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AES+F group<br />The Feast of Trimalchio<br />Panorama#3, 2010<br />digital collage, lambda print on canvas<br />120 x 255 cm<br />edition of 5</p>
<p> </p>
<p>In the 'Satyricon', the work of the great wit and melancholic lyric poet of Nero's reign, Gaius Petronius Arbiter, the best preserved part is 'The Feast of Trimalchio' (Cena Trimalchionis). Thanks to Petronius's fantasy, Trimalchio's name became synonymous with wealth and luxury, with gluttony and with unbridled pleasure in contrast to the brevity of human existence.</p>
<p>We searched for an analogue in the third millennium and Trimalchio, the former slave, the nouveau riche host of feasts lasting several days, appeared to us not so much as an individual as a collective image of a luxurious hotel, a temporary paradise which one has to pay to enter.</p>
<p>The hotel guests, the 'masters', are from the land of the Golden Billion. They're keen to spend their time, regardless of the season, as guests of the present-day Trimalchio, who has created the most exotic and luxurious hotel possible. The hotel miraculously combines a tropical coastline with a ski resort. The 'masters' wear white which calls to mind the uniform of the righteous in the Garden of Eden, or traditional colonial dress, or a summer fashion collection. The 'masters' possess all of the characteristics of the human race - they are all ages and types and from all social backgrounds. Here is the university professor, the broker, the society beauty, the intellectual. Trimalchio's 'servants' are young, attractive representatives of all continents who work in the vast hospitality industry as housekeeping staff, waiters, chefs, gardeners, security guards and masseurs. They are dressed in traditional uniforms with an ethnic twist. The 'servants' resemble the brightly-colored angels of a Garden of Eden to which the 'masters' are only temporarily admitted.</p>
<p>On one hand the atmosphere of 'The Feast of Trimalchio' can be seen as bringing together the hotel rituals of leisure and pleasure (massage and golf, the pool and surfing). On the other hand the 'servants' are more than attentive service-providers. They are participants in an orgy, bringing to life any fantasy of the 'masters', from gastronomic to erotic. At times the 'masters' unexpectedly end up in the role of 'servants'. Both become participants in an orgiastic gala reception, a dinner in the style of Roman saturnalia when slaves, dressed as patricians, reclined at table and their masters, dressed in slaves' tunics, served them.</p>
<p>Every so often the delights of 'The Feast of Trimalchio' are spoiled by catastrophes which encroach on the Global Paradise...</p>
<p>AES+F, 2009<br />Translated by Ruth Addison</p>
<p>
AES+F group
The Feast of Trimalchio
Panorama#3, 2010
digital collage, lambda print on canvas
120 x 255 cm
edition of 5

 

In the 'Satyricon', the work of the great wit and melancholic lyric poet of Nero's reign, Gaius Petronius Arbiter, the best preserved part is 'The Feast of Trimalchio' (Cena Trimalchionis). Thanks to Petronius's fantasy, Trimalchio's name became synonymous with wealth and luxury, with gluttony and with unbridled pleasure in contrast to the brevity of human existence.

We searched for an analogue in the third millennium and Trimalchio, the former slave, the nouveau riche host of feasts lasting several days, appeared to us not so much as an individual as a collective image of a luxurious hotel, a temporary paradise which one has to pay to enter.

The hotel guests, the 'masters', are from the land of the Golden Billion. They're keen to spend their time, regardless of the season, as guests of the present-day Trimalchio, who has created the most exotic and luxurious hotel possible. The hotel miraculously combines a tropical coastline with a ski resort. The 'masters' wear white which calls to mind the uniform of the righteous in the Garden of Eden, or traditional colonial dress, or a summer fashion collection. The 'masters' possess all of the characteristics of the human race - they are all ages and types and from all social backgrounds. Here is the university professor, the broker, the society beauty, the intellectual. Trimalchio's 'servants' are young, attractive representatives of all continents who work in the vast hospitality industry as housekeeping staff, waiters, chefs, gardeners, security guards and masseurs. They are dressed in traditional uniforms with an ethnic twist. The 'servants' resemble the brightly-colored angels of a Garden of Eden to which the 'masters' are only temporarily admitted.

On one hand the atmosphere of 'The Feast of Trimalchio' can be seen as bringing together the hotel rituals of leisure and pleasure (massage and golf, the pool and surfing). On the other hand the 'servants' are more than attentive service-providers. They are participants in an orgy, bringing to life any fantasy of the 'masters', from gastronomic to erotic. At times the 'masters' unexpectedly end up in the role of 'servants'. Both become participants in an orgiastic gala reception, a dinner in the style of Roman saturnalia when slaves, dressed as patricians, reclined at table and their masters, dressed in slaves' tunics, served them.

Every so often the delights of 'The Feast of Trimalchio' are spoiled by catastrophes which encroach on the Global Paradise...

AES+F, 2009
Translated by Ruth Addison


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AES+F F (Tatiana Arzamasova, Lev Evzovich, Evgeny Svyatsky and Vladimir Fridkes) has been exploring the possibilities of combining modern technology, Hollywood cinema, fashion photography, advertising, mass media, popular culture and youth obsession with the classical aesthetic of old masters’ paintings since the forming of the group in 1987, visualising and presenting a world for the viewers that is rather familiar yet mysterious and alienated. Their digital collage of real life photographs and animated landscape/objects blurs and defies the line between reality and fantasy, history and time, constructing a futuristic mythological metaphor for the present through their glamorous, seductive yet alarming, artificially hyper-realistic imageries.

AES was first formed in 1987, and in 1995 it became AES+F; the artists currently live and work in Moscow. The State Russian Museum in St. Petersburg held the first ever mid-career retrospective for the group from May to July 2007. In recent years, they have also been exhibited extensively worldwide, including The Cobra Museum of Modern Art in the Netherlands, Moscow Museum of Modern Art, Casino Luxembourg - Forum d'art contemporain, the 4th Gwangju Biennale in South Korea, Museum of Contemporary Art in Sydney and Museum of Modern Art in Stockholm.