Art as Resistance: Ming Fuyi and the Parazit art Collective
Written by Darriel Patrick
27.04.2023
Allow me to introduce Ming, an accomplished artist who has received recognition through the prestigious CERINNO award in 2021 and the Jeune Vague award in 2022.
This exhibition represents a significant milestone in her career and serves as a testament to the evolution of her artistry in the wake of her relocation.
Ming Fuji. Way to Light.
Darriel Patrick: Alina, your recent move from Russia was a significant life change. How has this transition influenced your artistic practices and the way you perceive your work?
Ming Fuyi: Immigrating from Russia amidst my anti-war stance was not just a geographical shift but a profound personal and artistic transformation. This transition has been a pivotal moment, marking a new chapter in both my life and my art. It's like stepping out of a familiar room into a vast, unknown landscape; everything feels more intense, more vivid, and somehow more real, especially given the circumstances. Just a few months after my move, the war in Ukraine began. In Russia, making a statement on this was impossible, so I created the almost hidden exhibition project 'White Noise,' consisting of three exhibitions in irregular places like library halls, where police surveillance was less likely.
Artistically, this move has injected a new perspective into my work. I've always been deeply introspective about my surroundings and the socio-political context I inhabit. However, being uprooted from my homeland and witnessing the turmoil from afar has intensified my analysis. It's as if the physical distance has granted me a clearer vision, allowing me to dissect and understand the layers of my experiences and expressions more deeply.
My work has always revolved around themes of space, light, visual perception, and context. These elements have gained new meanings and dimensions in light of my immigration. Space, for instance, has transformed from a mere physical concept to a more complex interplay of belonging, identity, and displacement. Light, in my recent works, isn't just a visual element but a metaphor for truth, hope, and the relentless search for clarity in a world that often feels overshadowed by conflict and despair.
The socio-cultural context, which has always been a cornerstone of my art, now reflects a blend of my past and present. It's a dialogue between the Russia I knew and the new environments I'm navigating. This duality enriches my work, offering a more nuanced exploration of themes like freedom, resistance, and the human spirit's resilience.
What can I say, my immigration has been a catalyst for growth and introspection. It has urged me to re-evaluate and re-define my artistic language, to strip it down to its core and build it up again with a renewed sense of purpose and understanding. While the journey has been challenging, it has also been incredibly enriching, pushing me to explore uncharted territories in both my art and myself.
DB: Your 'White Noise' project seems like a bold and innovative response to the constraints you faced in Russia, creating a space for dialogue and expression in unexpected places. Could you share more about the conceptualization and execution of this project? How did the choice of unconventional exhibition spaces like library halls influence the interaction between the artwork and the audience, and what impact did you hope to achieve with this stealthy yet powerful approach?
MF: The 'White Noise' project was born out of a deep necessity to articulate the silence that has enveloped us all, a silence that is both a refuge and a prison. This folk wisdom of 'Silence is golden' has taken on a new, tangible meaning in today's context. It's often all we're left with, or it becomes the only way to conduct a dialogue in a world where speaking out can have dire consequences.
As an artist, I've always been drawn to abstract forms and materials of different textures, but the current socio-political climate in Russia, especially regarding the military actions against Ukraine, has compelled me to speak out in the language I know best: art. The 'White Noise' project is my response to the enforced silence and the prohibition on expressing dissenting opinions. It's a visual representation of the ban on private thoughts that are unwelcome by the government, thoughts that many artists and citizens harbour but are forced to suppress.
In this project, I chose not just photography and video as my mediums but also incorporated the concept of mirror reality. This includes its distortion, tightness, and incommensurability with what's happening outside, what remains unseen, and the inner turmoil of those who empathise with the victims of the conflict. It's about the people and places in Russia where any anti-war position is considered as dissent and is dangerously unwelcome.
I placed my works in non-standard atmospheres for an artist - among bookshelves filled with words, texts, and books. Each of the three exhibitions was given a single voice, creating a unified, indivisible message urging not to keep silent about what most people are silently enduring and feeling pain over.
Contrasting the selected St. Petersburg’s libraries with elite commercial galleries was a deliberate choice. It reflects the unwillingly accepted reality of being pushed out of the public information field, where any manifestation of dissent is scraped out, and the open expression of an anti-war position is turned off from the resource. The exhibitions were designed as areas of 'frozen' non-moving images or 'kingdoms of distorting mirrors', allowing the artist and the spectator to move from a point of focus and stillness to a point of variation, fluidity, and awareness.
The unusual spots for hosting the exhibitions were mostly due to the pressure from the government on all public exhibition premises in Russia. This unfortunate reality concerns absolutely all public institutions, including museums, various exhibition venues, and most commercial galleries — hence, the libraries. It was a way to create the 'White Noise', a metaphor for the overwhelming silence and the artificial of the 'White Noise' project is to break through the silence, to give form to the unspoken words and contradictory thoughts, and to transform them into something tangible yet l as the circumstances surrounding the project.
DB: As one of the leading figures in the Russian oppositional art collective PARAZIT, could you share with us the current state of affairs within the collective? How do you see your role and contribution within the group, and how do you navigate the challenges and opportunities of being part of such a prominent oppositional art movement in Russia?
MF: Indeed, the situation for my colleagues and friends in the 'Parazit' collective is dire. The current climate in Russia makes it incredibly difficult, almost impossible, to hold open exhibitions. Those brave enough to attempt it face the very real risk of imprisonment. In light of this, I've dedicated myself to amplifying their voices and work internationally. A few years ago, I was fortunate enough to secure a Global Talent Visa in the UK, which has significantly broadened my ability to support and advocate for the collective.
Many talented individuals in Russia are stifled, unable to express themselves freely due to the oppressive environment. In response, we published a book from afar, a testament to the resilience and creativity of the 'Parazit' members. I am now actively promoting this book in the West, aiming to introduce international audiences to the profound work of one of Russia and St. Petersburg's oldest art collectives.
In 2023, I played a role in organising the exhibitions 'Communication' and 'Communication 2.0' in collaboration with Sweden. These events were particularly poignant, as they occurred against the backdrop of Russia's increasing isolation. The Neatekni Prize, awarded to Sweden and subsequently to 'Parazit' for the exhibition, was a significant acknowledgment of our efforts. The exhibitions, created by two prominent groups of artists from Russia and Sweden, showcased the power of art to bridge divides, even in the most challenging circumstances.
My commitment to the 'Parazit' collective remains unwavering. I understand the critical role art plays in challenging narratives and sparking dialogue. As an artist and as a friend, I will continue to support and elevate the voices of those who strive to create, express, and communicate, no matter the obstacles they face. It's not just about providing a platform; it's about fostering an environment where creativity and dissent can flourish, where silence is not the only option.
Ming Fuyi. Way to Light.
DB: Reflecting on your impactful work with the 'Parazit' collective and your significant contributions to the art world under challenging circumstances, could you share with us your future aspirations? What are your upcoming artistic endeavours, and how do you envision your role evolving both within the art community and in broader societal contexts?
MF: The 'Way to Light' exhibition was indeed a profound milestone in my artistic journey. It marked the culmination of my first fifteen years as an artist and also represented the official beginning of my career, which commenced approximately fifteen years ago. Throughout my life, I've held a deep-seated aspiration to be an artist, and I've dedicated myself to realising this dream.
The process of curating the artworks for this exhibition presented a formidable challenge, primarily due to the ongoing military conflict. I want to extend my heartfelt gratitude to all my collectors residing abroad, whose unwavering support made it possible to showcase my works. This event not only marked a significant personal achievement but also symbolised the conclusion of a chapter in my life in Russia. It seems unlikely that I will return to a place where the expression of personal views, steeped in Western ideals and open-mindedness, is nearly impossible.
Furthermore, this exhibition heralds the beginning of a more independent phase in my career. While I've primarily participated in collective exhibitions in Russia, notably with 'Parazit,' I envisage dedicating more of my focus in the near future to individual solo exhibitions and solo projects. My aspiration extends beyond supporting the artists associated with 'Parazit' to encompass providing assistance to a broader community of artists in Russia.
Currently, I'm deeply immersed in exploring the potential of NFTs and NFT markets as platforms for artists who face restrictions on traditional exhibition platforms within Russia. This exploration encompasses how blockchain technology can foster inclusivity within the NFT sphere and provide a global platform for marginalised LGBTQ+ communities in Russia to showcase their creative work.
Additionally, I've revisited my academic roots, which played a pivotal role in shaping the early stages of my career as an artist. My academic background in Art History has equipped me with vital knowledge and skills, including art criticism and curation. Presently, I'm delving into the theoretical aspects of the art world, authoring academic articles, and engaging in research on these topics. These works, anticipated to be published in late 2023 or early 2024, aim to illuminate the opportunities that NFTs offer to artists and the mechanisms through which blockchain technology promotes inclusivity within this domain. My ultimate goal is to provide support to a diverse array of artists facing restrictions on self-expression in Russia, extending my reach far beyond the confines of the 'Parazit' group.
Darriel Patrick. Before becoming Contributor at Centre for Arts, Research and Culture, Darriel worked as the Malooi's Digital Programmes. He was previously a curatorial fellow at the BALZ Gallery and has over 9 years of experience working in the museum sector delivering, commissioning and curating projects.
