Support program 2023

The program supported individual applicants and creative teams with research and projects in the field of visual arts that comprehend processes in art and society, initiate and develop new ideas, formats, and approaches in culture. Projects based on a critical stance, questioning the boundaries of art, promoting social engagement, and interdisciplinary projects were welcomed.

12 projects were supported based on jury’s decision (15 artists and researchers a total). We received 153 applications in response to the open call.

Applicants were free to determine the requested amount of support based on the project’s needs. For ease of communication and reporting, we have developed a package of documents, including a memorandum of cooperation and two simple reporting forms.

Activities within the supported projects: development of a concept for a center for contemporary culture; opening a safe art space; creation of a stained glass workshop; residency to explore the local area; research on the activities of internally displaced artists and changes in the Lviv artistic environment after February 24, 2022; research on the practices of Ukrainian artists during the winter blackouts of 2022; research on the practices of participation during the war; a text on the history of colonization through the private stories of one family members; a book about natural environments that emerge on the sites of former industrial sites, a publication on strategies for overcoming dumbness through the practice of women’s writing; a photo series documenting the processes of war.

Within the competition 2023 the following artists, researchers, and collectives were supported: Olena Afanasieva; Yana Kononova; Mykhailo Kulishov; Oleksandra Kushchenko; Kateryna Levchenko; Larion Lozovyi; “Mizhkimnatnyi  prostir” (Denys Pankratov, Victoria Dorr); Magran Tata; Tamara Turliun; Asia Tsisar; Natasha Chychasova; Oleksandra Shchur.

Supported projects

Olena Afanasieva
REGARDLESS OF THE CIRCUMSTANCES. BLACKOUT
art book, 2023
The project accumulated the artistic practices and reflections of Ukrainian artists that emerged during the winter blackouts in the form of the art book Blackout, which was also created during the electricity outage. The visual content of the art book is based on two black-and-white photographs found in a 1983 album bought at a flea market in Ternopil. On each page of the album, these photos were manually reproduced in ink, visualizing the awareness of the value and importance of repetitive actions and rituals as a mechanism of psychological self-balancing and recovery. The textual content of the art book ``Blackout`` includes stories of artists - painters, playwrights, architects, actors - who described their ways of surviving the blackout and their new (or renewed old) artistic practices.
Yana Kononova
RADIATIONS OF WAR
photo series, 2022 — ongoing
The work on the Radiations of War series started in March 2022. On June 6, 2023, Russian forces detonated the machinery room of the Kakhovka Hydroelectric Power Station, destroying the Kakhovka Reservoir dam and subsequent ecocide—flooding downstream along the Dnieper River. To study the impact of this technogenic disaster, the author traveled to flooded areas near Kherson and researched the consequences of reduced water levels in the Kakhovka Reservoir further upstream along the Dnieper's riverside in Zaporizhzhya, Khortytsia Island, and suburbs. The photo series focuses on the spatial portrayal of war-affected milieux, contextualizing this imagery within Ukraine's industrial and geological history.
Mykhailo Kulishov
DONBAS: AFTER INDUSTRY
photobook, 2023
The photobook draws attention to the importance of preserving and restoring natural environments that emerge on the sites of former industrial facilities. The book contains archival photographs documenting the history and transformation of industrial and post-industrial landscapes in eastern Ukraine. The pictures illustrate the transformation of post-industrial landscapes into natural environments, demonstrating the possibilities of their restoration. The book can serve as a basis for further research and initiatives to preserve and restore natural environments in different regions of Ukraine facing similar challenges. The photographs collected in the book may become almost the only source demonstrating what industrial landscapes looked like before 2022.
Oleksandra Kushchenko
RESEARCH: OPEN CITY
research, 2023

This is an attempt to ``capture the moment`` and record the changes in the Lviv artistic environment after February 24, 2022. The set contains the wide range of experiences from apartment exhibitions, through independent art galleries to the largest private institution in the region, Jam Factory. Hopefully the attention to relocated artists by the local media will foster empathetic connections in the artistic community and help to strengthen artists. The interviews recorded as part of the research, personal communication, and statistics collected from open sources allow us to outline the benefits of horizontal connections, illustrate the importance of mutual support within the artistic community, point out weaknesses, and think about strategies for strengthening.

Kateryna Levchenko
THE FIRST PROJECT OF THE CENTER FOR CONTEMPORARY CULTURE IN KRYVYI RIH
residency, 2023
The first project of the Kryvyi Rih Center for Contemporary Culture was a ``residence`` for actors from the fields of culture, art, business, and civil society from Kryvyi Rih. The project participants learned about the experience of institutions from other cities of Ukraine, including the Jam Factory Art Center, Izolyatsia, Lviv Municipal Art Center, atelienormalno, Teple Misto, Platform for Interdisciplinary Practice Open Place, and Lviv Radio. The project provided a place, time, and space for public dialogue to define the mission, vision, and role that might have such a center in Kryvyi Rih.
Larion Lozovyi
PRACTICES OF PARTICIPATION BEFORE AND DURING THE BIG WAR
article, 2023
The text ``Practices of Participation Before and During the Big War`` was written based on a lecture of the same name and a study by Larion Lozovyi in the Kukhnia-Lviv volunteer community in 2023. ``Interaction with people is one of the cursed questions of contemporary art theory. It is hard to imagine a discussion that would not get bogged down in insoluble dilemmas of an ethical and aesthetic nature. Capable of having an undeniable impact, participatory art realizes it in a different way than visual art. Previously, my artistic practice was as far from participation and interaction as possible, and I could hardly imagine myself involving communities of people in it. However, with the beginning of the full-scale invasion of russia, I found myself in one of these communities. Participatory art, previously known as abstraction, has become a real factor in my (artistic) life.``
Magran Tata
GALLERY ``TVORCHE NEZHYT``
art space, 2023

A safe art space that allows young artists to exhibit their works for the first time, gain experience, and sometimes even sell their first works. Formation of a sustainable community of young artists and students. We achieved most of our goals: giving the artistic community and city residents a new lease on life, rebooting the formats of events, and making them more open. We managed to unite disparate creative bubbles, serving as a platform for mutual collaborations and performances - from performance and music to poetry and literature. Each opening and event served as a kind of networking. The fundamental format is pop-up exhibitions, which allow anyone, without exception, to bring anything on the day of the event and be sure that there will be no judgment and no fear of criticism.

Tamara Turliun
RESIDENCY AT DARNITSA
residency, exhibition, 2023
The residence in Darnytsia is a way to explore the area of the ``left bank`` in Kyiv, namely the place called Darnytsia, and its surroundings. During the tour, we got acquainted with the monumental heritage of the neighborhood: houses and mosaics. For a better acquaintance, we used materials from the book by S. Shyrochin and O. Mykhailyk ``Unknown Periphery of North Left bank of Kyiv``. The residency lasted for two weeks. The first week was dedicated to introductory meetings, excursions, and planning the route for the second week. During the second week, we followed a joined route, had dinner from Gostynets, and worked on the preparation of the exhibition. The residency ended with the exhibition Bychacha Krov (Bull's Blood).
Asia Tsisar
A GIRL WHO DREAMED OF A PLACE WHERE APRICOTS FALL ON THE STREET
essay, 2023
The essay tells the history of colonization through the intimate stories of one family's members. It marks a new level of social consciousness when we begin to talk about painful and uncomfortable topics in our families with our loved ones.
The essay is a part of the project ``Taking the Train to the East``, which aims to present and make visible the perspective of marginalized communities and cultures.
Natasha Chychasova
SILENCE FÉMININ
publication, 2023
The publication Silence féminin is dedicated to understanding the phenomenon of silence through the practice of women's writing. In the texts created in a dialog, the authors share their experiences, reflect on strategies for overcoming silence, and the limitations of the theoretical apparatus. Since the beginning of russia's full-scale invasion, this project has become a tool of support for the participants and a way to manifest their voices, postulating fragility and strength at the same time. The texts rethink the transformations that occurred to the authors due to the invasion that affected their perception of the phenomenon of silence and attempts to find their voice.
Oleksandra Shchur
OPENING OF A WINDOW
stained glass studio, 2023
As part of the funding, a stained glass workshop was created and equipped at the Kyiv Institute of Automation. The author created and installed her first individual monumental project, a window in the technique of classical stained glass, and gifted it to the local cultural space Spaska, whose activities and values are close to her. There was a ceremony of an official ``opening of the window`` which was attended by about 80 visitors.

Support program 2020

The program supported individual applicants and creative teams with research and projects in the field of visual arts that comprehended the processes in art and society, initiate and develop new ideas, formats, and approaches in culture. Projects based on a critical stance and interdisciplinary projects were welcomed.
We received 65 robust applications from the individuals and collectives. 14 projects were supported (a total of 17 artists and researchers).
The activities within the selected projects ranged from researching Ukrainian vernacular photography to studying the creative industries sector in Ukraine; from finding alternative methods of education to analyzing political and economic challenges; from working with memory to rethinking the myths that are being built in Ukrainian society.

The winners of the 2020 competition: Asia Bazdireva, Anatoly Belov and Viktor Ruban, Uliana Bychenkova and Anna Shcherbyna, Andrii Dostliev, Aleksandra Kadzevych, Yelyzaveta Korneichuk, Garry Krayevets, Polina Limina and Hanna Oryshchenko, Larion Lozovoy, Vasyl Liakh, Tonya Melnik, Lada Nakonechna, Valentina Petrova, Maksym Khodak.

Supported projects

Asia Bazdireva
INTRODUCTION TO THE WORK WITH ENVIRONMENTAL ISSUES IN THE UKRAINIAN CONTEXT
article, 2020
The text draws attention to important issues that should precede the simple appropriation of European environmental rhetoric. The test suggests looking at the narrative tool of catastrophe and the imagined end of humanity to draw attention to the non-universality of such concepts as time and imagination of the future. The peculiarities of European and Soviet modernity and the difference in their political and economic backgrounds should also be considered in criticism of the concepts of man and nature and their relationship. To ensure that the environment does not become an empty signifier, and that disaster is not the only operational scenario, we propose to focus on situated knowledge - naming the tangled experience of a particular land and its versions of time. They make possible not only alternatives to the Soviet version of history but also various possibilities for working with the imagination today.
Anatoly Belov and Viktor Ruban
RITUAL-FAIRY TALE FOR CYBELE
research, 2020
The project has the idea of replacing the mystical ritual with artistic and performative, giving the Phrygian goddess Cybele new qualities - the patroness and protector of queer people. The project addresses the problem of representation of the LGBTQ+ community in Ukrainian society, where this community is often closed and seen as the different sects of interest. The project aims to unite people in one safe queer space through the ritual fairy tale game, to get to know and feel each other. Together, in a common space without rigid gender and sexual roles, to practice our physicality through guided by performers and psychedelic electronic music. The project aims to increase the visibility of the LGBTQ+ community and its inclusion in the general cultural context of Ukraine.
Uliana Bychenkova and Anna Shcherbyna
READER
a series of reading meetings, 2020
The meetings are themed around the positional diversity of relations between textuality and materiality in the artistic and theoretical practices of contemporary feminist art. Possible positions: To delve in search of a different (not phallocentric) morpho-logic of expression; To incorporate text and reading into artistic practice by assigning them the status of a material object; To promote the practice of modesty of literature as a collaborator; To argue about the relationship between text and its maid illustration; Or other and other artistic tricks of mastering the relationship with the Theory. Joint readings and discussions are a space for engaging in dialogues between female artists and female theorists.
Andrii Dostliev
UKRAINIAN SOVIET PHOTOGRAPHY
zin, 2020
The project aims to assemble an archive of Ukrainian vernacular photographs that met the eye of Soviet imperial optics. They were either destroyed (often along with their owners) or removed from their original context and hidden in the archives. All the textual descriptions and a few images come from the dossier of residents of the Soviet part of Ukraine who were repressed in the 1930s. They are part of Ukrainian culture that vanished after decades of colonial rule. They are just traces of someone's family photos, but also traces of the colonial gaze, which was the last to look at these photos and was forever imprinted in them.
Aleksandra Kadzevych
KALININA, VYNOHRADNA, SADOVA
exhibition, 2020
The project deals with the dialectic of internal and external through the study of painting in relation to the surrounding space, as an object that can shape the perception of the territory and reveal its new complex meanings. Leaving her studio and her usual workspace, the artist decided to exhibit a new painting series in an unknown and almost uninhabited place, using the resources of this place, its territory, and its components. From being a passive participant in the exhibition, the artist becomes an organizer who shapes her own field and creates her own context.

Yelyzaveta Korneichuk
ON THE SHORES OF THE EOCENE SEA. ART IN THE KYIV MUSEUM OF NATURE
article, 2020
The project explores the visual component of the National Museum of Natural History's exposition —artworks by Ivan Yizhakevych, Fedir Krychevsky, Hennadii Hlickman, and other authors. The project resulted in the publication of the first descriptions of the works of Ivan Yizhakevych, Fedir Krychevsky, and Hennadii Hickman. The research materials were handed over to the museum team for further use and work with them. A discussion about Ukrainian paleoart and its further research has been started. The project contributes to the redefinition of the Museum of Nature as an art space and to the incorporation of its collection in an artistic context. The project outlined the first step in actualizing the museum as an alternative artistic platform. The team plans to continue working on unlocking the artistic potential of the Museum of Nature.
Garry Krayevets
CATALOG OF THE NOCH GALLERY
publication, 2020
Publication, which summarizes the three years of functioning of the NOCH Gallery. The publication includes texts by artists and curators about the significance and importance of this gallery, which in three years managed to accumulate a small cultural community and support the launch of some artists' careers. Creating self-published materials was another important experience of the project. Some of the books were distributed to artists. The publication will help reach an audience beyond Odesa and inspire self-organized and non-institutional initiatives in other cities to continue working in this direction, developing and enriching the art field.
Polina Limina and Hanna Oryshchenko
PROVINCIAL ART
research, 2020
How can we define Ukrainian art that was created away from the trends that prevailed in specific periods of time? Neither art brut nor naive art, outsider art, or marginalized creativity fully correspond to the local context. The project team chose the definition of provincial art to overcome a white spot in the country's cultural trends. During their expeditions to small towns and villages, they searched for artists whose works have their own logic and system but do not necessarily fit the tastes of elite art platforms. They researched and analyzed cultural life in Stryi, Smila, and Budy. The collected materials became the basis for the articles they wrote.
Larion Lozovoy
SYNERGY AND ENGAGEMENT: THREE STORIES ABOUT THE RELATIONSHIP BETWEEN BUILDING CAPITAL AND ART
article, 2020
``Synergy and engagement`` is an artistic study of the interconnectedness of gentrification, the expansion of developers' capital, the digital economy, and the cultural sector's role in these contradictory processes. The author examines key examples of ``adaptive reuse`` of former industrial sites, such as factories and plants, which have become creative clusters or have been converted into luxury housing. Culture plays a central role in legitimizing such projects, smoothing out the contradictions of their implementation. Contemporary art finds itself in a precarious position: its inherent sensitivity to context conflicts with the obviousness of instrumentalization, conditions in which roles are assigned in advance.
Vasyl Liakh
TREASURE
documentary film, 2020
The plot of the film was based on a family legend about the director's grandmother-in-law, who, in the 1960s, buried the medals of her father in the garden. The chatting about the family history helped to highlight the patriarchal domination as an important feature of the seaside town, its past and present. The film documents the daily life of a fairly typical Mariupol family in a neighborhood near the port and interviews the heroes and heroines about the past.
Tonya Melnik
SCARF-POSTER
workshops on batik technique, 2020
Scarf-poster is a personal attribute of a political statement on fabric that recreates an existing poster used at a particular political event that was essential to the person or one's own statement that can also be used as a poster. The workshop participants were allowed to work in a comfortable environment and friendly atmosphere, to master the batik technique, and to create a piece of clothing. A series of video tutorials on the batik technique was also created so participants could work remotely.
Lada Nakonechna
REPORT BY EUGENE HOLOSTENKO
artistic research, 2020
The research is based on the method that considers artworks as documents that testify to a specific social and political context. The basic assumption is that the aesthetics of socialist realism established a particular mode of vision. The project revealed the peculiarity of forming a disciplined vision, which historically occurred through the identification of the viewer's experience with the artistic image in the representational apparatus regulated by the one-party system. This process was facilitated by the artist's self-censorship, the adoption of a rigid representation policy, and self-imprisonment in perfecting the mastery of realistic style. Thus, art became a mechanism for taming the artist and the viewer. Lada Nakonechna created the series of drawings by copying black-and-white reproductions of painted landscapes from the Holostenko catalog.
Valentina Petrova
A SMALL TREE AGAINST A LARGER ONE
sculpture, 2020
In Oleshky Sands, a performative sculpture was created that is a monument to the landscape - in a very literal sense - not only as an artificially made object that, installed in a particular area, refers to it, marks it, but also as an artificially made object that repeats the landscape in which it is located. The material from which the sculpture was created (sand) is a physical dimension of the landscape. The elements that made up the basis of the sculpture (aircraft shell, sand, steppe vegetation) refer to the history of this area, to specific periods (including the present) filled with significant events. The form of the sculpture (three-layered, partially buried under the surface, rapid decay) is an allusion to time (relationships - past, present, future) and cyclicality.
Maksym Khodak
WARHOLA - ARTIST FROM NOWHERE
research, 2020
The project explores the current state of the neorusyn movement in the Zakarpattia region of Ukraine through the figure of Andy Warhol. The mockumentary resulting from this research will tell an alternative fictionalized story of Warhol's life. Andy does not die in 1987 but moves to Zakarpattia, the homeland of his ancestors, where he continues to engage in active artistic practice, reflecting on local processes. The author traces the use of the image of Andy Warhol as one of the national heroes of Rusyns.

SOURCE

Publication

The publication SOURCE is a collection of interviews of people and groups who are actively challenging the political status-quo regarding the status of marginalized people and other difficult political issues, and who have visions of proactive tactics on how to address them.

 

The second issue of SOURCE that was published in USA in November 2018 focused on topic of migration. Migration though was understood in more symbolic way as a process of transition, which is fundamental to so much of contemporary life. People migrate between identities, countries, languages, economic realities, genders, political beliefs, contexts.

 

 

Publisher: Open Place
Edited by: Yulia Kostereva, Yuriy Kruchak, Maria Prokopenko, Cayla Lockwood, Jaime F. Iglehart
Published: New York, 2018
Language: English
Details: 8 pages
Category: Journal
Designed by: Open Place

Photos by: Yuriy Kruchak, Elisabeth Belomlinsky

SOURCE

Nomadic park

Intervention

August 29, 2014
Bialystok, Poland

Nomadic Park is a mobile installation of trees that were uprooted due to a reconstruction of the street. The eradicated trees were replanted into wheeled garbage bins and moved around the city, giving them new life and symbolic meaning.

Specifically dedicated to the world’s 51 million refugees, asylum seekers or internally displaced persons, the performance and mobile installation recreated the movement of refugees forced to leave their homes and travel to a new and uncertain destination. As local residents encountered these living beings placed in mobile dumpsters, they were forced to experience the real life circumstances of refugees throughout the globe.

At the end of the travel the trees took the place of the park, cut down a few years before, during the reconstruction of the main street of the city.

Events took place in the frame of exhibition Deprivation Arsenał Gallery, curator Monika Szewczyk

Net of the Dream

Intervention

September – October, 2011  
Lublin, Poland

An object migrating from the suburbs to the city center and back has become a symbolic interface, a temporary space established with the aim of connecting Lublin’s communities and social groups.

The objective of this happening was an attempt at discovering the answers to the questions. How can it be made possible to achieve a balance, a connection between the analog «off-line» culture, which is strictly bound to the nature of the places which people inhabit, and the modern, digital and virtual «on-line» culture, where it is not the place where one lives that is of any importance? How can bonds and connections between people representing those two different cultures be forged, and how can they become involved in a mutually collaborative creative process?

Net of the Dream

How does community act?

Workshop

June 3, 10, 11, 2017
Warsaw, Poland

What information about refugees and migrants does a person gets most often? These are statistics that demonstrate growing numbers of migrants year by year as well as information about various incidents and crimes with involvement of refugees and migrants. In public space the messages that contain hate speech or claim that one nation is higher than another are increasingly common. The social media are following the same trend. Fear makes the situation even worse. The lack of information from the side of refugees and migrants contributes to the spread of negative stereotypes, leading to the dehumanization of this group of people. This, in turn, provides fertile ground for the manipulation of public consciousness. That is why individual stories, interpersonal relations and collaboration between different ethnic groups are so important.

A series of working meetings “How does community act?” had aim to start a new practice of collaboration between representatives of various social and ethnic groups of newcomers and local residents in Poland. The workshop sought to build trustful relations within the group, to find to find the points of intersection of various opinions, to reveal important topics, to pose the questions, and to work together on them. The workshop provided the ground and conditions where the diverse believes could meet. Everyone had opportunity to speak out and to hear the other. Disputed situations and individual prejudices were discussed in order to develop strategies of possible actions.

Workshop introduced the methods and possibilities of collective work: the practices, games and techniques that allow critical reflection and active search of grassroots ways on solving the social problems. During the workshop the participants shared their individual stories. Based on that stories the problematic was formulated  – the topics like: emotional and psychological violence; instability of the position; vulnerability; fear; lack of social relations ; loneliness;  xenophobia ; identity and self-identification; necessity and possibility to defend of labour and human rights; the influence of global corporations on the living conditions of people. Ideas how to behave in the certain situations were proposed and discussed. Participants exchanged the information about available resources and opportunities, and together decide the possible methods of action.

In group was discussed of how and around what people could unite. The main accent was on active personal life position. During the workshop, the understanding of the community as a group that united according to ethnic or national characteristics was transformed into conception of unification around common values and believes. And idea to defend the rights of particular group was rethought as necessity to fight commonly for human rights that allows escape the isolation and expand the social circle.  The participants agreed on necessity public discussion on problematic connected with migration.

During the workshop were recorded collected and created the materials: from intimated stories to universal messages that would be understandable for various social, ethnic, and political groups.

20170603_174738

Fresh Market

The first stories of Fresh Market were collected in 2017 in Warsaw during collaboration with labor migrants from Ukraine. It was an attempt to work with the issue not in an esoteric way. At the beginning we heard the stories of labor migrants from the employee in various organizations in Poland, which help to solve social and legal issues. We were looking for the opportunity to get access to the real people to hear from them about the problems they faced. When we have had a certain amount of stories collected in archive, we questioned ourselves what this archive is like, how do we relate to it? Do we believe that certain number of stories put together, make the work full?

The archive contains intimate stories of different people. We’re curating the way that information is coming to us by framing the experience through a series of questions. Currently, the archive has stories on emigration, violations of labor and human rights, patriarchal control over women, xenophobia, self-identification and identity, and other precarious conditions. An archive is a kind of mélange – a mixing of various narratives and social compounds, spectrum toward freedom and restrictions in the different sites.

In the archive we bring together different contexts and experiences by documenting and creating them. And, of course, the core is not in the number of stories we want to get or to reach the certain number, but in their totality, in how these stories give meaning to each other, how they relate to each other, how they make a conversation with each other. How one story answer the questions raised in another stories, and how together they create a certain narrative.

Another series of questions related to the form of the archive and its subjectivity. How should look a space where these narratives come out? Who are the final editor and storyteller? As the creators of the archive, we want Fresh Market to be more than a positing of a traumatic experience of the person whoever’s going to share a story, so that it can be an environment for collaborative work. We want to trace how the story is read and perceived. For this we use certain methodologies. Fresh Market is a nomadic archive that is filled in and worked on in the different contexts. To emphasize the multiplicity of interpretations, we use transparent layers that are imposed on top of the initial text, each time when it is read in a new context. We invite people to read the story and highlight what seems important to them. Selected fragments are placed on a separate layer that overlap the previous layer, the name of the person who read, and the date of reading is placed next to the reading results.

Discussions that are happened during the process of reading become a part of the archive as a separate text document.

Fresh Market Archive

Виставки:

Migration in Transition
Long Island City, New York
Flux Faxtory
November 15 – 20, 2018
Somewhere now
Lublin, Poland
Labirynt Gallery
July 21– August 12, 2018
Gotong Royong. The things we do together
Warsaw, Poland
U-jazdowski
October 19, 2017– January 14, 2018

At the heart of the community

Publication

The texts and interviews collected in this book belong to the expert guests of the project At the heart of the community, who gave lectures and led workshops at the Municipal Museum of Local Lore (Melitopol) from May to September 2015, but also to members of the local community who attended those meetings.

All of the authors included herein reflect on the general condition of cultural institutions in present-day Ukraine, as well as offering insight into the particular condition of the Municipal Museum of Local Lore (Melitopol). All agree on one thing: that reformation of such institutions is a pressing challenge.

Publisher: The Museum of Modern Art in Warsaw
Edited by: Yuliya Kosteryeva, Yuriy Kruchak, Katya Shcheka
Published: Warsaw, 2015
Language: Ukrainian, English
Details: Softcover, 199 pages
ISBN: 978-8364177330
Category: Book
Designed by: Emilia Obrzut

Photos inside by: Yuriy Kruchak

 

Publication - "At the heart of the community"

Content

Kitchen Orchestra

Interactive Installation

May – November 2013
Donetsk, Ukraine

This interdisciplinary project combined contemporary electronic technologies with objects of everyday life. The artists turned pans into percussion instruments. All of the objects through the system of sound pickups were connected to a metal gong, made of tank car.

Once participants picked up available drumsticks and began to make music, it became immediately clear that in order to avoid creating a deafening cacophony, they needed to find a common rhythm and tune. This created an opportunity for dialogue, interaction and artistic collaboration.

Exhibition

Meeting place
Donetsk, Ukraine
IZOLYATSIA. Platform for Cultural Initiatives
May 17 – November 3, 2013

Between Revolution and War

Exhibition

Museum of Art | Skövde, Sweden
September 22, 2016 –  January 8, 2017

The exhibition Between Revolution and War reviews the practices of Ukrainian artists of recent years. The problems and phenomena of society being in between the revolutionary situation and the military confrontation were in the focus of research. The exhibition project considered unwanted and unpopular topics, traumatic experiences and uncomfortable stories. Emancipated artist’s view makes “other” image of war and revolution free of ideological structures and backward stereotypes. The exhibition offers the possible models of comprehension of Ukraine during the “reset” of social idea – the country which is complex, diverse with vast variety of individual positions and thoughts.

The works of artists and non-linear approach created a specific dynamics of the exhibition which reflected the current situation in Ukraine, where the ideological transformations and re-positional games, return us to a place of non-constant time experience.

The role of art in the time of crisis, in the period of political and economic uncertainty is frequently discussed lately. Based on Ukrainian realities Between revolution and war offers a glance on society in the situation between revolution and war – the extreme points of the crises. Whether artist is able to make chaos clear? What role should art play in the time of chaos? What should art really resist to? These and other questions the artists addressed in their works. Participating artists: Yevgenia Belorusets, Sasha Burlaka, Alina Iakubenko, Alevtina Kakhidze, Yulia Kostereva, Yuriy Kruchak, Sasha Kurmaz, Ivan Melnichuk, Oleksiy Radynski. Curators: Yuriy Kruchak, Yulia Kostereva

Exhibition - "Between revolution and war". Exposition