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World and Ukrainian "stars" Kotemporari art talk about the war in Kiev PinchukArtCentre

PinchukArtCenter gathered the “stars” of world and Ukrainian contemporary art to talk about the war and the Holocaust. At the same time, they recalled the 1990s, when sovrisk in the countries of the former USSR as a phenomenon was only conceived, and the artists were afraid of really acute social themes.At the opening day. Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey Ilyin. In the art center they opened an exposition of the three Western “superstar” projects dedicated to the Holocaust, and recalled the history of the Ukrainian sovriska as a side dishHolzer created the Lustmord Table installation (“The Table of Deadly Pleasure”, 1994) inspired by the ethnic cleansing in Yugoslavia. Three to one - this is the ratio of “Ukrainian” and “Western” exhibitions that opened at the PinchukArtCentre the other day. In the framework of the new long-term initiative “Research Platform”, focused on “promoting the understanding of Ukrainian art in Ukraine and beyond its borders,” Vin was presented on Bessarabka (Sergey Bratkov, Nikita Kadan, Alevtina Kakhidze, Yuri Leiderman, Nikolai Ridny, Lesia Khomenko, Rapid Response Group, Masoch Fund), “Personka” by Lada Nakonechna “Exhibition”, and “Transformation” (works of the classics of the Ukrainian Sovrisk of the 1990s from the collection of the art center). However, the scale of the “western” exposition in PAC under the single name “Loss. In memory of Babi Yar ”(Christian Boltanski, Berlinde de Broeiker and Jenny Holzer) are quite comparable with the other three exhibitions. And the effect produced by the installations of “not ours” masters is simply amazing: we can say that the art center opened an exposition dedicated to the Holocaust from three large projects of three western superstars, and remembered the history of the Ukrainian sovrisk as a side dish.Installation Le Chemin de Babi Yar (“Path to Babi Yar”, 2016) Christian Boltanski created this work specifically for PinchukArtCenter. The artist personally came to Kiev to open the exhibition.
Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey Ilyin. «LOSS. In memory of Babi Yar ”is not just a“ three in one ”exhibition of installations of very different, but almost equally eminent, authors, but also an example of a successful curatorial solution. It is thanks to Bjorn Heldhof's curatorial concept that the very diverse works of three artists, created at different times and for completely different reasons, look like a single whole. Especially for PAC, the legendary Frenchman Christian Boltanski (his works are exhibited in the permanent exhibitions of the London Tate Museum and the Georges Pompidou Center in Paris, the New York Museum of Modern Art) created the installation Le Chemin de Babi Yar (2016 Path to Babyn Yar, 2016). She opens the inspection of the exposition in the art center - see the title illustration of our review.Christian Boltanski, Le Chemin de Babi Yar (“Path to Babi Yar”, 2016). Photo PinchukArtCentre © 2016. Photographer: Sergey Ilyin "The Way", with minimalism and even some predictability, expressive means, dumbfounded. You just walk, it seems that it is infinite, - through a narrow, poorly lit, winding and stifling corridor. The walls are made up of hundreds of iron boxes, numbered like an archive. “Documents and valuables were stored in such. With such, according to Boltanski, the Jews in Kiev 75 years ago were escorted to Babi Yar, ”explains the exhibition curator Björn Geldhof. In the finale of "travel" - an unlit room. And a mountain of human clothing, like a mountain of corpses.
“The boxes are a permanent symbol in the work of Boltanski. With their help, he talks about life and memory. We don’t have to understand literally that they replaced people who were driven to Babi Yar for shooting, suitcases, ”clarifies Mr. Geldhof. The third floor of PinchukArtCentre was shared by large-scale installations by New York artist Jenny Holzer (laureate of the Golden Lion at the Venice Biennale 1990) ) and no less than the legendary Belgian Berline de Broeiker (in 2013, Berlinde, together with J.M. Coutzee, represented Belgium at the Venice Biennale).
Although Holzer created the central installation of the Lustmord Table (“The Table of Fatal Pleasure”, 1994) under the impression of the war in Yugoslavia, its reflections on the psychological and social roots of violence are universal.Jenny Holzer. Table of death pleasure, 1994, human bones, engraved on silver stripes, wooden table. Photo (this and below) PinchukArtCentre © 2016. Photographer: Sergey Ilyin The work includes two massive tables with human bones laid out. Some of them are labeled with silver stripes engraved with fragments of text on the theme of Lustmord ("propensity to kill on the basis of sex," it). "The text describes the murder with rape from three different points of view: the victim, the perpetrator and the observer," read the specification.
The theme of the installation Under a Rock ("Under the Rock", 1986) was "the use of violence as a political tool." It consists of tombstone-like stone benches with carved phrases. And, finally, the Living Series (“The Life Series”, 1981) and the Survival Series (“Survival”, 1984), which look like bronze tablets with inscriptions, “are dedicated to separate psychological reactions to cases of excessive violence”.Jenny Holzer. Fatal pleasure table, 1994, human bones, engraved on silver stripes, wooden table. Present your projects Vanwege een Tere Huid III and IV (“From sensitive skin III and IV”, 2016) and Penthesilea IV (“Penthesilea IV”, 2016) Bruecker flew to Kiev in person. what caused a considerable stir in the ranks of experts sovriska.
The theme of solitude and freedom, the death of a group and individual, eros and thanatos, outrageous Belgian expressed with the help of bloody dummies of animal skins, cast from wax.
According to her, the raw skins seen at the slaughterhouse were the impetus for creating the works. "They, torn off from recently still living beings, in this form had no value," - the artist was surprised.
(Look at the video for the full story of Bernde de Broiker about Vanwege een Tere Huid III) .- It smells like! I can not stand this smell, here, even an allergy has begun! - worried colleague, a journalist, complaining about the pungent "chemical" smell from wax "hides". But she said in a whisper: the interest in the story of the artist won even the fear of angioedema.Berlinde de Broyker. For sensitive skin III. 2016, metal, wax. Courtesy of the artist and GALLERIA CONTINUA San Gimignano / Beijing / Le Moulin / Havana
Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey Ilyin. - It was very important for me that the second installation of Vanwege een Tere Huid (“From sensitive skin IV”, 2016) looked more ambitious than “From sensitive skin III”. I am pleased with the way it was mounted at the Pinchuk Art Center, ”said Ms. Burde.
She explained that the cone-shaped wax “skin” with the remnants of wool, stretched on a metal cylinder, symbolizes not pureatos in its pure form, as previous work, but, on the contrary, “pure” eros. Vagina, which, respectively, is based on the male sexual organ. “My work is erotic,” burde Burdena, so dry and restrained. And she offered to guess on her own what exactly her watercolors symbolize, hung right there, opposite “Sensitive Skin”.Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey IlyinThe installation of Vanwege een Tere Huid (“From sensitive skin IV”, 2016) Burlins de Broeker has erotic overtones

Berlinde de Broyker. With sensitive skin I-IV, 2016 paper, pencil, watercolor by Courtesy of the artist and GALLERIA CONTINUA San Gimignano / Beijing / Le Moulin / Havana
Photo by PinchukArtCentre © 2016. Photographer: Sergey Ilyin

Against the background of the works of Western superstar, three Ukrainian exhibitions at first seemed to be such a well-organized laboratory, where the open Cosmos is studied by model. “Research platform. Wines "(curator - Tatiana Kochubinskaya, co-curator - Bjorn Geldhof) is devoted to" radical actions and performances of the 1990s, when artists began to rethink the post-war history. " The local exhibits are not striking in scale, but they are interesting in historical terms, as evidence of the period of the emergence of the national sovriska.Rapid Response Group (Sergey Bratkov, Boris Mikhailov, Sergey Solonsky). If I were a German, 1994 (with the participation of Vita Mikhailova) silver print, private collection, Moscow.
Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey Ilyin. As in modern times, the PinchukArtCentre turned to the “Soviet” paramilitary mythology, the stages of its comprehension. About the Great Patriotic War in the textbook photo project “If I were a German” 1994 recalls the Rapid Response Team (Sergey Bratkov, Boris Mikhailov, Sergey Solonsky, with the participation of Vita Mikhailova). In the photo of the group members, as on the “anniversary” gift vases or boxes during the Soviet era, metal plates with engraved text are attached: “My grandmother is German”, “My mother is Jewish”. In an era when all without exception, the population remembered well the repressions against the "Soviet" Germans as a potential "fifth column", and state anti-Semitism, and the destruction of Jews by the Nazis, and the Soviet propaganda myth built around this genocide, were perceived as inscriptions especially topical. As with the condemnation of Nazism in any of its form, it does not matter, "red" or "brown." However, they evoke an emotional response today.About the Great Patriotic War in the photo project "If I were a German" 1994 recalls the Rapid Response Team (Sergey Bratkov, Boris Mikhailov, Sergey Solonsky; with the participation of Vita Mikhailova).Next to "If I were a German," there was a Jewish tombstone streaked with a swastika: the documentation of the famous 1994 performance of the Masoch Foundation (Igor Dyurich, Igor Podolchak) entitled The Last Jewish Pogrom. The “last pogrom” is the desecration of the graves, the very memory of the deceased “of the wrong” nationality.Masoch Fund (Igor Dyurich, Igor Podolchak). The last Jewish pogrom, 1994, gabro, photo documentation of the action was provided by artists.
Photo PinchukArtCentre © 2016. Photographer: Sergey Ilyin.Yuri Leiderman. Geopoetics I. 2003, wood panels, black and white photographs, performance. Courtesy of the artist. The military theme gets a logical development in the following rooms. The audience passes by monochrome photos of the monuments of the Second World Conceptualist Yuri Leiderman. Against the background of these pictures, quite modern Hassids and the “face of Caucasian nationality” peacefully discuss (performance “Geopoetics I”, 2003). Next - again Bratkov, Lesia Khomenko, Alevtina Kakhidze, the “Venetian” project “Blind Spot” by Nikolai Ridny, and so on ...
The most powerful purely human emotions are caused by Nikita Kadan's “Gazelka” (2016): an installation in the form of an aluminum flag, shot through with shrapnel in many places. Metal from the wing of the wounded "gazelle" Nikita Kadan brought in the spring of 2015 from Severodonetsk. The artist also used objects from the ATO area for his project as part of the 56th Venice Biennale (an interview with Nikita Kadan about his projects at the PAC, as well as about the situation with the sovrisk in modern Ukraine, read in the near future at “Arthive”).Sergey Bratkov. Crossroads. From the series “Neither War nor Peace”, 2009, color print, exhibition copy
Photo courtesy of PinchukArtCentre © 2016. Photographer: Sergey Ilyin.Artist Nikita Kadan against the background of her installation “Gazelka” (2016) Conceptual “Exhibition” by Lada Nakonechna (the artist argues “out of which litter” of agreements and bureaucratic “papers” an “art” is created) is in itself good. But she is losing on impressions of previous projects after the wars and the Holocaust, a powerful social charge of the work of the leading figures of the Sovrick. A separate story is taken and the exhibition of painting "our luminaries" "Transformation" (Oleg Golosiy, Edward Kolodiy, Alexander Roitburd, Vasily Tsagolov, Ilya Chichkan, Svetlana Martynchik and Igor Stepin, Institute of Unstable Thoughts).Research Platform: "Exhibition", the exhibition of Lada Nakonechna in the framework of "PAC-UA Rethinking." Photo PinchukArtCentre © 2016. Photographer: Sergey Ilyin.Oleg Golosiy, Shot. 1991, oil on canvas. Photo PinchukArtCentre © 2016. Photographer: Sergey Ilyin. However, the war and should "cross out" art. No wonder that the ancient Romans said: "Inter anna silent Musae." When the guns say, the muses are silent.Ilya Chichkan, Rabbits, 2000, color printing. Photo PinchukArtCentre © 2016. Photographer: Sergey Ilyin. Exhibition “Loss. In memory of Babi Yar, with Christian Boltanski, Berlin de Broeiker and Jenny Holzer, works until January 8, 2017, as does the Research Platform: Transformation.
"Research Platform: Wine" works until October 2, 2016
"Research Platform:" Exhibition ", the exhibition of Lada Nakonechnaya in the framework of the" PAC-UA Re-ordination "is open until September 4, 2016