- 2014Yaroslav Futymsky, rivnonapovnenist. rivnoznachnistperformance (photo documentation by Oleksiy Salmanov)
- 2013Petro Ryaska, Vibrations of VerkhovynaKorydor gallery, Uzhgorod
"Vibrations of Verhovyna project is a vibration in Uzhgorod, Ivano-Frankivsk, or some other city, other time and space ... Conceived as an extension of the Idea that is Felt project shown in Detenpyla gallery, this spatial object adresses the possibility to experience a thought through color and found object that is the room itself. It provokes a particular emotional state associated with sense that has a though in its core."
- 2013Anton Varga, Temporalityinstallation, "Temporary Exhibition", Korydor Gallery, Uzhgorod
The work was made for the "Temporary Exhibition I" in Korydor Gallery. The video captured 2 minutes of temporaneity there and then.
- 2013Yaroslav Futymsky, tour de Stastrip (photo documentation by Maria Diduk and Yaroslav Futymskiy)
- 2013Open Group, Ars Longa Vita Brevisinstallation, PinchukArtCentre Prize nominees exhibition, PinchukArtCentre
Artists' text on the project:
The project is based on the idea of our long-term ongoing work "Open Gallery". Previously within this project for demarcation or definition of a space we used certain tools to materialize this space or its boarders.
The first step in the 'Ars longa, vita brevis' was our renouncement of a narrative physical demarcation. This time the space was being defined only by the 'vision' of the four participants.
Each camera gave a possibility to fix the simultaneity of existence inside one space from 4 points of view.
Dimension system was time. No matter how many kilometers we passed, the whole project was measured in 9 hour-long recordings on each camera. '9 hours' corresponds to the opening hours of the art institution that exhibited the project.
The second step was searching online. Our life was also defined by the camera. Simultaneity of our existence. Correspondingly, the existence of the group was also being questioned.
Fixation of the gallery by our cameras that by default defines the space was a gesture. A gesture of isolation. So we always needed to think about clearness, 'silence' and contrasts of this isolation.
During the project the whole 9-hour stream was broadcast online in the exhibition space of the art centre.
The third and final step was documentation. Existence of every gallery after the process of its definition ended became abstract. The gallery thus continues to exist as a set of recorded information on a flash drive.
Everything else in the frames represents its 'readable' description.
1. Date and title.
2. Simultaneous screenshots of the fixed space from each camera (a, b, c, d).
3. Flash drive containing 4-channel video of the defined space.
4. Explanatory text, space duration (in minutes) and place.
5. Artifacts (optional).
In the course of 59 days as the project lasted, the following people were joining the group:
Yulia Ibragimova, Pavlo Kovach (senior), Sergiy Yakunin, Anatoliy Tatarenko, Oleksiy Salmanov, Volodymyr Vorotniov, Maria Lianko, Liza German, Tatiana Kochubinska, Dobrynia Ivanov, Sasha Kurmaz, Tomasc Gazlinski, Valeriy Kumanovski, Lubomir Tymkiv, Lada Nakonechna,
Danylo Kovach, Ivan Oleksiak, San Morce, Volodymyr Topiy, Vyacheslav Polyakov.
- 2012Yuriy Biley, Movement of Lightperformance (photo documentation), XIV International Art Festival "Interakcje", Piotrków Trybunalski, Poland
On looking carefully at the festival venue for perfomances Biley decided to highlight the time lapse of about half an hour when a faint ray of light penetrates the heavy curtains and comes into the space. He elaborated on a complex scheme of reflection and dissemination in order to forward the beam to its entrance point. The performance lasted until he succeded in sending the light to where it came from.
- 2012Open Group, The Keys form the Galleryobject, Muzychi Christmas Art Fair, Ya Gallery Art Centre, Dnipropetrovsk, Ukraine
"The Keys from the Gallery" as an extension of the "Tysa Gallery" project was created for the Muzychi Christmas Art Fair in Dnipropetrovsk 2012.
Tysa Gallery was created in an abondonded house that the artists discovered in the Carpathian Mountains in August 2012 and managed to open with the key from their apartment. Inside they created a group show exhibiting one artwork each and locked the door when they were leaving. For the Art Fair they made 6 copies of the key, packed each in a box adding a route map to the site and a photograph of the object from the show that could be taken away by the person who bought it.
Artists' text on the Gallery Tysa
The gallery was created in one of the abandoned buildings of the concrete factory as a part of modern arts festival «Kredens 2012». It was decided to make the gallery functional by using its space as a classical exhibition. The first joint exhibition of the group members took place there.
The exhibition consists of six previously made works and those that were created on the festival.
1.Yuriy Biley object "Transfer"
2. Oleg Perkowsky "Windows"
3. Pavlo Kovac (Junior) object "Untitled" 4. Stas Turina object "This"
5. Anton Varga IO "Excuse"
6. Eugene Samborskyi object "Freedom"
- 2012Petro Ryaska, The Idea That is FeltDetenpyla gallery, Lviv
An important aspect of the project is an artist’s intention to rethink his own long-term painting practice, an attempt to use color outside the picturial surface and to move his non-figurative experiments into the total spacial field. Together with following project Vibration of Verhovyny "in the" opinion ... " artist develops the idea of working with the space-as-an-object.
- 2012Anton Varga, IO Estheticsinformation object, The Prut river, Yaremche, Ukraine
- 2012—триваєOpen Group, Open Gallery
In their ongoing project Open Gallery the artists deal with the natural, given or non-existent places and territories that are transformed by their delicate (at times heavy) interventions into outlined spaces. Some of the galleries also funtion as temporary exhibition halls, others are complete in their own right.
Artists' text on the project:
We've established a travelling gallery designed to escort an artist or a group of artists (as it is in our case). By changing the space around us, we outline it and work in it. The project aim is the implementation and transformation of 'unreality' into reality; it's an attempt to create a new space and to outline a certain life span. An important component is the creation of the spaces 'prior' and 'subsequent'.
In this particular case we use nominal walls of a gallery providing them with a nominal indication of the action (countdown), 'its presence'. In the future that space will evolve, create derivative precedents or it'll decline, absorbing itself like a black hole.
The creation of a space is a result of a point-to-point living which can be compared to a whole life (a sort of similar situation was demonstrated in the Detenpula gallery).
Dva ("two") Gallery
Located at the Chorna Mountain on the banks of the Tysa River, Zakarpatska oblast, Ukraine. The gallery cosists of two rooms in the ground each of a man's height. The "rooms" were used for slaking of lime. Their definite natural and timely metamorphoses. Thus one room is full of stale water and the other is empty. The steps built by the group and inviting to the gallery are the only man-made adjustment.
Located on the bakns of the Tysa River (not far from the town of Vynogradiv), Zakarpatska oblast, Ukraine. The gallery was created in one of the abandoned buildings of the concrete factory as a part of modern arts festival "Kredens 2012". It was decided to make the gallery functional by using its space as a classical exhibition hall. The first collective exhibition of the group members took place there.
Gallery on Arsenalna Square
The gallery was created as a part of Lviv Actual Art Week in the autumn of 2012. The construction is made of three and four meter wood planks. There is a social component of the project besides the reflection of city's public space: the group members were bringing other people to the project raising money to get the timber. Each person could pay the price of only one plank.
Gallery with a Forest View
The gallery was realized during the group's visit of Granny Hall residence in the forest near the village of Samiylychy, Volynska oblast, Ukraine. The relative walls of the gallery were sketched by chalk. The plan was dictated by the location of the trees and looks like a sign of visual experience indication.
550 Square Meters Gallery
The gallery was realized during the group's visit of Granny Hall residence. The common technique of pre-building operation was the inspiration of the gallery's visual form, which was traced by a stretched thread. The gallery in the field invited people to enter through a long 30 meter corridor that began with a path. The area of the gallery is 550 square meters.
Sometimes human height is enough. Sometimes just human is enough. Sometimes it's enough to remove a layer of ground, open the surface - and things you felt externally and proper would be felt variable and inside.
1.7 m, 8 m of ground. Found and excavated.
1.7 m, 8 m of transformed system (not necessarily for the good)
Reterritorization (from the ground to the territory).
The gallery is open.
Gallery on the Stretch of the Road
The gallery was created on a strech of a road with two road signs designating its space. The signs mimick those traditionally marking the beginning and the end of a city/town/village. The gallery thus was around 200 meters long and could be grasped at glance.
The gallery was creted within the framework of "Kredents" Festival in the outskirts of "Skalka" recreation camp in Zakarpattya region.
The gallery was created with similar road sign, while one of them was installed on the bank of the Stryi river in Carpathian mountains, Lviv region and the other — on the Biruchiy peninsula in Azov sea, Zaporizzhya region. The space of the gallery is thus defined by the curve of the river (or the water to be precise) which through another, bigger, river falls into the sea. The route which one would have to follow in order to see the space of the gallery is correspondingly about 1000 km long. Open Group gave an account to a space that for obvious reasons has remained unattended by the artists themselves.
The gallery was creted within the framework of "Biruchiy 14" Festival, Zaporizzya region.
- 2012Larisa Venediktova / Tanzlaboratorium, Headlessintervention in public space
- Artists' statement:Beings with arms and legs, and yet they are hardly akin to people, because they have not got heads.They can’t see, only their arms and legs have contact with the world.They travel in magnificent cars, make appearances in public places, and lay flowers at memorials.Silent beings in full-length garments are not perceived as “ordinary people”, even though they are polite and obey the rules.You may not arrest them for breaking the law, and yet their very presence evokes both fear and hilarity at the same time, and perhaps – in a particular way – a breach in public order.
- 2011—ongoingStanislav Turina, Tse (It)object, public art
- 2011Larisa Venediktova / Tanzlaboratorium, Let's Make a Deal — you don't See me, I don't see youperformance, within "Hostage at NAMU", National Art Museum of Ukraine, Kyiv, curated by Larissa Babij
- 2010Oleksiy Khoroshko, Pink Pantherpublic art
- 2009—2013Vlodko Kaufman, Biotheatreinstallation, various places
A wooden structure in a form of an amphitheater is built around a tree growing in a natural environment. The benches are installed the way that the tree appears to be in the center of an audience's view.
Installation versions were set at the Open City festival (Lublin, 2009), Fort Mission festival (Drogobytch, 2010), at the open area in front of Museum of Ideas (Lviv, 18 Valova str, 2012), land art symposium "Prostir pogran space" (Myropillya village, Sumy region).
- 2007Myroslav Vayda, Land artselected projects
- 2000Tiberiy Szilvashi, Malarstvoinstallation, Centre for Contemporary Art, Kyiv, curated by Jerzy Onuch
Malarstvo (“painting” from Ukrainian and Polish) was a project conceived by CCA’s second director and curator Jerzy Onuch who had always been interested in the idea of painting. Onuch thus invited painters Tiberiy Szilvashi from Ukraine and Leon Tarasewicz from Poland to challenge the idea of painting in the space of CCA galleries. Szilvashi used the complete space as the ‘ground’ of a painterly intervention, turning it into a volumetric painting. The room was painted blue, a pool with deep-blue water vitalizing the floor. Only a few colored spots highlighted the composition.
- 1993Vlodko Kaufman, Letters to the Earthlingshappening (photo and video documentation)