- 2014Yaroslav Futymsky, rivnonapovnenist. rivnoznachnistperformance (photo documentation by Oleksiy Salmanov)
Artists' text on the project
A group show, the so-called «Solyanka», and at the same time an interactive object that gives the viewer a choice.
The artist offers a cast of sensations. The image is static as it is in front of our eyes.
We squint, move away a bit, trying to squeeze into the universe suggested by the author.
And then another artwork and another and so on until you find something you like. And here it is - an image, and if you really like it, please hang it on the wall, thus manifesting your choice. And it will be suffiecient.
"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."
Petro Ryaska
The work was made for the "Temporary Exhibition I" in Korydor Gallery. The video captured 2 minutes of temporaneity there and then.
- 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.
Documentation elements:
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.
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.
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
The project consists of several linked parts presented in different spaces and different artistic media. The shared subject of all the parts is the physical essence of the earth. On each step of the project it is explored by the artists using the key aspects of his practice - the moment of chance and the moment of time length.
Different stages of the project were presented in following spaces:
Dzyga galley, 2011 (Lviv)
Fort Mission festival, 2011 (fortress of the First World War times, Popovychi village, Lviv region)
Detenpyla gallery, 2011 (Lviv)
Gallery Program, 2012 (Warsaw)
ZAZ festival of performance, 2012 (Tel Aviv)
M17 centre, within the Introversion show, 2013 (Kyiv)
The artist’s text to one of the project stages in Program gallery:
TIME. VIBRATION. MOVEMENT.
The time of body
And the body of the time. But the time it’s finished - it begins, when it starts - it ends, and starts over again. The sacral way of the Big Nothing.desiccation
, and the one of vibration and of hanging unconscious, while being conscious of the energetic balance. The moment of expectation by chance, but not accidently.
- 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
