Vita Buivid
"Love me as I love you"

26 august 2010 - 14 september 2010
Presentation - 26 august 2010, thursday, 19.00

Visual Anthropology of Supposedly Loving


First of all, surprised the easiness with which the project "Love me as I love you" tempts us by gender patterns interpretation. Suspicion quickly finds support in the fact that gender labeling is part of the cultural situation in which the artist reveals and examines the work of social, historical and national clichés.National understood as the Soviet - in any case, belonging to a common low-level culture, not necessarily dead.



Twenty years ago, Vita Buivid looked for a light of non-Soviet holiday in Soviet reality – from this appeared such point of view, deconstruction of the "Soviet man" as an ideology, like the drapery of private transgressions. Anthropology begins where from decadent affectation heroes of Vita Buivid shines a Soviet background, and ideological violence declares itself in everyday perversions.


In what consists the important nest of old photographs, no matter how insignificant they could be? Time as punktum contains in any yellowed card which attracts the eye. Pictures were separately and in other condition in this project. Vita took pictures which firstly throw out because of professional errors. This dephotographic gesture have an inter motivation and not deliberately, and it seems to me an important, even if not read by the audience. So it's not about photography but about the project as a whole, although Vita is professional photographer.


Text messages build some love story, often homoerotic, between the character in the photo and the recipient. Vita shows that the reality of the marginalized and - adjusted for the time - punishable desire is indistinguishable from reality of ordinary Soviet family.



Handmade lace of frames, cards form and actually image, the inscription on the photo, handwriting, ink - all of these nuances show the thin meanings of the work, each time different. Buivid detached records: standard home interiors, traditional women's practices, the characters in the historical and disciplinary boundaries of the Soviet and their everyday life. But, more importantly that artist constructs the situation in such way that the codes themselves mobilize our optical unconscious, and our view of Soviet kitsch.


Our subaudition of character who able to enjoy the downstream culture not aesthetically and distanced, but naively and directly - the most secret part of the historical viewing machine, gathered by Vita Buivid. Such a mechanism pleasure through another - Slavoj Zizek called interpassivity. The ghost of other rose from each object of Vita Buivid. This gives us the opportunity to distantly enjoy the thought-out kitsch plastic that imitate Soviet handmade ready-made.


"Love me as I love you" - this requirement is said about the desire to be loved, and then there is a shortage of love. This desire constitutes an imaginary other, acting as the recipient of love letters and as a place of our projections.


His subjectivity of does not existing is quite vulnerable - it is open to our view. He feels a sort of shame, this specific form of fear - fear of our opinion of him. Under our view he was ashamed of his desire, his naive desire to get a pleasure by any way.



This other chimerical: in his non-existent subjectivity mixed transgression, downstream aesthetics and the projection of our enjoyment. He is invisible part of our audience's situation, designed by Vita Buivid. It is our daily routine and our monster. This is secret monstrous of everyday, the most subversion and banal truth that we are opening in history, and with certain honesty, in ourselves.


This project brings us into a rigid ideology of everyday life in the most stable and unchanging center, unbreakable outside. Naive another, the agent of our aesthetic unconscious, destroyed it from within.

Alexander Evangely

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