Centralized cultural life is one of the grim aspects of Ukraine’s Soviet heritage. Under the Soviets, the Ukrainian in the street had to travel to Kyiv to see something truly interesting, like concerts, art exhibits, or drama companies’ premieres. At the time, the problem was not the lack of local talent, but the lack of premises upon which such local talents could prove their worth — chamber theaters, concert halls, art galleries, and bookstores, with their special, cozy drama/exhibit atmosphere. For quite a while, Lviv’s Dzyha had remained one of few exceptions from the rule, probably due to the specifics of local history.
Fortunately, the situation has changed for the better over the past couple of years, considering the ambitious project “Isolation” in Donetsk, Pavlo Hudymov’s newly established art gallery in Dnipropetrovsk, and the Kvartyra Art Center recently launched in that city.
Kvartyra [the word means “flat” or “apartment,” depending on the context. — Ed.] is unique in many respects. This art center is located in an apartment building, a structure dating back before the Russian revolution. The premises have been revamped while maintaining the unique original interior, complemented by modern fixtures, with white stones that add to the overall effect of vast space, which is desirable in art exhibits and concerts. Above all, there is that homely atmosphere, with low couches in front of the podium, and a caged parrot phlegmatically overseeing the canvases on display. An ordinary door can be made to look like a work of classical art; a section of parquet floor, like a pile of crates in a colonial warehouse. The overall impression is that the designers of this exhibit did a great job, combining antique interiors with 21st-century visual experimentation. When exploring this exhibit, you find yourself feeling like visiting old friends.
Kvartyra has hosted short film, literary, visual art festivals; contemporary Ukrainian art and design exhibits, and concerts. In a city, whose cultural landscape has long been strongly reminiscent of a desert, Kvartyra looks like a true oasis.
Oleksii Rastiapin, Kvartyra’s founder, kindly agreed to an interview with The Day.
What is the history of the building where your exhibit is on display?
“It was built sometime in 1880-90. Further construction was done by subsequent owners. In the end, an interesting planning situation had developed. Under the Soviets, it was made into a communal-flat/apartment building, with a multitude of tenants. Obviously, before the revolution, the building had accommodated a home drama company or concert hall. After we’d cleared the premises of all the garbage [and torn down the partitions], we had room enough for a chamber drama group and orchestra. Back in Ekaterinoslav [former name of Dnipropetrovsk. — Ed.], they were fond of drama shows performed on private stages. Now this was perfectly in line with our project, although it took us 15 years of gradual repair to make the premises look like they do now.”
What made you take up such a troublesome project?
“I’m a trained architect, I’m used to handling such things. The idea was conceived by my wife and yours truly, as both of us were into theater. We knew the ropes, but we wanted to create something we’d been denied in our youth, a place we could regard as our home, an art center capable of accommodating drama performances, concerts, exhibits, complete with a discussion club. We expect a small audience anyway.”
This probably explains the title, Kvartyra, The Flat?
“We have our drawing room, so people can come before the scheduled exhibit or performance, and leave after the end of it, after sitting and discussing whatever they have to discuss, at leisure. Here the atmosphere is more relaxed compared to all those official functions. I love this atmosphere.”
How did you start on your project?
“In all honesty, our original objectives were rather vague. The main idea seemed to be to restore that old building’s original atmosphere. But as we started working on the premises, step by step, we developed a creative master plan.”
Where there lots of obstacles?
“I guess this is the least interesting part of the story. Yes, we’ve had to exert tremendous mental and physical energy, but for all this was daily routine, considering that we did everything we had to do using out own resources and manpower, with a minimum of hired assistance. This explains the long time this project has taken, but I think that the end result justifies all our expectations.”
Who did your design?
“Most of it had been done a hundred years back, by people we knew nothing about, so our main task was not to damage what we had — as with the doctors when they’re treating a disease they know little about. We had to preserve the original temporal patina. We had to ascertain what was [then] topical and accurately intertwine it with current realties. I believe we’ve done this in a civilized way. This interior isn’t likely to leave any visitor indifferent.”
Apparently, your advantage was that no one was breathing down your neck?
“Right, you can seldom have the same person as your customer, architect, and executor.”
You have created a homelike atmosphere, but you have not limited the genres.
“Why should I enforce any restrictions, considering that all these genres appear to be living happily together? This isn’t an attempt to catch up with all of them, rather an attempt to fill the environment with [works of art having] various contents. The simple truth is that this art gallery would find it hard to exist otherwise. Drama performances are another complicated issue. We have a small stage and we lack modern audio equipment, yet all this appears to suffice for chamber drama and concert performances. The audience is also small, but this helps [with the] direct, uninhibited perception. Our components compliment each other. This practice has proved to be effective. We want our visitors/customers to be able to step in, any time, realize that a cultural project is underway, and see something s/he hasn’t seen or heard before. There are Kvartyra posters round the city, so people are encouraged to visit us and partake of our cultural atmosphere, while having drinks with their friends.”
Your city is known to have had a complicated cultural situation. Is it still the case and is there no avoiding a degree of the official education effort?
“Apart from what I’ve stated above, Kvartyra also has the so-called movie clubs. Here people watch movies in the original language. They can also communicate in German and English, and hold their meetings. We are in contact with Alliance Francaise and we have plans for cooperation with other countries in terms of events. We can accommodate them. Last year, for example, Kvartyra hosted a short film festival. The jury was invited from Kyiv and there were guests from various countries. Ours aren’t large premises, but none of our guests have complained about the accommodation arrangements, and many have visited again. We also organize classical music concerts for children, with talented children performing on stage. I think we’ll uphold this practice. There are also plans for master classes to be conducted by professional artists, musicians, and actors. We’d like to arrange training courses for young painters and architects who are focused on certain projects, as well as for those who simply need professional guidance. You can’t get such guidance anywhere in this city! Indeed, ours is a missionary undertaking. Rather than driving the arts into the masses [Lenin’s motto — Ed.], we strive to attract individuals who are really interested, who actually need this.”
Do you have any criteria when selecting musicians for a performance or artists for an exhibit?
“We certainly do. We have a man responsible for such exhibits. He is a veteran in the field of contemporary art, so we can trust his choice and taste. The same goes for music. We don’t restrict ourselves to certain styles, trying to display what we believe is of interest for everyone. It’s like a book you’ve enjoyed reading and are eager to lend to your friends, so they can share your delight. This is perhaps the essence of our approach in selecting the performers.”
Who pays your bills?
“We don’t live the way we’d wish. Keeping up the high standard is too expensive, yet we’ve never regarded our Kvartyra as a short-term business project, so we keep looking for sponsors and philanthropists. What we’re doing may yield fruits years from now, if and when we can keep this project ticking. We’re just barely coping with our current [financial] problems, yet I think that we’re gradually getting to a higher level. Anyway, we’re making every effort to do so.”
What’s the overall situation in Dnipropetrovsk? Any rivals? Pavlo Hudymov’s Ya Gallery has been launched not so long ago.
“In terms of concerts, most musicians perform at nightclubs, cafes, and restaurants — places where you can’t satisfy your aesthetic needs. Other galleries or art centers? I don’t see them as rivals, rather as a helping hand. We’re doing what we see as our inner necessity. We aren’t doing anything essentially new; we’re fitting together our pieces of jigsaw puzzles, so we can present a complete picture of our current realities. Public interest is our best reward. Pavlo Hudymov’s gallery is a good sign. It means that the man is aware that the time has come to embark on such projects; that such projects are in demand. This means we aren’t alone in the field.”
How do you see your prospects, both Kvartyra’s and your own?
“To use an old Irish adage: the road will rise to meet the one who walks it. We’re coping with realities, doing what we think is worth being done. Prospects? Perhaps the shaping of a like-minded community. We’d like our Kvartyra to become a place where people would gather like friends, like in a club, the way they do in Britain. Our project is rather shaky, considering the times, with constant changes to our legislation. Be that as it may, we’re fond of our project and will do our best to keep it ticking.”
