Coal goal by iralu

Artem Volokitin Anatoly Gankevich Anatoliy Gankevich Egor Zigura Dobrinya Ivanov Olga Kasyanyuk Anton Logov Tatiana Malinovskaya Konstantin Rogotchenko Stepan Ryabchenko Yuriy Sivirin Victor Sydorenko Sidorenko Olesia Trofimenko

Артем Волокитин Анатолий Ганкевич Егор Зигура Добрыня Иванов Ольга Касянюк Антон Логов Татьяна Малиновская Константин Роготченко Степан Рябченко Юрий Сивирин Виктор Сидоренко Олеся Трофименко

Уголь имеет для меня особое значение, и тема вызвала во мне живой интерес. У меня есть свое понимание важности этого ресурса и его исторической роли. В природе все взаимосвязано и логично, важно понимать эти законы.

Coal has a particular importance for me. The subject of the project has provoked my interest. I admit the significant role of this mineral in history. All the processes and elements are logically interconnected , this is essential law of nature.

Меня поразил новый взгляд на понятные вещи. Современные художники открыли иные смыслы общепринятых понятий. Coal Goal оставил ряд вопросов для меня, и в этом я вижу роль современного искусства — позволить зрителю выйти за рамки обыденности и рутинных догм, позволить увидеть все по-другому…

I was impressed by a new vision of familiar things. Modern artists discovered other meanings of conventional concepts. Coal Goal raised a number of questions for me, and I see the role of contemporary art in allowing the viewer to go beyond the ordinary and routine dogma, to see things differently…

Алексей Филиппов Коллекционер, доктор экономических наук

Dr. Alexey Filippov Collector, Doctor of Economic Sciences

Современное искусство отражает наше время. По сути, это инструмент познания действительности. Художникам свойственна усиленная восприимчивость и дан талант ретрансляции происходящего. В проекте «Coal Goal» мы не ставили цели решать проблемы или критиковать общественные ценности. Скорее нам важно было вызвать на откровение участников проекта, увидеть действительность их глазами, позволить им включить свое воображение и отразить понимание человеческого бытия. А дальше подумать — что они хотели бы оставить после себя, какое послание передать потомкам. И здесь уголь приобретает уже практическое значение, как носитель и средство передачи информации.

Contemporary art reflects our time. In fact, it is a tool of understanding reality. Artists inherent enhanced sensitivity and many of them are endowed with a talent for relaying environment. In the «Coal Goal» project we did not target any problem solving or intended to criticize existing social values. Rather, it was important to bring project participants to the revelation, to perceive the reality through their eyes, let them open their imagination and see their reflection of understanding of human existence. And then let them think of what they will leave behind, which message address to descendants. In such context coal acquires practical value, as the carrier and means for transmitting information.

В ходе работы над проектом мы поняли, что фраза Coal Goal приобрела свой независимый смысл, став синонимом двойственности человеческих устремлений и целей. Актуальность темы будет неизменной, вызывая новые интерпретации и размышления.

In the course of the project, the wording «Coal Goal» itself obtained an independent meaning and became a synonym for the dual nature of human aspirations and goals. We believe the topic will remain relevant for a long time, causing new interpretations and reflections.

Наталия Шпитковская, Алла Шереметьева Кураторы проекта, учредители Artcult Foundation

Natalia Shpitkovskaya, Alla Sheremetieva Project curators, founders of Artcult Foundation

Проект Сoal goal — о времени и ресурсах. Coal Goal звучит как лозунг на рекламном плакате. Какова цель? Coal/уголь — средство или результат? Название проекта — интерпретация обще‑ человеческих устремлений: к безопасности, насыщению и бессмертию. Выживание — любой ценой, продление своего существования в этой жизни — сейчас и здесь. Страх небытия подхлест‑ нул развитие генетики, био- и нанотехнологий, изобретение искусственного интеллекта. Все средства хороши в остановке процессов старе ния, в погоне за полной победой над смертью. Естественный отбор остается неотъемлемой чертой мира, называемого «цивилизованным». Выживают не так сильнейшие, как те, кто имеет доступ ко всем благам и ресурсам для жизни и ее продления. Корни многих войн — в безрассудном стремлении к власти, тотальному контролю миропорядка, что в конечном итоге всегда недолговечно. «Дионисийское начало» новых сверхлюдей, объединённых эйфорическим стремлением к лучшему будущему, становится предметом многочисленных манипуляций. Неуправляемость толпы хорошо поддается руководству. А власть, осуждающая на смерь, наполнена все тем же страхом кратковременной жизни. Возможно, развитие технологий избавит человечество от извечной борьбы. И как сказано в Редфилдовских пророчествах, человек возвратится к природе, обеспечив надежный тыл для своих материальных потребностей. И тогда придет понимание, что цель бытия — не накопление богатств и достижение абсолют ной власти, а эволюция и развитие. Эволюция приведет к абсолютной осознанности человека, ответственности и любви. Исчезнет насилие, и люди направят свою энергию на исследование мира и своих возможностей.

Coal Goal is a project about time and resources. Coal Goal sounds like a slogan on a poster. What is the purpose? Is the coal the means or the outcome of existence? The project’s name is the interpretation of universal aspirations towards security, saturation and immortality. Survival is primary; life should be extended at any cost here and now. Fear of non-existence spurred the development of genetics, biotechnology, Nano science and the invention of artificial intellect. All means are good to stop the aging process, in the pursuit of total victory over death. Natural selection remains an integral feature of the world defined as «civilized». But in this case it is not the strongest that will champion the race, but those with access to all the goods and resources needed for life and its prolongation. The root of many wars is the reckless desire of power and total control of the world order that is ultimately always short-lived. Dionysian impulse of new supergeneration is united by the euphoric desire for a better future subjected to numerous manipulations. Uncontrolled crowd is easy to supervise. Authorities condemning to death however will not secure the duration of their own life. Technologies may save mankind from eternal struggle as Redfield’s prophecy hoped for by bringing man back to nature by providing a reliable foundation to satisfy material needs. Only then will the understanding come that the purpose of being is not in the accumulation of wealth and absolute power, but rather in evolution and development. Evolution will ultimately bring man to awareness, responsibility and love. Violence will disappear and people will put their energies to the study of the world and own talents.

Идея вселенской любви сегодня утопична, и все же,— это прекрасная мечта. Философские теории, религиозные течения и психологические эксперименты не смогли повлиять на несовер шенную природу человека, жаждущего уничто жать себе подобных. Coal Goal — это ложная цель, цель к насы щению и власти,— синоним существующей мас совой цели. Аналогия не беспредметна, учитывая роль новоизобретенного каменноугольного кокса в промышленной революции. С одной стороны, ископаемый уголь «спас» леса от безжалостного истребления, с другой — ускорил рост производ ства и потребления. Чуть больше столетия понадобилось, чтобы заговорить о проблеме всемирного потепления, озоновых дырах и о непопра вимом вреде выбросов, как неизбежном эффекте «обогрева» человечества. Использование угля красноречиво свиде тельствует о противоречивости пользы прогрес сивных достижений. Древесный уголь, исполь зуемый в противогазах, оберегал от химического оружия, полученного из того же угля. Уникальный абсорбент, используемый в медицине и в очистке сточных вод, при сгорании поглощает большое количество кислорода и загрязняет атмосферу. Уголь продолжает быть основным топливом для мирового производства электроэнергии. В то время, как применение альтернативных источников является приоритетным в развитых странах, растущие экономики предпочитают старые методы, увеличивая потребление угля. В таких странах зависимость велика, а необходимость сильна, о чем свидетельствуют события в Украине. Борьба за полезные ископаемые или очередная геополитическая игра на чужой территории — причины военного конфликта будут позже истолкованы теми, кто напишет историю. История подтверждает некую закономер ность в феноменах изобретений. Как только у человека появляется потребность, находятся пути ее удовлетворения. Получение желаемого приводит к новым благам и потерям. Но произой дут ли качественные изменения в самом человеке? Не исключено, что на определенном этапе последующего витка развития, когда возникнет потребность сохранения цивилизации, существующая ныне модель Homo sapiens станет атавизмом, и будет упразднена более рациональными мутировавшими потомками как объективная необхо димость. И если уголь не будет утилизирован в течение последующих нескольких столетий, он выполнит свою функцию «жесткого диска». Прошедшая эпоха осядет пластом пыли в многовековой массе угля.

Today, the idea of universal love is a beautiful utopian dream. Philosophical theories, religious beliefs and psychological experiments have failed to change the imperfect nature of man, capable of annihilating his own kind. Coal Goal is a false target to saturation and power, - a synonym for the current mass goal. The analogy is not pointless, given the role of charcoal in the industrial revolution. On the one hand the fossil carbon saved forests from merciless destruction, and on the other, accelerated the growth of production and consumption. It took less than a century for the issue of global warming to arise. The side effect of «heating» of humanity appeared in the form of ozone holes and irrevocable disastrous emissions. The use of coal shows vivid contradictions of progressive achievements. Charcoal used in gas masks protected soldiers from chemical weapons, which themselves were obtained from the same coal. Unique absorbent coal was used in medicine and wastewater cleaning, and yet coal absorbs oxygen on combustion and pollutes the atmosphere. Coal continues to be the main fuel for the world’s production of electricity. Whereas the use of alternative energy sources is a priority in developed countries, emerging economies are catching up with their predecessors by increasing their use of coal consumption. In such economies the dependence is strong and the need is vital, as witnessed in Ukraine. The causes of current military conflict in the country may, one day, be interpreted by history writers with reference to geopolitical interests of certain parties fighting for natural resources. History confirms some consistent pattern in the phenomena of inventions. Once man defines a new need, he finds a way to satisfy his desire. The new gift results in new benefits and losses. But will there be a qualitative change for human beings? At some stage of the development spiral, when the existence of civilization will be questioned, current species of Homo sapiens will be recognized as an atavism, and will be abolished by more rational mutated descendants as an objective necessity. If coal is not disposed over the next few centuries, it will perform the function of a «hard disk». The passed era will turn into the dust layer in centuries-old mass of coal. Coal Goal project collected works of Ukrainian artists, which embodied their desired through incorruptible artefacts of time. «Verge» by Artem Volokitin is a symbol of things beyond understanding. With one visible

В проекте «Coal Goal» собраны работы украинских художников, воплотивших свое желаемое нетленное, артефакты времени. «Грань» Артема Волокитина — символ ограниченности понимания происходящего. Уцепившись за одну лишь видимую грань, возможно ли судить о камне? Фрагментарность вспышки одного из элементов спущена как подсказка. Возможно, смоделировать и вообразить, а лучше дать название наблюдению. Организация предметного мира делает его понятным, и даже частично видимое всегда можно сложить в матричный пазл. И вот уже грани превращаются в камни, движущиеся упорядоченным потоком по предопределенной воздушной магистрали. Чудо превращается в ординарность, как заданная интерпретация. Новая информация получает свое название в памяти. Пейзаж размыт и не важен, так автор подчеркивает пустоту. Отсутствие взаимосвязей созвучно иллюзорности познания. В «Источнике» Егор Зигура запечатлел значение прошлого. Каменные стелы сохранили послания древних цивилизаций, изобличая многие надуманные исторические трактовки прошлого. Код вечности как ключ к неизменной истине. Столб с отпечатками кругов времени и двоичным кодом, элементарным средством сохранения и передачи информации. Простейшая форма в стремлении донести метафизи ческое главное. Материальность мира, возможность его физического осознания в простом прикосновении. Осознанность достигается путем концентрации. Человек способен создавать свои миры, и выходить за рамки навязанной реальности. Существуют ситуации на которые невозможно повлиять, но фокус всегда поддается изменению. Избавить себя от пытки можно сознательно: гвозди, уголь, дерево. Созданное имеет особый смысл, сублимируя разрушительную энергию в творчестве. Таковы скульптуры Добрыни Иванова, созданные во время кровавых событий в Украине. Откровение в работах Антона Логова. Чистота и простота. Два цвета, две противо положности. Намеренное обращение к приемам суми-э, или просто желание медитативного творчества? Логов — мастер абстрактного виденья. Глубина, цвет, форма позволяют достичь четкой фиксации момента. Попытка автора очистить сознание от мусора, дзен-эксперимент, явивший воображаемые образы на холстах и бумаге. Работы Логова поэтичны и статичны, «уход» открыт для каждого смотрящего. Эстетская техника невольно проводит

verge can the judgement be made of the whole stone? A fragment burst of one of the elements pops up as a hint. It is possible to model and imagine the rest, but simpler to name the unknown. Making up the world from designated objects makes it understandable and even that which is invisible can always be added up to the matrix puzzle. The verges turn into stones moving in an orderly flow along a predetermined highway in the air. The miracle is subject to normal interpretation. New information receives its name in memory. The landscape is blurred and is not important, as the author emphasizes the emptiness. The illusory nature of knowledge is demonstrated through unrelated objects. The «Source» of Yegor Zigura captured the value of the past. Stone steles preserved messages of ancient civilizations, exposing many far-fetched considerations of the historical past. The eternal code is the key to unchanging truth. The column is marked with footprints of time, circles and binary code - the elementary means of preserving and transmitting information. The simplest form is used in an effort to convey the main metaphysical concept. The materiality of the world can be sensed by a simple touch. Awareness is achieved by concentration. Man is able to create his own worlds, and go beyond the imposed reality. Certain situations cannot be affected, but the focus is always susceptible to change. Torture can be avoided consciously with nails, coal and wood. The creation has a special meaning, sublimating destructive energy into art. Such are the sculptures by Dobrynya Ivanov made during the bloody events in Ukraine. Revelation is given in Anton Logov’s works. They are filled with purity and simplicity. Two colours and two opposites. Was it a deliberate reference to sumi-e technique, or a simple desire of meditative creativity? Logov is a master of abstract vision. With depth, colour and shape the artist achieves precise fixing of the moment. Trying to clear the mind from the garbage, the author came to the Zen experiment imaginary exposed on canvas and paper. Logov’s works are both poetic and static; they open “the exit” to any viewer. Aesthetical art method unwittingly conducts parallels with the coal drawings in caves, used as conductors for ecstatic rituals. Konstantin Rogotchenko pictured sprawling landscapes. Coal, paper, mountains. For Nicholas Roerich the height was of great importance. The whole single is much easier to see from the hill. Nature acts as a spiritual teacher. The author used

параллель с угольными наскальными рисунками, проводниками экстатических ритуалов. Графический размашистый пейзаж Констан тина Роготченко. Уголь, бумага, горы. Рихтер уделял огромное значение высоте. Так легче увидеть целое. Природа как духовный учитель. Автор обратился к простейшей технике, макси мально приближаясь к первозданному. Единой сюжетной линией проходит тема веры и прощения в работах Ольги Касянюк. «Благая весть» наделена сакральным смыслом. Возвращаясь к теме греховной природы и нена сытности людей, автор погружает узнаваемые образы кисти старых мастеров в многослойные черно-белые фотографии, вплетая новые ассоциации. Манерная Венера Лукаса Кранаха, как аллегория плотской любви и падения. Размытые фигуры женщин напоминают святых дев с картин Леонардо да-Винчи, склонившихся над кристаллической решеткой своего творения. Радость предвосхищает процесс «зачатия», пришествие прощения и благодати. Еще одно свидетельство двойственности мира в сжатой формуле Святого Иеронима: «смерть — через Еву, жизнь — через Марию». Яркий «каменный поцелуй» и отпечаток Bunny. Возможно, такими будут найдены остатки поп-культуры, как память об утопичном рае массового производства. Легко читаемые образы, одинаково интерпретируемые сегодня большинством, могут вызвать споры в понимании среди ученых будущего. Чувственности работ Татьяны Малиновской материал не помеха. Автор, возможно ненамеренно, обращается к сексуальности, как извечному творческому началу. Цветы, глаза, губы — все символы погружают в мир той же самой чувственной Евы, запрограммированной на создание. В своих работах Степан Рябченко исследует проблематику соотношения реального и виртуального, специфику их восприятия человеческим сознанием. Визуализируя вирусы, автор их одушевляет, делая акцент на эстетике вообража емого, отделяя образ от содержания. Пугающее значение латинского слова-прародителя «яд», относящееся к частице, способной инфицировать болезнью здоровые живые клетки, в век информационных технологий ассоциируется со стихийным распространением всевозможных данных, имеющих как позитивные, так и нега тивные последствия. Скорость информационной диффузии приводит к развитию глобального мышления, превращая человечество в единый организм. Метафизическая живопись Юрия Сивирина погружает в длительное созерцание. Открытия

the simplest technique in order to approach the divine spark. Olga Kasyanyuk puts the theme of faith and forgiveness in the single storyline. «Good News» is endowed with sacred meaning. Treading on the ground of the sinful people nature, the author plunges recognizable images of the old masters in multilayer black and white photographs weaving new associations. Mannered Venus by Lucas Cranach, as an allegory of carnal desire and fall. Blurred figures of women resemble the holy virgins from the paintings of Leonardo di Vinci, leaning over the crystal lattice of their creation. Joy anticipates the process of «conception», the advent of forgiveness and grace. Further evidence of the world’s duality is in a concise formula of St. Jerome: “Death through Eve, life - through Mary.” Cute «stone kiss» and Bunny print may be found some time as the remnants of pop culture and belief in the utopian paradise of mass production. The images familiar and comprehensible to the majority nowadays are likely to cause controversy in understanding among scientists of the future. Regardless of the material, the works of Tatiana Malinovskaya are strongly sensual. Perhaps unintentionally the author refers to sexuality as the eternal creative beginning. Flowers, eyes, lips - all the characters immerse in the world of the very sensual Eve programmed to create. In his art Stepan Ryabchenko explores correlation of real and virtual things, and the specifics of their perception by the human mind. By visualizing viruses the author animates them. He focuses on the aesthetics of the imaginary, separating the form from the content. A frightening meaning of virus as a poison in Latin originally referred to the particle capable of infecting healthy living cells with the disease. In the age of information technology virus is associated with the proliferation of all kinds of data having both positive and negative consequences. The speed of information diffusion leads to the development of the global mindset, turning humanity into a single organism. By his metaphysical painting Yuri Sivirin puts the viewer in long contemplation. The discoveries of quantum physics have confirmed the truth of existing ancient knowledge. Everything comes from nothing. Concentration of the will and attention is the basis of creation. The essence of the world is in instability. Such are the works of the artist, in which events overcome strict rational conditioning. The impossible looks real.

квантовой физики привели к подтверждению истин древних знаний. Все происходит из ничего. Движение воли и внимания лежит в основе сози- дания. Суть мира — в неустойчивости. Таковы работы художника, на которых события не связаны строгой обусловленностью, а невозмож ное — выглядит реальным. Хрупкость бытия отражена в работе «Одним прикосновением» Олеси Трофименко. Фатальность судьбы — шара, подвешенного на нити, способного оборваться в любой момент, напоминает о важности каждого момента жизни. Стечение обстоятельств и невозможность предвидеть чужую волю умаляют веру в антро поцентризм. Даже в «божьем обличии» человек, как и природа, уязвим и недолговечен. Самоидентификация,— предмет исследо ваний Виктора Сидоренко. Способен ли человек к быстрой и безболезненной адаптации? Размышления автора о судьбе героя пост-тотали тарной эпохи приводят к глобальным выводам неотвратимости постоянного существования в «транзитной» полосе. Историческая память и ностальгия по ушедшим временам в глубине отражает тоску по молодости. Статичность фигур, схваченных в невесомости, увековечивает мгновение, оставляя левитировать в безвременье. «Инверсия эгоцентризма» — фрагмент неотвратимости течения времени и постоянных перемен. Мозаичная техника живописи Анатолия Ганкевича отсылает к временам римской роскоши. «Черный Квадрат», собранный из сово купности имитированных мелких камней, декоративно нивелирует вызов, брошенный гениальным абстракционистом Малевичем миру. Цитирование иконы 20-го века свидетельствует об актуальности месседжа. Происшедшее «обну ление» не избавило от вопросов, а стало черной дырой неопределенности. Вера во всесилие человека иссякла, остались рефлексии. Проект Coal Goal задуман как некая книга бытия, каждая страница которой несет ответы на вопросы. Тема бесконечна, как и само познание.

Life fragility is reflected in «One touch» of Olesya Trofimenko. The fatal destiny of a ball hanging on a thread can break off at any time to invoke the importance of every moment of life. The confluence of circumstances and inability to foresee the will of others is diminishing faith in anthropocentrism. Even in the «guise of God» human being the same as the nature, man remains vulnerable and short-lived. In works «Inversion of egocentrism» Victor Sydorenko questions the role of historical memory. It only witnesses the circular universal fate. The author came to the conclusion of the inevitability of a global permanent existence in the transient band. His static figures captured in weightlessness perpetuate a moment, remaining levitating in timelessness as a form of revelation. The author examines the existence of an individual in the society. The projections bring to light the importance of personal self-study by way of identification towards the truth in relations with the environment, and towards the truth that overcomes the limits of subjectivity patterns and existing social guidelines. The mosaic technique of painting by Anatoly Hankevich refers to the times of Roman luxury. “Black Square” assembled from the set of simulated small stones is revisiting the concept which challenged the world by the genius abstractionist Malevich. Quoting the 20th century artistic icon celebrating its centenary this year, it shows the relevance of the message nowadays. The «Zeroing» or the rebooting of the consciousness at the beginning of the century did not relieve the burden, but instead transformed it to a black hole of uncertainty. Belief in the human omnipotence has proved to be false, remaining nothing but a utopian reflection in our minds. Coal Goal project is conceived as a kind of life book which bears the answers to the questions. The subject is endless in continuous process of knowledge.

Artem Volokitin Verge Oil on canvas Артем Волокитин Грань Холст, масло 140x180 cm 2015

C O A L The compressed information, which carrier was obvious and laid on the surface. Millennium of metamorphosis. Conversion. Inability to decrypt due to fragmented extraction. Memory.

У Г О Л Ь Спрессованная информация, носитель которой находился на поверхности и был очевиден. Тысячелетие метаморфоз. Преобразование. Невозможность дешифрации вследствие фрагментарного извлечения. Память.

Anatoliy Gankevich Black square Oil on canvas Анатолий Ганкевич Черный квадрат Холст, масло 79x79 cm 2014

Mosaic preserves the image, being both its object and subject. Decorative iconostas protects the secret. Light and shadow are killed in the battle and turned into the flat pattern: as dichotomous pair, which is interdependent and mutually transformable. Everything in the world flows from one state to another, appearing and disappearing into the blackness. Мозаика консервирует изображение, являясь и объектом, и ее субъектом. Декоративный иконостас, охраняющий тайну. Свет и тень погибают в битве, выводя плоскую закономерность: дихотомическая пара взаимообусловлена и взаимотрансформируема. Все в мире перетекает из одного состояния в другое, возникая и уходя в черноту.

S O U R C E The sculpture «Source» is the plastic combination of two cardinally different substances — liquid (water) and solid (coal), which come laden with life and evolution for thousands of years. Coal is a source of energy, life and heat. We used to take it literally. However, coal the same as water is a source of information, which has to be decoded. «Source» is a set monument of elements, which brings the eternity code. The analogy of hidden and incomprehensible data at present can be two signs combination of the binary code, which is read only by a system.

И С Т О Ч Н И К Скульптура «Источник» — пластическое соединение двух кардинально разных материй — жидкой (вода) и твердой (уголь), несущих в себе жизнь и развитие в течение тысячелетий. Уголь — источник энергии, жизни, тепла, воспринимающийся у нас достаточно буквально. Однако уголь, как и вода, еще и источник информации, которую предстоит расшифровать. «Источник» — застывший монумент первооснов, несущий код вечности. Аналогией скрытых и недостижимых данных сегодня представляется комбинация двух знаков двоичного кода, который считывается только системой.

Egor Zigura Source Coal, mixed technique Егор Зигура Источник Уголь, авторская техника 224x40x43 cm 2015

During revolution at Maidan when I happened to be at home I was making small wooden sculptures. In November 2013 in Venice I visited the Museum of Orienatal arts. They had a stunning stand with objects of decorative art. The process of creating things from wood accounted for almost 40 steps. I was impressed. Later, when the revolution broke out, and the mind was stressed with the reality, my subconscious prompted that time had come to escape far away. Then I started making wood sculptures using techniques from the East. Когда во время революции оказывался дома, я делал маленькие деревянные скульптуры. В ноябре 2013 года я побывал в Венеции, где посетил Музей искусства народов Востока. Там был потрясающий отсек с предметами декоративно-прикладного искусства, процесс создания объектов из дерева там состоял из почти 40 шагов. Меня все это очень впечатлило. Уже потом, когда началась революция и психика стала не справляться с происходящим, мое подсознание подсказало, что пора убегать в какие-то прекрасные дали. Тогда я и начал на основе этих восточных технологий создавать свои маленькие деревянные скульптуры.

Dobrinya Ivanov From «Touch» series, Wood, coal, nails, mixed technique Добрыня Иванов Из серии «Прикосновение» Дерево, уголь, гвозди, мешанная техника 3 parts, 70х70х50 cm 2015

Olga Kasyanyuk From series «The good news» Ольга Касянюк Из серии «Благая весть» C-print, multiple exposure technique on black and white film 60х40 cm 2015

G O O D

N E W S

The good news as createdness of the world and hope for salvation in a metaphysical union with the deeds of human hands.

Б Л А Г А Я

В Е С Т Ь

Благая весть как тварность мира и надежда на спасение в метафизическом соединении с творениями рук человеческих.

Olga Kasyanyuk From series « The good news»

Olga Kasyanyuk From series «The good news»

Ольга Касянюк Из серии «Благая весть» C-print, 1/10 60x40 cm 2015

Ольга Касянюк Из серии «Благая весть» C-print, 1/10 60х40 см 2015

Anton Logov From the series «Coal» Oil on canvas Антон Логов Из серии «Уголь» Холст, масло 100x80 cm 2015

Our consciousness is packed by news from mass media — by superficial and temporary streams of fleeting events, household concerns and personal experiences. The

precipitate settles in our memory as coal mines minerals.

Наше сознание замутнено новостями масс-медиа — поверхностными и временными потоками мимолетных событий, бытовыми делами и личными переживаниями. Осадок

в нашей памяти оседает как уголь в шахтах полезным ископаемым.

Anton Logov From the series «Coal» Oil on canvas Антон Логов Из серии «Уголь» Холст, масло 100x80 cm 2015

Anton Logov From the series «Coal» Paper, mixed technique Антон Логов Из серии «Уголь» Бумага, cмешанная техника 30x21 cm 2014–2015

Black turns into white. Secret becomes clear. The negative demonstrates the ability for reverse rethinking of this seemingly clear and apprehensive motif.

Черное становится белым. Тайное — явным. Негатив демонстрирует возможность обратного переосмысления этого, казалось бы, достаточно изученного и обозначенного мотива.

Tatiana Malinovskaya New Idea 1 New Idea 2 New Idea 3 Oil on canvas, photo print Татьяна Малиновская Новая идея 1 Новая идея 2 Новая идея 3 Холст, масло, фотопринт 80х100 cm each 2015

Tatiana Malinovskaya Easy game 1 Oil on canvas, photo print Татьяна Малиновская Легкая игра1 Холст, масло, фотопринт 72x80 cm 2015

Lump of coal transferred in its dreamed reality. Risk for a miner. Toy for a woman. Gamble.

Кусок угля претворяет свои мечты в действительность. Риск шахтера. Игрушка женщины. Азартная игра.

Tatiana Malinovskaya Easy game 1 Easy game 2 Easy game 3 Oil on canvas, photo print Татьяна Малиновская Легкая игра1 Легкая игра 2 Легкая игра 3 Холст, масло, фотопринт 72x80 cm 2015

At the top of the mountain is the one who managed to find a clue. And when each cell is in its place, the inPicture of life is like a puzzle.

finity is in front.

На вершине горы стоит тот, кому удалось найти ключ к разгадке. И когда каждая ячейка в сотах

Картина жизни похожа на пазл.

оказывается на своем месте, впереди бесконечность.

Konstantin Rogotchenko Landscape of time Coal on paper Константин Роготченко Ландшафт времени Бумага, уголь 104x76 cm 2015

Ghost virus is continuously modifying itself so that it contains no identical fragments. When it is transferred from one computer to another its code changes so that it has nothing similar to the previous version. Are these viruses to live through millions of years? Вирус-призрак постоянно модифицирует себя таким образом, что не содержит одинаковых фрагментов. При переносе вируса данного типа с компьютера на компьютер код вируса изменяется таким образом, что уже не имеет ничего общего со своим предыдущим вариантом. Смогут ли эти вирусы сохранить жизнь через миллионы лет?

Stepan Ryabchenko Ghost From series «Computer viruses» Digital print on aluminum Степан Рябченко Призрак Из цикла «Компьютерные вирусы» Цифровая печать на алюминии 181x150 cm 2015

Plexus virus is capable of multiple resending. It provides remote access and control of computers. Вирус-плексус обладает возможностью множественной рассылки и открывает доступ к удаленному доступу и руководству компьютером.

Stepan Ryabchenko Plexus From series «Computer viruses» Digital print on aluminum Степан Рябченко Плексус Из цикла «Компьютерные вирусы» Цифровая печать на алюминии 172 x 150 cm 2013

Funnel or spiral of time. Each turn represents a new era in history. Lessons can be repeated at key points of the helix. The subsequent round will be more complicated, but with much higher potential for the development. If the lesson is not passed, it is restarted for the repeated test. If you happened to try to pour the liquid in the bottle through a funnel, you know that it is necessary from time to time to lift the hopper, otherwise the liquid does not come out of it. The reset occurs in such way, garbage is not allowed in. Воронка или спираль времени. Каждый виток символизирует новую эпоху в истории. Уроки могут повторяться в ключевых точках спирали. Последующий виток будет более сложным, но и потенциал развития выше. Если урок не пройден, происходит перезагрузка для повторения задания. Кому случалось наливать через воронку жидкость в бутылку, тот знает, что нужно время от времени воронку приподнимать, иначе жидкость из нее не выльется в бутылку. Так и происходит обнуление, воронка мусор не пропускает.

Yuriy Sivirin From «Coal Goal» series Oil on canvas Юрий Сивирин Из серии «Coal Goal» Холст, масло 120x80 cm 2014

Train moving at high speed, with its weight has a retracting force for others bodies. When you follow a parallel course near the train it is almost impossible to avoid the «addictive power». Bernoulli’s law.

Поезд, движущийся на большой скорости, своей массой создает притяжение для ближних физических тел. Следуя параллельным курсом вблизи поезда, избежать «затягивающей силы» практически невозможно. Закон Бернулли.

Yuriy Sivirin From «Coal Goal» series Oil on canvas Юрий Сивирин Из серии «Coal Goal» Холст, масло 130x120 cm 2014

Life is experienced in numerous projections and periods of transformation from

In his constant motion human is programmed to search for self-identification and freedom. His «I» one conscious state to another.

strives to connect with a free spirit not believing in the loneliness of the human soul. Retreat and soaring comes after the crucifixion.

Опыт бытия отражается в многочисленных проекциях, периодах перевопло-

В своем постоянном движении человек запрограммирован на поиск себя и свободы. Его «Я» стремится соединиться со свободным Духом, отвергая

щения от одного осознанного состояния к другому.

одиночество человеческой души. Через распятие к невесомости и парению.

Victor Sydorenko Inversion of egocentrism Oil on canvas 200х200 cm Sculpture, fiberglass, potal 190х185 cm Виктор Сидоренко Инверсия эгоцентризма Холст, масло Скульптура, стекловолокно, поталь

2014

ONE TOU C H A heavy round sphere of anthracite is hanging over the fragile paper figure of a roedeer that is installed on a concrete pedestal. The sphere is attached to the wall hanging on the rope, and it’s easy to unhook and destroy the entire installation. «One touch» is a kind of test for «internal destroyer» that exists in each of us.

ОДНИ М П РИКОС Н О В ЕН И ЕМ Тяжелый шар из антрацита нависает над хрупкой бумажной фигурой косули, установленной на бетонный постамент. Шар держится на тросе, закрепленном на стене, и его очень легко отцепить и разрушить всю инсталляцию. «Одним прикосновением» — это как тест на «внутреннего разрушителя», что живет в каждом из нас.

Olesya Trofimenko By one touch Anthracite, styrofoam Олеся Трофименко Одним прикосновением Антрацит, пенополистирол 2015

Artem Volokitin Born 1981 in Eskhar, Kharkov region, Ukraine. Lives and works in Kharkiv, Ukraine 1989–1995 Eskhar Art Studio 2005 Graduated from Kharkov State Academy of Design and Fine Arts 2010 Studied at Anthony Gormley’s workshop, London Artist’s painting technique is different due to the goals and ideas: from realistic manner in investigating of the human body to almost abstract stretched landscapes as metaphors for the continuous processes of being. Bodies or objects, they always seem disconnect with the surrounding. The emptiness of the context stresses the center. Simplicity is reached in thorough and thoughtful manner.

Awards and Special Prizes 2011 Future Generation Art Prize, Palazzo Popadoppoli, Venice, Italy 2009 1st Degree winner at PinchukArtCentre Prize, Kiev, Ukraine 2008 Content, awarded the Grand Prix at Kolorfest international contemporary art exhibition, Minsk, Belorussia 2008 Rugs, Non-Stop Media festival, First Prize for art decision, Municipal Gallery, Kharkov, Ukraine 2007 1st Degree winner at Eidos 2006-7 Self-Defense contest 2006 1st Degree winner within his category at Non-Stop Media festival, Kharkiv, Ukraine

Featured exhibitions 2015 Operating manual, Dymchuk Gallery, Kiev, Ukraine Appeal to Beauty, Lavra City Gallery, Kiev, Ukraine 2014 Maidan and Beyond, Viena Art Week, Vienna, Austria Ukrainian Art Week, Saatchi Gallery, London, UK Hope and Fear, PinchukArtCentre, Kiev, Ukraine Art Trip, Museum of Contemporary Art, Kiev, Ukraine Biryuchii Art Rezidence, Symphosium of Contemporary Art, Ukraine Theory of Probability, Modern Art Research Institute, Kiev, Ukraine Carpets, Non Stop Festival of Contemporary Art, Tanya Vova Art Gallery, Kharkov, Ukraine New Ukrainian Dream, Arsenal, Kiev, Ukraine Rodina, Art Arsenal, Kiev, Ukraine Ukrainian Landscape, Arsenal, Kiev Subject of Fame 2, YermilovCentre, Kharkov, Ukraine Cinema, Museum of Contemporary Art, Odessa, Ukraine Rodina, Korobchinskii Art Centre, Odessa, Ukraine Square of Freedom, YermilovCentre, Kharkov, Ukraine 2013 Ukrainian Art Week, Saatchi Gallery, London, UK Manipulation, personal show, Hudpromo Gallery, Odessa, Ukraine Collection Platform, PinchukArtCentre, Kiev, Ukraine Industrial Paradise, Institute of Problems of Contemporary, Kiev, Ukraine Blinded by the Beauty, Modern Art Research Institute, Kiev, Ukraine Presentation, Moscow Contemporary Art Museum, Russia Biryuchii Art Residence, Symphosium of Contemporary Art, Ukraine Maidan Nezalezhnosti, YermilovCentre, Kharkov, Ukraine 2012 Arsenale 2012, the first International Kiev biennale, Kiev, Ukraine

Emergency Exit, exhibition in Goethe Institute, Kharkov, Ukraine Ukrainian Baroque, National Art Museum, Kiev, Ukraine Collection Platform, PinchukArtCentre Kiev, Ukraine Constructions, YermilovCentre, Kharkov, Ukraine Landscapes, Contemporary Art Museum, Kiev, Ukraine Social euphoria, Modern Art Research Institute, Kiev, Ukraine Kharkov Station, Museum of Contemporary Art, Kiev, Ukraine 2011 New Old Masters, National Gallery of Arts, Lvov, Ukraine Future Generation Art Prize, Palazzo Papadopoli, Venice, Italy Mr. Gold, Ya Gallery, Kiev, Ukraine 2010 In Out, Ya Gallery, Dnipropetrovsk, Ukraine Future Generation Art Prize, PinchukArtCentre, Kiev, Ukraine Babyboom, Ya Gallery, Kiev, Ukraine Если/Якщо/If, PERMM, Perm, Russia Home, Kharkov City Gallery, Kharkov, Ukraine Folk Contemporary. Landscape, Ya Gallery, Kiev, Ukraine 2009 Miniart, Ya Gallery, Kiev, Ukraine Winner PinchukArtPrize shortlist exhibition, PinchukArtCentre, Kiev, Ukraine Folk Contemporary. Portrait, Ya Gallery, Kiev, Ukraine Hero, Ya Gallery, Kiev, Ukraine Fence, Gogolfest, Kiev, Ukraine Tuning, Ya Gallery, Kiev, Ukraine New Art from Ukraine, ARTVILNIUS 09, Lithuania Touch, Ya Gallery, Kiev, Ukraine 2008 Paper/Not Paper, Ukrainian House, Kiev, Ukraine Mix, Ya Gallery, Kiev, Ukraine Sisters, Municipal Gallery, Kharkov, Ukraine Content, GogolFEST festival, Kiev, Ukraine Rugs and Combinatorics, Non-Stop Media festival, First Prize for art decision, Municipal Gallery, Kharkov, Ukraine The Golden Section, Poznań, Poland Content, awarded the Grand Prix at Kolorfest international contemporary art exhibition, Minsk, Belarussia 2007 Teenagers, 1st Degree winner at Eidos 2006-7 Self-Defense contest Around the Sun, Kharkov State Art Museum, Ukraine 2006 1st Degree winner within his category at Non-Stop Media festival, Kharkov, Ukraine 2004 Exercises, Non-Stop Media festival, Municipal Gallery, Kharkov, Ukraine 2003 Meeting, Non-Stop Media festival, Municipal Gallery, Kharkov, Ukraine Poster. Question, Non-Stop Media festival, Municipal Gallery, Kharkov, Ukraine

Anatoliy Gankevich Born in Odessa, in 1965. His artistic career began in 1990. He has collaborated with the Marat Guelman Gallery. From 1995 to 2005 Anatoly directed commercials and films. Since 2006 he has concentrated on his own art projects. The artist lives and works in Odessa and Moscow.

Solo exhibitions: 2014 «Soviet Mandala». WINZAVOD (Red Hall), Moscow, Russia

2013 «Soviet Mandala» in the forum of art projects «ART KIEV Contemporary 2013». Mystetsky Arsenal, Kiev, Ukraine 2013 «Inflorescence». Frolov Gallery, Moscow, Russia 2012 «Conditions of the Explosion». Odessa Art Museum, Odessa, Ukraine 2012 «Conditions of the Explosion». In the programme of the 1st Kiev Biennale of Contemporary Art. Taras Shevchenko National Museum, Kiev, Ukraine 2012 «Conditions of the Explosion». Pechersky Gallery, Moscow, Russia 2011 «Blink». HudPromo Gallery, Odessa, Ukraine 2011 «Blink». Collection Gallery, Kiev, Ukraine 2008 «Fuji Golf». Pestovo Golf Club, Moscow, Russia 2007 Performance «Fuji Golf». In the festival «Creative: Moscow: Movies». PROEKT_FABRIKA, Moscow, Russia 1994 «The Last Fall». School Gallery, Moscow, Russia 1993 «Open House Days». New Space Gallery, Odessa, Ukraine 1993 «Open House Days». Gallery «1:0», Moscow, Russia 1993 «Open House Days». Organiser: Soros Center of Contemporary Art (SCCA). National Art Museum of Ukraine, Kiev, Ukraine 1993 «Artist’s Contract». Trekhprudny Lane Gallery, Moscow, Russia 1992 «Communion». Organiser: Marat Guelman Gallery. Central House of Artists, Moscow, Russia 1992 «Communion». Odessa Art Museum, Odessa, Ukraine 1991 «Cleansing». Marat Guelman Gallery, Moscow, Russia

Group exhibitions (selected): 2011 «Independent». Mystetsky Arsenal, Kiev, Ukraine 2011 «Space Odyssey». Mystetsky Arsenal, Kiev, Ukraine 2010 «Night at the Museum». Perm Museum of Contemporary Art, Perm, Russia 2009 «Ukrainian New Wave». National Art Museum of Ukraine, Kiev, Ukraine 2008 «Good-bye, Crisis!». Odessa Museum of Contemporary Art, Odessa, Ukraine 2003 «The First Collection». Central House of Artists, Kiev, Ukraine 2002 «Ours». Marat Guelman Gallery, Kiev, Ukraine 2001 «Art Against Geography». The State Russian Museum, St. Petersburg, Russia 1995 «New Technologies in Art». International Exhibition of Electronic Art within the 2nd International Forum «Third Reality». St. Petersburg, Russia 1994 «NEW MEDIA TOPIA». Organiser : Soros Center of Contemporary Art. Central House of Artists, Moscow, Russia 1994 «Some images created by IBM». Organiser: Marat Guelman Gallery. IBM, Moscow, Russia 1994 «Free Zone». Odessa Art Museum, Odessa, Ukraine 1994 «Space of the Cultural Revolution». «Ukrainian House», Kiev, Ukraine 1994 «Light out of Darkness». Museum of Contemporary Art «Tierce», Odessa, Ukraine 1994 «Love Terrible». Museum of Contemporary Art «Tierce», Odessa, Ukraine 1993 «Random Show». Museum of Contemporary Art «Tierce», Odessa, Ukraine 1993 International Festival of Performance REAL TIME STORY TELLING 93. Labyrinth Gallery, Lublin, Poland 1992 «Suspected Reality». Curators: Anatoly Gankevich and Andrei Kazandzhy. Museum of Contemporary Art «Tierce», Odessa, Ukraine 1992 «Summer». Exhibition Hall of the Artists Union, Kiev, Ukraine 1992 «Calm». Exhibition Hall of the Artists Union, Kiev, Ukraine

His works are in: The State Russian Museum, St. Petersburg, Russia; The National Art Museum of Ukraine, Kiev, Ukraine; Odessa Art Museum, Odessa, Ukraine, and in private and corporate collections.

Egor Zigura Born in 1984 in Dnepropetrovsk, Ukraine. 2003 Graduated from Shevchenko State Art School, Kiev, Ukraine 2009 Graduated from National Academy of Fine Arts and Architecture, Department of sculpture, Kiev, Ukraine 2012 Post-graduate course at the National Academy of Fine Arts and Architecture, Kiev, Ukraine Since 2012 Member of the Union of Artists of Ukraine. Egor Zigura works with easel and monumental sculpture, combining traditions of national art and innovative developments. Common in their sophisticated internal contents, his sculptures reflect plastic expressiveness. The author’s manner is in «round-type» easy forms, close to physical and material embodiment. Many compositions are of prevailing statics, where the author seeks to convey a frozen eternity. It is, however, full of internal movement, thought power, diversity of experiences.

Solo exhibitions 2013 Exhibition of sculpture, Mytets gallery, Kiev, Ukraine 2012 Posle Segodnya, Central House of Artist, Kiev, Ukraine 2011 Dvovimir, Hetman Museum, Kiev, Ukraine

Featured exhibitions 2015 VII Sculpture Salon 2015 Art Arsenal, Kiev, Ukraine The place to be, Artcult foundation, Intercontinental Hotel, Kiev, Ukraine Art Twins, Taras Shevchenko National Museum, Kiev, Ukraine 2014 Spring Wind. A new earth, Land Art Festival, Kiev, Ukraine Civil mysticism, Modern Art Research Institute, Kiev, Ukraine The fire of love. Dedication to Maidan, CAC M17, Kiev, Ukraine All-Ukrainian Triennial of sculpture–2014, Central House of Artists, Kiev, Ukraine 2013 Industrial Eden, Modern Art Research Institute, Kiev, Ukraine IV Fine Art Ukraine, Art Arsenal, Kiev, Ukraine 2012 Festival of Contemporary Art «GOGOLFEST», Kiev, Ukraine Sculpture Salon 2012, Art Arsenal, Kiev, Ukraine 2011 Is the painting dead? , M17 CAC, Kiev, Ukraine All-Ukrainian Triennial of sculpture–2011, Central House of Artists, Kiev, Ukraine 2010 Sculpture Salon 2010, Ukrainian House, Kiev, Ukraine 2008 All-Ukrainian Triennial of sculpture–2008, Central House of Artists, Kiev, Ukraine Festival of Contemporary Art «GOGOLFEST» Art Arsenal, Kiev, Ukraine 2007 Spring Wind, Land Art Festival, Kiev, Ukraine Festival of Contemporary Art «GOGOLFEST» Art Arsenal, Kiev, Ukraine

Installed sculptures: 2014 Monument to Kalinin, Kiev, Ukraine 2013 New Prometheus , Kiev, Ukraine 2012 Level of cognition, Kiev, Ukraine 2011 Bust of F. Lizogub, Sednev, Ukraine 2011 Cloud on the Dnieper, Cherkassy, Ukraine 2010 First Step, Vita-Pochtovaya village, Ukraine 2010 Above the waves, Dnipropetrovsk, Ukraine 2009 Posejdon, Cherkassy, Ukraine

Dobrinya Ivanov Born 1987 in Kiev, Ukraine, where he currently lives and works. He studied at the studio of painter Alexander Babak, but ended up mostly making sculptures and installations. In 2011, he took part in the Genofond Pinakothek at the Titanikas Exhibition Halls of the Vilnius Academy of Arts and other exhibitions. In 2013 he was nominated for the Henkel Art Award and became artist in residence at Kiev Air. Dobrinya Ivanov collects both real and fictive narratives that are connected to found objects. In combining the objects, he develops a storyline, based on mutual dialogue. Artist investigates his own perception and interpretation of things, stressing the importance of honesty in communication with things. Once the balance achieved objects become storytellers: strange and long, complex and simple, mad and deep.

Solo Exhibitions 2014 Autonomous Republic Borshagivka, Detenpyla gallery, Lvov, Ukraine 2012 Retrospective, Project Space, Kiev, Ukraine 2011 Agglomeration, Ya Gallery, Kiev, Ukraine Group Exhibitions 2014 Through Maidan and Beyond, Architekturzentrum Wien, Vienna, Austria 2014 The Right To Be Forgotten: an exhibition on the shortening of our stay in the present, Stockholm University, Stockholm, Sweden 2014 Postcards from Maidan, Zamek Ujazdowski, Warsaw, Poland 2013 Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2013, PinchukArtCentre, Kiev, Ukraine 2013 Place (with Open Group), Closer, Kiev, Ukraine 2012 Gogolfest, Neofolk Project, Kiev, Ukraine 2012 Kiev Sculpture Project, Kiev, Ukraine 2012 Arsenale 2012 Biennal Special Project «Double Game», Kiev, Ukraine 2012 Picture obscured by the Landscape, National Art Museum of Ukraine, Kiev , Ukraine 2012 Ukrainian Body, Visual Culture Research Center, Kiev, Ukraine 2011 Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2011, PinchukArtCentre, Kiev, Ukraine 2011 Independent, Art Arsenal, Kiev, Ukraine 2011 Space Odyssey, Art Arsenal, Kiev, Ukraine 2014 Salzburg Summer Academy, «In search of the image. Catch and release»

Olga Kasyanyuk Born in 1984 in Kiev, Ukraine 2003–2007 Kiev National University of Technology and Design. 2011 Training in the creative workshop of Michael Kalamkarov, Moscow, Russia.

2011–2012 Training in the creative workshop of Alexander Liapin, Kiev, Ukraine. Having obtained proper technical background the artist turned to the photography as the main art tool. In existing photo practices, ordinary users would not much differ results of digital method or chemical process of interaction of light and silver halides. Olga turns to the artistic side of the photography using manual process of processing black and white film. With such approach the opportunities for multiple exposures help the artist to work with the emotional subconscious and metaphorical images. The result is different from that of the conscious process of shooting, still refers to the inevitable documentary fixation of facts of reality.

Featured Exhibitions: 2010 «With love to the woman» V International Salon of Art Photography, Lvov, Ukraina 2012 «Sirculus» («Circles»), a group of «L∞k», Kiev National Historical and Architectural Museum «Kiev fortress», Kiev, Ukraine 2014 After the fact, together with Anton Logov, a group of «L∞k», Center of Contemporary Art, Minsk, Belorussia 2014 «After the fact», together with Anton Logov, «Teorіya vіrogіdnostі», Modern Art Research Institute, Kiev, Ukraine

Anton Logov Anton Logov was born in 1984, Rozdilna town, Odessa region, lives and works in Kiev, Ukraine 2004 Graduated from M. B. Grekov Odessa Art School, Ukraine 2010 Graduated from National Academy of Fine Arts and Architecture, Ukraine Scholar of Genofond program, founded by Ya Gallery. The artist actively participates in group exhibitions in Ukraine and abroad since 2008. After a number of social projects, realized mostly in collaboration with other artists, Anton Logov presents his first personal project «Adaptation» (2011), where he returns to work in a studio and to avant-garde style. The same year the artist participated in the projects «Independent» and «Space Odyssey 2011» (Mystetskyi Arsenal) curated by Oleksander Soloviov, and the Doctrine-light curated by Olilha Milentiy (within the parallel program of the Venice Biennale In 2012 the artist’s second personal project «Geo» explores Earth as «part of geometry in a modern perspective on urbanism and human nature» (in Ya Gallery in Kiev as part of ARSENALE 2012 Parallel Program). The same year the artist’s personal project Synchrony was held in Ya Gallery in Dnipropetrovsk. In 2013 Anton Logov presented his art research of the phenomenon of Symbol (from brand logos to sacral symbolism) — in the project «Rebranding» in Ya Gallery in Kiev, and his «Great Retrospective of Young Artist» in the gallery «Zhioltye Velikany » (Odessa).

Featured Exhibitions 2012 «Artists paint» A4, ball pen, Karas Gallery, Kiev, Ukraine «Anticyclone» gallery Kvartyra 3, Kiev, Ukraine «Neofolk project», Ya Gallery program of visual art at GOGOLFEST 2012, Ukraine «The Sleep of Reason», Contemporary Art Museum, Odessa, Ukraine «Synchronicity», Ya Gallery, Dnipropetrovsk, Ukraine

«Geo», in the parallel program of ARSENALE 2012, Ya Gallery, Kiev, Ukraine 2013 «Great Retrospective of Young Artist», gallery «Zhioltye Velikany», Odessa, Ukraine «Industrial Eden», Installation Power Station, Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev «Tatlin V2», Mystetskyi Arsenal, Kiev, Ukraine «Organ», GOGOLFEST’2013, Kiev, Ukraine «Tatlin», Ya Gallery, Kiev, Ukraine «Sacred Space», Zyga Gallery, Lviv, Ukraine «Without Painting», Les Kurbas Centre, Kiev, Ukraine «Rebrending», Ya Gallery, Kiev, Ukraine «Equilibrium», Literature-Memorial Museum to Mikhail Bulgakov, Kiev, Ukraine 2014 «Art Kiev Contemporary IX», installation Deja Vu, Moment of truth, Mystetskyi Arsenal, Kiev, Ukraine «Teorіya vіrogіdnostі», installation Fun, Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev, Ukraine «Premonition: Ukrainian art now», installation Book of Time, Saatchi Gallery, London, UK «Climate-control», Ya Gallery, Kiev, Ukraine «Ukrainian Landscape», Mystetskyi Arsenal, Kiev, Ukraine «Golden Rain Above Us», installation Workshop, Expocenter of Ukraine, Kiev, Ukraine «Horizons of Temporality», installation Mithogenes, Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev, Ukraine «Aggression. Borderlands», installation Babylon, Expocenter of Ukraine, Kiev, Ukraine «Spring Wind» New Earth, installation Permanent Residence, Kiev, Ukraine «Rebranding / Dome Crosses», Ukrainian Catholic University, Lviv, Ukraine «Sacred Space», installation System, Dziga Gallery, Lviv, Ukraine «Starting Point», Ya Gallery, Dnipropetrovsk, Ukraine «History of Art», Museum of Kiev History, Kiev, Ukraine «Civic Mysticism», installation Remember, Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev, Ukraine «Blinded by Beauty», Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev, Ukraine « [=] Alliance22 | Forum 2014», M17 Contemporary Art Center, Kiev, Ukraine 2015 «VII Sculpture Salon», Mystetskyi Arsenal, Kiev, Ukraine «Hebdomeros», together with Andrij Dudchenko, Ya Gallery, Kiev, Ukraine «Grains new», installation Crossroads, Lobotomy, Modern Art Research Institute of the National Academy of Arts of Ukraine, Kiev, Ukraine

Malinovskaya Tatiana Born in 1980, Odessa, Ukraine. Lives and works in Kharkov, Ukraine 1995 Sevastpol Art School, Ukraine 2005 Graduated from Kharkov State Academy of Design and Fine Arts, Department of Monumental Painting, Interior and Design Department, Ukraine 1999–2003 Studied at Bottega Art Studio, Kharkov, Ukraine

The artist works in different techniques: painting, collage, video, graphics and objects. Her art is full of transparent sexuality, discovering a strong feminine perception of the world. Whatever the subject and tools used by the artist, the outcome emotionally and, sometimes, invisibly brings viewers to love and passion reality.

Featured exhibitions: Line, Ermilov Art Center, Kharkov, Ukraine Earth, Come in Gallery, Kharkov, Ukraine 0, Ermilov Art Centre, Kharkov, Ukraine Appeal to beauty, Lavra Municipal Gallery, Kiev, Ukraine 2014 New Ukrainian Dream, Mystetskiy Arsenal, Kiev, Ukraine Rodina, Mystetskiy Arsenal, Kiev, Ukraine Cinema, Museum of Contemporary Art, Odessa, Ukraine Rodina, Korobchinskiy Art Centre, Odessa, Ukraine Maidan Nezalezhnosti, Ermilov Art Centre, Kharkov, Ukraine Manipulation, Hudpromo Gallery, Odessa, Ukraine Blinded by beauty, Modern Art Research Institute, Kiev, Ukraine Art Trip, Museum of Contemporary Art, Kiev, Ukraine Biryuchii Art Residence, Symposium of Contemporary Art, Biryuchii Island, Ukraine Theory of Probability, Modern Art Research Institute, Kiev, Ukraine Carpets, Non Stop Festival of Contemporary Art, Tanya Vova Art Gallery, Kharkov, Ukraine 2013 Industrial Eden, Modern Art Research Institute, Kiev, Ukraine Manipulation, solo exhibition, Hudpromo Gallery, Odessa, Ukraine III Biennale of Contemporary Art, Hudpromo Gallery, Odessa, Ukraine Subject of Fame, Yermilov Art Centre, Kharkov, Ukraine Presentation, Non Stop Media, Moscow Museum of Contemporary Art, Russia Vibration, solo show, Yermilov Art Centre, Kharkov, Ukraine Traditional Decision, Union of Artists of Ukraine, Kharkov, Ukraine Exit, group show of Media Art Ice Objects, central square of the city, Kharkov, Ukraine Biryuchii Art Residence, Symposium of Contemporary Art, Biryuchii Island, Ukraine 2012 Emergency Exit, Bottega Exibition, Kharkov Art and Design Academy   Kharkov  Landscapes, Museum of Contemporary Art, Kiev, Ukraine  Spring, Union of Ukrainian Artists, Kharkov, Ukraine 2011 Continuity, Project in the frames of «Akkumulyator» Festival, Kharkov, Ukraine Jugging, solo show, Municipal Gallery, Kharkov, Ukraine Famine, Union of Ukrainian Artists, Kharkov, Ukraine 2010 Coloured, Maestro Gallery, Kharkov, Ukraine White Animals, Gogolfest, Mystetskiy Arsenal Kiev, Ukraine 2009 One Long Way, Gogolfest, Mystetskiy Arsenal, Kiev, Ukraine Evening Talk, Academy Gallery, Kharkov, Ukraine First Step, Maestro Gallery, Kharkov, Ukraine 2008 Rugs, Non-Stop Media festival, First Prize for art decision, Municipal Gallery, Kharkov, Ukraine Woman Secret, Academy Gallery, Kharkov, Ukraine

2007 Around the Sun, Kharkov State Art Museum , Kharkov, Ukraine Bottega United Exibition, Kharkov State Art Museum , Kharkov, Ukraine 2006 New, Central Library of the City, Kharkov, Ukraine Three, National Academy of Electronics, Kharkov, Ukraine 2005 Statement, Maestro Gallery, Kharkov, Ukraine Sightseeing, Repin Gallery, Kharkov, Ukraine 2004 Materials, Academy Gallery, Kharkov, Ukraine 8th of March, National Simferopol Art Museum, Ukraine

Konstantin Rogotchenko Born in 1989, Kiev, Ukraine. Lives and works in Kiev, Ukraine 2012 Graduated from the National Academy of Fine Arts and Architecture, Department of graphic design (NAFAA), Kiev, Ukraine 2004–2008 Member of «Art movement» group, participated in three group exhibitions 2012 Member of youth division of National Union of Artists inKiev, Ukraine 2014 Winner of the Yakutovych contest

Featured exhibitions 2015 Personal exhibition, «Ukraine» foundation, Kiev International exhibition «Lithuania—Ukraine», Vilnus Lithuania 2014 Exhibition contest named after Yakutovich, House of artists of Ukraine, Kiev Piece exhibition «Hope», House of artists of Ukraine, Kiev Charity exhibition «Victory Bridge», M17 Contemporary Art Center, Kiev 2008 All-Ukrainian exhibition of still life, House of artists of Ukraine, Kiev 2007 Christmas exhibition, House of artists of Ukraine, Kiev 2006 All Ukrainian exhibition dedicated to Easter holidays, Mykolaiv Youth Exhibition, Palace of Youth, Kiev Spring Exhibition, House of artists of Ukraine, Kiev Picturesque Ukraine, House of artists of Ukraine, Dnipropetrovsk 2004 YES Art Orange Revolution, House of artists of Ukraine, Kiev

Stepan Ryabchenko Вorn 1987 in Odessa, Ukraine. Lives and works in Odessa, Ukraine. Stepan is a Ukrainian new generation artist, one of the leading figures in digital and new media art. He participates in international projects and Biennales. The focus of his work is on the interaction between the new media and classic visual art tradition, the boundary between the real and the virtual world, and the new nature of art. Stepan Ryabchenko came to the contemporary art through the architecture. In his bold and vibrant projects the artist «plays» with the space, transforming it, designs new environment. Means of making digital images are at the same time tools

of creation of a virtual world and a subject of reflections on «virtualization» of the existing reality. In his various installations, sculptures and pictures Stepan Ryabchenko tells a largescale and ambitious story of the virtual reality with its ideas, heroes and mythology. 2011 Graduated from Odessa State Academy of Civil Engineering and Architecture, Architecture-Art Institute, Ukraine 2010 Member of the National Union of Artists of Ukraine. 2010 The winner of the First All-Ukrainian Triennial of abstract art «ART-ACT». 2011 Nominated for the PinchukArtCentre Prize, Ukraine 2012 Laureate of the international competition ofcontemporary sculpture «Kiev Sculpture Project».

Featured exhibitions: 2014 «Long Path to Freedom», Ukrainian Institute of Modern Art, Chicago, USA «Art Kiev Contemporary», Art Arsenal, Kiev, Ukraine «Probability theory», Modern Art Research Institute, Kiev, Ukraine «Homeland», Contemporary Art Centre, Odessa, Ukraine «Octants», Triumph Gallery, Moscow, Russia «Premonition: Ukrainian Art Now», Saatchi Gallery, London, United Kingdom «Cosmoscow», Manege, Moscow, Russia «Homeland», Art Arsenal, Kiev, Ukraine «The Ukrainian landscape», Art Arsenal, Kiev, Ukraine «Auditions», HudPromo Gallery, Odessa, Ukraine «New Ukrainian Dream», Art Arsenal, Kiev, Ukraine «Art Vilnius 2014», Lithuanian Exhibition Centre, Vilnius, Lithuania «Ukrainian breakthrough», Museum of Modern Art, Odessa, Ukraine «Freedom Square», YermilovCentre, Kharkov, Ukraine «Ukraine. Archetype of freedom», Novomatic Forum, Vienna, Austria «Blinded by Beauty», Modern Art Research Institute, Kiev, Ukraine 2013 «Sculpture about Sculpture», YermilovCentre, Kharkov, Ukraine «Art Kiev Contemporary», Art Arsenal, Kiev, Ukraine «The power of IT and life of genius», Spiritual Treasures of Ukraine Museum, Kiev, Ukraine «Myths and Legends of Eastern Europe», LWW Gallery, Amsterdam, Holland «Industrial Eden», Modern Art Research Institute, Kiev, Ukraine «Contemporary Ukrainian Artists», Saatchi Gallery, London, United Kingdom «The chaos of cyberspace. Abstract surrealism», LWW Gallery, Amsterdam, Holland «Biruchiy Contemporary Art Project», Biruchiy island, Ukraine «Great and Grand », Art Arsenal, Kiev, Ukraine «The Odessa School. Tradition and Currency», Art Arsenal, Kiev, Ukraine «Terrain Orientation», National Art Museum of Ukraine, Kiev, Ukraine 2012 «Scenarios of the Future-2», Museum of Contemporary Art, Odessa, Ukraine «Social Euphoria», Modern Art Research Institute, Kiev, Ukraine «Arsenale 2012». International biennale of contemporary art, Art Arsenal, Kiev, Ukraine «The Myth. Ukrainian baroque», National Art Museum ofUkraine, Kiev, Ukraine «Art-Pulse», J.Greter’s Art center, Kiev, Ukraine «Kiev Sculpture Project», Kiev, Ukraine

2011 «Art Kiev Contemporary», Art Arsenal, Kiev, Ukraine «PinchukArtCentre Prize», PinchukArtCentre, Kiev, Ukraine «Independent», Art Arsenal, Kiev, Ukraine «Space Odyssey», Art Arsenal, Kiev, Ukraine «Moments of silence», Modern Art Research Institute, Kiev, Ukraine 2010 «Art Kiev Contemporary», Art Arsenal, Kiev, Ukraine «TOP-10 contemporary artists of Odessa», HudPromo Gallery, Odessa, Ukraine «Those, who came at the start of 2000», M17 Contemporary Art Center, Kiev, Ukraine «Fast dreams», J.Greter’s Art, Kiev, Ukraine «ART-ACT». First All-Ukrainian Triennial of abstract art, Chernovtsy, Ukraine «Star Wars», Contemporary Art Centre, Odessa, Ukraine «Abstract Vision Test», Ya gallery, Kiev, Ukraine «Fine Art Ukraine», Ukrainian House, Kiev, Ukraine «Restart», Modern Art Research Institute, Kiev, Ukraine «Abstract art of Odessa», Museum of Modern Art, Odessa, Ukraine 2009 «Restart», Marine Art-Terminal, Odessa, Ukraine «Wanted Design Week», Art Arsenal, Kiev, Ukraine «Art Kiev Contemporary», Ukrainian House, Kiev, Ukraine «Outside of the System», Modern Art Research Institute, Kiev, Ukraine «Kunstart», Festival of Contemporary Art, Bolzano, Italy 2008 Seventy Years Anniversary Exhibition of regional department of National Union of Artists of Ukraine, Kiev, Ukraine «Odessa Contemporary Art», Museum of Modern Art, Odessa, Ukraine «The Picturesque Ukraine», Dnepropetrovsk, Ukraine

Collections: Odessa Museum of Modern Art, Voronov Art Foundation, Firtash Foundation, Arts Trend Company, Stedley Art Foundation, private collections in Ukraine, Russia, USA, United Kingdom, Israel, Denmark and Switzerland.

Yuriy Sivirin Born in 1983 in Kiev, Ukraine 1995–2001 Shevchenko State Art School, Kiev, Ukraine 2001–2007 National Academy of Fine Arts & Architecture (NAFAA) of Ukraine 2007–2010 Assisting internship at the department of painting in NAFAA 2007 Member of the Union of Artists of Ukraine. Yuri Sivirin, aesthete in heart, has a number of claims to the language of contemporary art, expressed by paradoxical intention in his works. Having reached mastery in traditional art techniques, the artist keeps experimenting playing with ordinary objects in surrealistic, exaggerating manner.

Featured exhibitions 2015 Corporal experience, Bereznitsky Aethetics, Kiev, Ukraine 2014 Theory of probability, Modern Art Research Institute, Kiev, Ukraine 2013 Industrial Eden, Modern Art Research Institute, Kiev, Ukraine 2013 Dust of history, solo exhibition at Gallery on Institutska, Kiev, Ukraine

2013 With love to art, Gallery on Institutska, Kiev, Ukraine 2012 Social euphoria, Modern Art Research Institute, Kiev, Ukraine 2012 Test voltage, Gallery on Institutska, Kiev, Ukraine 2011 Collective dreams, Modern Art Research Institute, Kiev, Ukraine 2011 Kisses, Tadzio gallery, Kiev, Ukraine 2010 Fine Art Kiev, Ukrainian House, Kiev, Ukraine 2010 Kryakozyabli, National Academy of Arts and Architecture, Kiev, Ukraine 2010 Illumination, Modern Art Research Institute, Kiev, Ukraine

Victor Sydorenko Born in 1953 in Taldy-Kurgan/Kazakhstan. Lives and works in Kiev, Ukraine. Graduated from the Kharkiv Art and Industry Institute (Prof. B. Kosarev class) (1974–1979). Graduate student at the creative workshops of the USSR Academy of Arts (supervised by academician, Prof. S. Grigoriev) (1985–1988). PhD in Arts Studies.

Featured solo exhibitions 2015 «Memory Rewind», Bereznitsky Aesthetics, Kiev, Ukraine 2014 «Projections», Central House of Artists, Maysternya gallery, Kiev, Ukraine 2013 «Practicing Enthusiasm», Triptych Art Gallery, Kiev, Ukraine 2013 «Projections», Bottega Gallery, Kiev, Ukraine 2012–2013 «Reflection into the Unknown», YermilovCentre, Kharkiv/Ukraine 2012 «Immersion», Bottega Gallery, Kiev, Ukraine 2012 «Levitation», Black Square gallery, Miami/USA 2011 «Levitation», National Academy of Arts of Ukraine, Kiev, Ukraine 2010 «Millstones of Time», Black Square gallery, Miami/USA 2010 «Levitation», Taiss gallery, Paris/France 2009 «Depersonalization», Plaza Athenee’s, Taiss gallery, Paris/France 2009 «Levitation», National Art Museum of Ukraine, Kiev, Ukraine 2009 «New Ark», Collection gallery, Kiev, Ukraine 2008 «Authentification», Taiss gallery, Paris/France 2006 «Authentification», Lavra municipal gallery, Kiev, Ukraine (catalogue) 2004 «Millstones of Time», National Art Museum of Ukraine, Kiev, Ukraine 2003–2004 «Amnesia», L-Art gallery, Kiev, Ukraine (catalogue) 2003 «Millstones of Time», 50th International Art Exhibition, Venice/Italy (catalogue, CD) 2002 Soviart gallery, Kiev, Ukraine 1999 Lillie, France (catalogue) 1998 Pendleton Art Centre, Cincinnati, USA 1997 Municipal Gallery, Kharkiv/Ukraine 1996 A. Kasteyev State Museum of Arts, Almaty/Kazakhstan 1995 Lviv National Art Gallery, Lviv/Ukraine 1993 National Art Museum of Ukraine, Kiev, Ukraine 1992 Kharkiv Art Museum, Kharkiv/Ukraine

Selected Group Exhibitions 2015 «The art for life», Mystetskyi Arsenal, Kiev, Ukraine «Paper. World. Art», Mystetskyi Arsenal, Kiev, Ukraine «The Conversations in 100 years», Modern Art Research Institute of the National Academy of Arts of Ukraine. Kiev, Ukraine

«The place to be», InterContinental Kiev, Kiev, Ukraine

Collections:

2014 «IX Art-Kiev Contemporary 2014», Mystetskyi Arsenal, Kiev, Ukraine «Premonition: Ukrainian Art Now», Saatchi gallery, London/UK «Motherland», Mystetskyi Arsenal, Kiev/ Ukraine «A New Ukrainian Dream», Mystetskyi Arsenal, Kiev, Ukraine «According to Forbes», Spiritual Treasures, Museum of Duchovny skarby of Ukraine, Kiev, Ukraine «I am a Drop in the Ocean», Künstlerhaus, Vienna/Austria «Contemporary Ukrainian Artists and Panton Chair», PinchukArtCentre, Kiev, Ukraine «Ukraine. Archetype of Freedom», Novomatic Forum, Vienna/ Austria

National Art Museum of Ukraine, Kiev, Ukraine Kharkiv Art Museum, Kharkiv/Ukraine Dnipropetrovsk Museum of Art, Dnipropetrovsk/Ukraine Museum of Contemporary Art KIASMA, Helsinki/Finland Izmail Municipal Gallery, Izmail/Ukraine Ministry of Culture and Arts of Ukraine, Kiev, Ukraine Yale University School of Art, New-Haven/USA Presidential Palace, Almaty/Kazakhstan Private collections in Ukraine and worldwide

2013 «The exhibition of the contemporary Ukrainian art», Saatchi Gallery, London/UK «Fine Art–2013», V Ukrainian Treinnial, Central House of Artists, Kiev, Ukraine «Pulse New York Art Fair», with Black Square gallery, Miami/ USA «Art Wynwood», with Black Square gallery, Miami/USA (catalogue) «Grand and Great», Mystetskyi Arsenal, Kiev, Ukraine 2012 «Art Kiev Contemporary», Mystetskyi Arsenal, Kiev, Ukraine «Myth: Ukrainian Baroque», National Art Museum of Ukraine,Kiev, Ukraine «Context Art Miami», with Black Square Gallery, Miami/USA «MIA», Miami International Art Fair, Miami/USA

Olesia Trofimenko Born in 1982, Kiev, Ukraine. Lives and works in Kiev, Ukraine. 2001–2007 Graduated from National Academy of Fine Art & Architecture (NAFAA) of Ukraine, faculty of painting and monumental culture. The artist’s primary interest is to reach maximum freedom for the art interpretation. There is constant untold meaning, impossible frustration of imagination. Still, sometimes, unmovable contents, fixed at certain time of being seem to carry hidden energy.

Featured exhibitions: 2015 The place to be, Artcult foundation, Kiev, Ukraine 2014 Noire, solo show, Mala Gallery of Mystetskyi Arsenal, Kiev, Ukraine 2014 Trained Glitches, Mala Gallery of Mystetskyi Arsenal

2011 «Galerie Albert Benamou», Paris/France Art Moscow, with Black Square gallery, Moscow/Russia «20 Years of Presence», Modern Art Research Institute, Kiev, Ukraine

2009 Day in day out, Dzyga gallery, Lvov, Ukraine L2, Festival Warsztaty Kultury, Lublin, Poland Should the world break in, Bereznitsky gallery & partners project of Adam Nankervis, Kiev, Ukraine

2010 Art Kiev Contemporary, Galerie Albert Benamou, Kiev, Ukraine ArtHamptons, with Mironova Gallery, New-York/USA Scope Art Show Basel, with Mironova Gallery, Basel/Switzerland Ukrainian Platform, Art Paris , Taiss gallery, Paris/France (catalogue) Scope Art Fair New York, with Mironova Gallery, New-York/USA Art Chicago, with Mironova Gallery, Chicago/USA National Art Club, Mironova Gallery, New-York/USA

2005 Ukrainian Hermitage, Centre of Contemporary Art (CCA), Kiev, Ukraine Control, CCA Kiev, Ukraine Artists Respond. Ukrainian Art and Revolution, Ukrainian Institute of Modern Art, Chicago, USA 2004 Reflection, Kiev, Ukraine «R.E.S.», CCA, Kiev, Ukraine

2009 Art Paris, with Taiss gallery, Paris/France «Conversation», Acqualina, Miami International Art Fair, Miami/ USA (catalogue) «Myth Creators», Gogol Fest, Mystetskyi Arsenal Art Kiev International Art Festival, Ukrainian House, Kiev, Ukraine (catalogue) 2008 Kiev–Paris – Ukrainian Art Today, Yearning for the Immensity, Kiev National Museum of Russian Art, Kiev, Ukraine (catalogue) Depersonalization, Public spaces in Kiev, Kharkiv/Ukraine 2007 «Traverse Video», X International Video Festival, Toulouse/France (catalogue) 2006 «Eastern Neighbors», International Art Festival, Cultural Center «Babel», Utrecht/Netherlands (catalogue) 2005 «Now», V International Art Festival in Magdeburg/Germany (catalogue), best Project award

Exhibition catalogue

Presented by

www.artcult.org.ua Curators: Natalia Shpitkovskaya Alla Sheremetieva Photographer: Maxim Belousov Design: Irina Olenina Page-proofs: Elena Rumyantseva Editorial supervision: Lubov Drofan Printed “Art Book” 2015