The current exhibition ’Der Morgen Heller Als Der Tag’ (Dawn brighter than Day) by
Alexej Meschtschanow gathers an ensemble of new wall-pieces from his ‘glass-crash’ -
series. Against the background of a mélange of social interests where the urge for
optimization, construction of identity and compulsive self-realization as well as the quest
for the last bit of security become the distinctive parameters, Meschtschanow sheds light
upon the tense field of individual wishes, moments of happiness and their downsides.
„… down from the wall their faces smile at you.... blissfully, surprised, in disbelief, sulky,
in triumph, relieved… sometimes alone, sometimes as a couple… the setting stays abstract.
It is actually negligible who is depicted in the pictures, but it is of importance what
the spectator can recognize: young people that hold a piece of paper in their hands, their
faces beaming of joy and surprise.
They exist, these moments of happiness that can be socially triggered; this bureaucratically
certified instant that makes your dream come true. It needs to be something extraordinary
that these protagonists were able to get hold of: maybe a record deal? The
rental contract for an affordable apartment in the hip district? A contract with Warner
Brothers? The unexpected scholarship for Oxford? The permanent employment contract?
...Fate gives them a head start: they have received something that is denied to most
others. Some longing has been met at least for the moment … we encounter here
distillates, small worlds of individual projections and of hopes that are not yet disappointed.
Though: happiness is hardly universal and never for long, but the capability for it
always shines through the grey of day-to-day life ...“
Alexej Meschtschanow’s works are the result of observed social habits and the
appropriation of embedded aesthetic and psychosocial conventions. Studying our immediate
social environments with an analytic and at the same time compassionate eye, he assembles
exemplary material – found objects, derelict furniture, archived photographs – condensing
it to autonomous sculptures and wall-pieces whose aesthetics and psychological
atmosphere always underlines their societal relation.