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Where there is no law, but every man does what is right in his own eyes, there is the least of real liberty
Henry M. Robert

Those Who Came in 2000s

The capital’s art center M17 opens an exhibition dedicated to the new generation of Ukrainian Artists
7 October, 2010 - 00:00
Photo courtesy of M17 Contemporary Art Center

The name of the exhibition “Those Who Came in 2000s” emphasizes the intention of the organizers to find and demonstrate the generational change in modern domestic art. The M17 Contemporary Art Center, which occupied the building of the French cultural center in Horkoho Street last summer, tries to assert itself as a structure supporting the artistic youth. At least that is what the first actions of the institution are aimed at. Artists that started working at the end of the 1980s and gained popularity in the mid-1990s either did not come to the presentation or were ordinary guests. So, the change of generations took place physically, but did it artistically?

M17 managed to create a truly amazing space: an installation which looked like a giant model of an orga­nic molecule was hanging above the yard (its author is the Kyivite Anna Naduda). The DJs were playing non-stop in the largest hall, and in order to get there it was necessary to go through an opening in the wall. There was another music spot where a live rock band played (Melting Clouds duet), and a laser light show (Enlightenment installation, the authors are Yevhen Chernyshov and Yulia Kovalska) was located upstairs. It was noisy, crowded and festive. Similar presentations do not take place often and we should appreciate them, as they turn art into a holiday.

In what concerns the works, the ones that conveyed a certain experience or unique intonation were the most memorable. The artist known as Ryba Holub (Fish Dove) presented the series of the assemblages “Grandmas-Grandpas.” They were touching compositions, made of old photos, wooden frames, cords and covers of gramophone records. The gramophone was right there but a hidden device played music — an apparent mistake, as the authenticity of the material, united with modern style (not technology), is truly important. Nevertheless, the sentimentalism imparted by the author was easily recognized and not vulgar.

An intimate, homey style is typical for Kateryna Chala’s works, which were presented in the following hall. Chala hung small carpets and embroidered works by combining average, traditional technique with strange and funny micro episodes, creating a story.

Zhanna Kadyrova, one of the active members of R.E.P. group, keeps creating massive artifacts of cement and ceramic tiles. This time it was a huge tea bag (with a thick white wire in lieu of a thread) and a model of an advertising lightbox, incrusted with white tiles and covered with cracks that resemble a map. Having found her voice, Zhanna almost reached perfection by building ingenious things out of such rough materials. I wish the artist did not limit herself but tried to experiment with other expressive methods.

Lviv citizen Serhii Petliuk showed his Dreams about Europe on pillows which were hung to the ceiling. The pillows resembled a screen, on both sides of which young people are displayed: one after another boys and girls lay with closed eyes and repeat, as if dreaming, the names of the largest European cities.

One of the most impressive compositions was Homophobia today — Genocide tomorrow! in street-art style. Anatolii Bielov printed several phases of a fierce man-like creature’s movements, the genitals of which were exploding. He also posted the huge figures on the gallery’s wall, adding the slogan which is also the name of the entire series. It appeared to be an unequivocal, clearly articulated and qualitatively incarnated author’s statement.

The general impression (there are over 40 of “Those, Who Came in 2000s”) is mixed. The artists mastered all existing techniques and formal methods quite well. But there is a lack of fresh ideas to fill those forms. There is still a generation gap: essentially, the 2000s artists are still in the diapers of the 1990s. This can be overcome. The main point is to find your own voice, your own music in the loud but mono­tonous space of Ukrainian art.

By Dmytro DESIATERYK, The Day
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