THOMAS BASS on Mon, 21 Oct 96 20:54 MET

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nettime: odarod le and vilcyn ruzprickh

BIO: Vilcyn Ruzprickh's Solvent Art from Lipovenia

by Odarod Le <>

Emergent from the Danube and its dynamic delta filtering the debris of
East Central Europe before emptying into the luminous waters of the
Black Sea comes a project recording and transforming the flux of
discharge from the cultures along its banks: Vilcyn Ruzprickh's,
Dyscholeric Model 7. Effectively melding the chemical, biological, and
mathematical,  Ruzprickh has constructed a digital coliform
environment reacting to data collected by effluent monitors buried in
the channels of the delta. Ruzprickh's digital coliforms are dependent
upon the excretion of cities in order to ensure their survival, for
these digital macroorganisms feed upon their own biological
population, gaining sustenance from the ebb and flow of coliform
colonies. Jeopardy approaches as the attempts to improve the Danube
and delta ecosystem absorbing the sludge produced by Vienna, Budapest,
Belgrade, Bucharest and all points between; the interference of
environmental NGOs purging the slough and dross from the river as well
as from their ideological machines, for example, the scrupulously
clean server. Indeed, these digital macroorganisms respirate
on data, transformed by algorithms into the necessary requirements of
coliformic life to breeding, feed, and mutate according to a boundless
spectrum of digital life that summons the infinite brands of sulfurous
cigarette butts washed from the cities drains into the Danube's
current, carcigenic, fragile rafts.  In their decay, our own mortality
is mirrored, our bodies melded by our synthesis of the inanimate and
its dissolution into our unaware tissue. However, Ruzprickh's bacteria
struggle beautifully, having faith in their digital code's mutation in
order to create more resilient strains of unquantified life beyond the
hollow postulates of mimetics. But Ruzprickh has no intention to
indulge in the anthrophilia of the quest for artifical life.
Dyscholeric Model 7 has simply helped the coliforum assume a life
beyond the confines of water and gastrointestinal tract. Within the
context of the republic of monomaniacal tribute to line and form, the
coliform symbolizes the the autonomy of adipose flesh, its secrets and
subjective self-justification impinging upon the continents as the
foolishly sublime, the pretense of higher consciousness in a Petri
dish of contaminated yet conversely rich agar. Each monument of
womankind, indeed, reflects the presence of the parasite, but the host
does not suspect the presence of her ward until swallowing it in
sufficient quantity to invoke nauseousness if not death.


Vilcyn Ruzprickh's interest in the dynamics and properties of fluids
has been a long-standing theme in his projects. Before graduating from
the Odessa Academy of Contemporary Art, Vilcyn Ruzprickh followed a
more predictable path at the Constanta Technical University enrolled
in the fluid dynamics engineering program where he gained the
necessary theoretical and practical understanding of filtration,
sedimentation, distillation, and irrigation. In addition, Ruzprickh
examined the chemical properties of water and its interaction with
solutes and as a medium for colloids and suspensions. Disillusioned
with the prospect of merely contributing to the courses of the delta's
tributaries through the canal works begun by dissidents imprisoned
under the Ceausescu regime, Ruzprickh took advantage of his roguish
ancestral links to the Ukraine and successfully completed all entry
requirements for the Odessa Academy of Contemporary Art. Within his
new capacity as an artist, Ruzprickh became obsessed by the criteria
for artists. He says of first encounters in the studios of Odessa,
"That identity of pompousness and righteousness that so often defines
the borders of the artist--in actuality a myopic self-appointed
mediator of collective memory and image, the products of the chemical
vessel bounded by the flesh--has failed to scrutinize himself. The
result has been complacency, stagnation, and nostalgia rather than
sacrilege and blasphemy: all necessary techniques in order to
reconcile the chemical vessel with its instinctual actions. And to
think a prank will liberate us from the scrawl and crawl--hah--I scoff
at the notion. A prescription of indulgence in our baseness is the
only solution!" 

Indeed it is Ruzprickh's unavoidable expression of the absolute
inability of the human to avoid indulging in the pleasures of the
taboo and the forbidden that dominates his projects. After
successfully defrauding his professors with notions of conceptual work
done, in his words, "Just before breakfast," rather than following the
mandatory curriculum of artistic departments, Ruzprickh graduated from
the Odessa Academy. Ruzprickh shocked his superiors and colleagues
with his final project, a series of glass waterworks resembling the
foaming laboratory of the archetypal alchemist diffusing in the
nonexistant gap between human and animal, itself a construction of
womankind's need to justify and distinguish its existence.  Rather
than producing a viscous formula to mutate consciousness and physique,
Ruzprickh's Labioscope percolated indefinately, a continuum of
gorgeous color extracted from the highly-sucrous embalming fluid sold
in the streets of his native Romania, a carbonated, artificial, and
far from transnational cola to be carried home in buckets, bottles, or
simply gargled at the vendors. In appropriating the liquid sustenance
of Romania and constructing an elaborate network of glass plumbing to
display the unique qualities of supersaturation, Ruzprickh
blasphemicized a cherished yet unobserved element of Romanian life.
Even in the halls of the Odessa Academy, Ruzprickh's minimalist
participation in the studios, preferring to travel into the hinterland
of the former Soviet Union in order to explore the waterways he
required to console his mischieviousness, earned the scorn of his
cravated, inky colleagues. In replumbing the proletarian utopia and
offering the temptation of sugar (mocking the only permitted
indulgence of newly rebaptized evangelicals), Ruzprickh began his
movement to a new conception of popular art in East Central Europe,
though the irony of the Delta--the territory of the bandit, the
picarillo, the fugitive--surmounting the division between land and
water with a paradigmatic synthesis of the biological and artificial. 
However Labioscope as well as Dsycholeric Model 7 remind the viewer
that despite the whimsy, the imprint of the human remains indelible on
both her environment and herself.  


Continuing with this line of perception, Ruzprickh has began to shift
his attention to the conceptual with his new offering: The Tiddleywink
Manifesto. Charmed by the scalding euphemisms of the online salon and
the phallacy of the cyber debate, Ruzprickh proves that our utopia
remains subsumed by our instinct, a risible condition that despite our
conceptualizing is indecipherable, the paradox of laughter rescuing us
from analytic oblivion disguised as higher consciousness. But it is
the striving for the cosmopolitan, the imagined aesthetic of
sophistication, that truly fascinates Ruzprickh as the struggle for
status, citation, trajectory, and celebrity are denied. Vilcyn
appreciates the finery and foppishness of the dandy, a cockeral
adorned for the subverted conquest of cunt. But Ruzprickh realizes
that the cunt, too, has power, its liquidity eternal in comparison
with the spongey linga. He understands and traverses the inverse
relationship between communication and understanding, generating foamy
and phoney content to be deliberated upon as if time-based equalled
the construction of our thoughts to the eternal speed of light. But
does light ripple with moments of the recognition of its transitory
nature, change giving life? If this is the case, then we are very much
alive, our bodies collecting and adapting to the production of our
hands and minds.  

I leave you with extacts from the savory delights of Vilcyn's newly
drafted Tiddleywink Manifesto, the bamboozling basis for his
forthcoming new, improved conceptual web page also rendered via email
for the technologically impoverished: 

1. historical: the Victorian parlor, the site of propreity and 
posterity, found the tiddleywink to be ideal entertainment governed 
by the movement from the primitive tothe sublime and laced with the   
metaphor of the vagina dentata.

2. hypothetical: tiddleywinks display the complete characteristic of the
net, its fullest potential as a conversation piece to be referred to
over cocktails. Useful, a handy coin to have in one's pocket. Dash
your repartee with torque and trajectory, principle and velocity. 

3. paranoic: moderated, filtered, and supervised so that pious,
sensitive, and correct behavior dominates the environment. But who,
who exactly exerts control? 

4. abstract: tiddleywinks offer the archetypal circle, the mandala's 
ascent from the earthly to the heavenly, the welcoming and destined   
summit of our goodness 

5. virtual: commercially order your copy autographed with our unique
digital signature in corroboration with Deleuze's, "Postscripts on
Societies of Control."  

6. hyper: subscribe to the tiddley listserve
for entry into the game. Receive your e wink and enter your
coordinates. Bounce your e wink into the cup, though the playing
surface--measured according to the volume of telephonic traffic, noise
and feedback--determines your success. Criteria varies. Your
subscription continues until your tiddleywink enters the cup. Strictly
lo tech, running off our 8 gigabyte VHS hard drive. Or, dial up and
browse through the layers of Tiddleywink interactive, LSD tracers
recording the hits for the passive, mouse-paralysed user. 

7. addictive: avoid the panic of the millenium and download the
tiddlyewink virus. Guaranteed to free you from the want of
information. Instant digital amnesia. 

8. tactile: prepare for the computer apocalypse and print, print, print!

Sponsored by Motorola, Silicon Valley Graphics and the Romanian
Ministry of Trade.
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