andrey bogush
glass prompt (for breughel)
glass prompt (for Breughel)
2025
Full HD video (color), stereo sound, AI-generated imagery
5 minutes 25 seconds, looped
Premiered at wrong: horse, wrong museum, Shahin Zarinbal, 2026, with staged event by Andrey Bogush and invited performance by Ville Laurinkoski
Glass prompt (for Breughel) stutters between Pieter Bruegel’s Two Monkeys (made in 1562, housed at the Gemäldegalerie, Berlin) and Marguerite Duras’s The Truck (released in 1977). Two monkeys sit in the back of a moving van, holding two small, smudged mirrors toward each other to create a fake infinite loop, while a distorted Bach piece plays over the sound of the engine. A crude, looped video based on lost chats with AI continues the artist’s practice of absences as queer care. Embedded digital prosthetics of AI generation and animal proxies reflect on the server, the archive and desire while the artist speculates what the algorithm remembers when the platform forgets.
Opening event, 5–8.30 PM, Kreuzberg, Berlin: wrong museum installed candles and DIY posters throughout the third floor staircase. In the corridor and bathroom: candles, horse year calendars, horse statues, living and artificial flowers, horse sculptures and other souvenirs. The metal entrance door was held by a door person who formally instructed each guest. Two guests at a time were permitted entry. Inside, Bogush received guests in silence and guided them to their seats. A beer garden bench rolled in white curtain was used for seating. Guests could watch the video for as long as needed. Later the capacity was extended to four. The organic vanilla smell from a burning stick placed in an orange was used in the watching area.
At 7 PM, Ville Laurinkoski performed Les voyages et aventures extraordinaires du frère Angelo on the staircase — after Guy Hocquenghem (1986), allegorizing the AIDS epidemic through the moral violence embedded in Christian imagery.
For both artists, the loop is a way to deal with erasure. Both works suggest that the human condition (Arendt, 1958), especially the queer condition, is often mediated through something else (a screen, a monkey, a religious icon) because the direct experience is too painful or has been deleted. Where Bogush finds 'queer care' in the technical poetics of the algorithm, Laurinkoski stages an absurd condition until affect outlives archive.
The work was kindly supported by The Finnish Cultural Foundation, Juhani Kirpilän rahasto
more info: https://shahinzarinbal.com/
Press release
wrong museum is delighted to present its inaugural exhibition wrong:horse, hosted by Shahin Zarinbal.
The exhibition opened with the premiere of glass prompt (for Breughel) by Andrey Bogush and the performance Les voyages et aventures extraordinaires du frère Angelo by Ville Laurinkoski on 5 March.
Andrey Bogush's work will continue to be on view through 4 April.
wrong: horse, the first exhibition of the wrong museum, celebrates the Fire Horse as a muse. In the traditional 60-year cycle based on animals and elements, the 43rd year is believed to be among the most charged and powerful of all 60 combinations. In Japanese superstition, it marks a period of unrest around patriarchy and social order; in 1966, 60 years ago, the country’s birth rate dropped by about 25%. The Fire Horse might be read as an antagonist to the Four Horsemen of the Apocalypse.
wrong: horse runs through the year of the Fire Horse with variable availability. More artists will be announced. Topical submissions are encouraged. Those concerned are welcome to contact fantasy@wrong.museum.
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