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There were such friends, there were such opportunities: this apartment itself, this basement, this attic – they are a part of life and all the passions. Even the exhibitions weren't so important – it was important to hang out and booze up. Not to booze up in a sense of “drinking on a bench”, but to talk, socialize, entertain… And the room was big enough: a man lives and has enough space to host a company of friends. One needs more than desire – in other words, a certain kindness  – but an ability to hang out eminently. A “gang” as a lifestyle and a type of activity” - thus an artist Yuriy Sokolov comments on his own art practice and activity of Chervoni Rury gallery.


In the second half of the 1990s he hosted many exhibition projects, discussion meetings and festival performances on his private territory – in the basement, the attic and the backyard of the Lviv apartment building in 24 Yefremova Str., where he lives until today. Since those times the basement, the attic and the yard have been real components of Sokolov's artistic thinking that he described as “life art”. Life art is opposite to the term “life style”, concordant at first sight, formed by glamour industry due to its special types of consumption, - and in fact is an anti-consumerist. He doesn't try to escape from the obsessive everyday life, but transforms it into materials for creativity and interactions.


Without reference to Sokolov's ideas, similar attitude to everyday life may be found in works of many Lviv and Uzhgorod artists: in Gabriel Buletsa's work “Collections” that develops around the idea of collecting, classification and visual backup of various phenomena – from consonants of the Cyrillic alphabet to car accidents that happen in the street where the artist lives in; in Stanislav Turina's object “Dedicated to Mothers” which enlarges as the artist accumulates old clothing and uses it as a material for weaving a flowery rug; in Yaroslav Futymsky's numerous “practices” that are born by endless meditations on his own existence, movements and aesthetic surroundings; finally, in Yuriy Sokolov's photo albums in which he has been meticulously making “visual noise” for the last 10 years: press-cuttings, postcards, old and new photographs, and other useless items.


This type of art practice gained a conceptual concentration in a project “89 Days of Winter”. In winter 2012-2013 in the circle of close friends and colleagues Anton Varga created an information-art flow made of everyday things. Opening every evening a new exhibition in his kitchen, the artist resorted to a conscious participation in his own every day life that produces creative energy and critical thinking as effectively as traditional professional art practices do. As Anton Varga states in a project's concluding text, “Everything was obviously happening not for the art's sake, but for a meditation upon our place here-and-now every day, our existence in that town, winter, inside my apartment in Dzherelna Str. And out of it, together with others and separately”. This sentence exactly describes fundamentals of “life art” - “not for art's sake”, “meditation upon our place here-and-now”, “together with others and separately”.

Andriy Stegura, Breath (Vdoh)
object, Biryuchiy, Zaporizzhya region
The object was created during the artist's residency on Biryuchiy island. Stegura installed a motion sensor at the doorway of one of local buidings which lights the lamp when someone approaches. The lamps's design is reminescent of classical Soviet industrial lighting with stencil-painted word "ВХОД" ("ENTRANCE"), yet is slightly altered by the artist into "ВДОХ" ("BREATH"). It is planned to have another one saying "ВЫДОХ" ("EXHALE") in the opposite part of Ukraine in Zakarpattya region.
Andriy Stegura, 92 Days of Summer
Yevgen Samborsky, Selfportrait
mixed media, height - 180 cm
Yevgen Samborsky, Component of presence

Artist's text on the project:


The performative installation consisted from my personal belongings that were stored in the gallery space for the whole exhibition period form 21.06.2013 until 28.07.2013. I could only keep the stuff I wore and the ones I could carry in my backpack. I visited gallery regularly to change and documented every visit with a camera. The documentation complemented the display on a daily basis. 

worn-out clothes of Stanislav Turina
Stanislav Turina, Question Mark - Exclamation Mark
public art
Yuriy Biley, Object "Presence"
metal bar, carpet, broom, carpet beater, sound

Artist's text on the project:


From the ongoing project "Dedication"


The object is meant to grasp a time lapse from a lasting cyclic process of physical and psychic life of a modern man by the means of everyday objects.  

The piece derives from a tradition of dusting out the carpets. It was inspired by a real-life event:


On January 16, 2013 an old man was dusting two carpets on Dobrolubova Str. in Uzhgorod.

- Could you tell how many times a year you dust out the carpets?

- Two or three times. So much dust, the vacuum doesn't manage.


An important element of the artwork is sound (recorded before the actual conversation took place, January 16). The sound just as bell ringing highlights the cyclicity. 

Anton Varga, IO Imovirnist
information object, 27/10 Dzherelna Str., Lviv

89 Days of Winter is an exhibition that lasted all winter of 2012-2013 in the kitchen of Anton Varha's apartment on 27/10 Dzherelna Str. in Lviv. The display was changed daily, immediately documented and published on the project's blog


Artist's text on the project:


What for?


Exhibition activities sometimes contain a big danger, because they tear apart the time and space put together in creation, representing an extracted object. It can be this way or a different way.
The different variant is basically doomed to a kind of counter-cultural consumption and the correcponding existence.

So it is with hyperreflective art. Stories, myths, trends are composed in the context of the project that can be comprehended by only 5-10 people. The great part of it cannot be felt by a detached onlooker (out-of-the-context).

What was happening was conceived to practise the constant reflection, which would leave behind the artifacts of every day. That project was conceived primarily for those 5 -7 artists existing in the area as a challenge to their skill of contemplation, as a contradistinction to their exhibition practice of severance and inscribing. The space of the kitchen on Dzherelna str. (almost not special) was not a goal in itself. This was the place near in hand (the closest one). One must not forget about the ordinary function of the dialogue between the projects themselves, which in this object gained its sound due to the continuity of days.

It was everyday pseudo conceptualism. One day was chosen only to level the time of reflection, the time between the "act of creation" and going to the market. As the three universals (contemplation, reflection, communication) had to be not simply inconsistently lined by breaking a membrane between them, but in the space where they would cover each other by their contemporaneity and permanency of one day.


The Space.


The space of the information object was in the first place a rectangle of a kitchen. A sofa which was hardly moved since technically nobody expected large-scale artifacts, there was no place even for a fridge. There was just the wall which proved the implementation of experience. It was just receiving. At the beginning there was a blog created on the initiative of Denys Beketov and Marx that became the analogue of the virtual space on Dzherelna str.. The blog currently broadcasts all the 90 days simultaneously.


The Time Line.


One day. 24 hours. 89 days of winter. The last one was not shown. Basically the opening hours were 22-23 pm. There were some opening hours also after midnight. There were some in the morning. The end of winter was actually symbolic (calendarian).


And the last thing.


It all was obviously not for the sake of art but for the reflection of our place here and now every day, of our existence in that place, that winter, within those walls on Dzherelna str. and outside it, together with others and separately


Artist's text on the project:


In spring 2012, I worked for the 7 Berlin Biennale as assistant of the Polish artist Pawel Althamer in his project "Draftsmen's Congress." The project was held in the old St. Elisabett Church, that is a cultural and artistic institution now. An unpleasant incident happened to me there. All people who were involved in the project were leaving their belongings in sacristy during working hours and one day someone stole two backpacks, one of them was mine. It was a pity to loose my bag with all my possessions because I took only necessary things for my stay in Berlin. But more than that I became interested in the situation that happened. I walked around the church, looking if my stuff was planted. And when inspecting the place where the bags were kept I found an old cassock (priest`s garment) among the abandoned church things. Few days later I turned it into a backpack altering only minor details and cropping the unnecessary. In that somewhat ironic way church returned my stolen backpack. This personal experience was something like confirmation of the theory that "energy can not appear and disappear out of nowhere".

Ne Dva, Vol`No_
found objects and phenomena + interaction with the environment + photofixation + direct transfer forward
Ne Dva, non_visible_agitation+ asemic_write & post_literature
found objects and phenomena + interaction with the environment + photofixation + direct transfer forward
Ne Dva, transitions=infinite apriary
found objects and phenomena + interaction with the environment + photofixation + direct transfer forward
Yuriy Sokolov, For My Wife
mixed media

An archival album in which the artist assembled personal photos, documetation of his curatorila and artistic projects, texts, DIY-publications and other materials relevant to his conceptual practice. The album was a present to his wife on the occasion of their performative wedding in Switzerland.