decide on his long-term strategy, making it a subject of his work. It is again a game - a game of the current state of affairs, a way of "experiencing the world as a whole when all its aspects are equally boring and we are not seized by one or another specific goal" (B. Groys), the illusion of having to do (A)art every day... Olga Rybchinskaya
A statement from the first person: "This is half of the exhibition for me! My activity in Belarus, the part of it that makes you think of another context. It is another "Half", which testifies to a certain bifurcation, but not in the sense of separation, but in the sense of connection!" I like the Belarussian context... There is an opportunity to return to a language that will not be tied to very subtle things, will be understandable not only to a narrow community, but to everyone: the inhabitant of St. Petersburg, Minsk, Warsaw... It is important for me to dissolve the borders in defining the meaning of art. When I make preparations for a show in Belarus, I do not care about the venue itself, but about the necessity to create a certain medium of understanding. It cannot be done in my head, it can only be done in the eyes of the public, at the junction of public opinion and my statement - it is such a groping. There will be enough material in the exhibition. What matters is how it will be read, how it will work in a new context, when you have to re-introduce your art to people - remove those layers that will allow an unprepared viewer to understand this art. After all, the artist, it seems to me, must work with things accessible to the mass viewer as well, be prepared to make a mistake - to be misunderstood or misunderstood. I will be accompanying the exhibition with a little commentary and explanation. I will try to feel the viewer's attention, get a response, establish interaction and, in turn, get my own experience - to realize where there are conceptual gaps of non-acceptance, where mechanisms are broken, what, on the contrary, works". Semyon Motolyanets (edited by Olga Rybchinskaya).