AT THE OPENING CEREMONY
The new exhibit at the Ukrainian Home has a dual objective: to bring modern Ukrainian sculpture to the attention of the general public and artistic circles; and to establish a tradition of holding these kinds of art exhibits. Putting the exposition together cost the organizer considerable time and effort. Natalia Zabolotna, director of the Ukrainian Home, says that “A gorgeous all-Ukraine salon was planned, but the domestic political situation prevented us from obtaining the required funds. So we decided to limit the project to Kyiv and we collected the best works of art. The Ukrainian Home, as the project initiator, underwrote all the expenses involved in organizing and transporting the works of art; our experts visited the artists in their studios to select their works. Some of the artists pointed out that creative life seemed to be at a standstill after the elections, so we have made a bold and timely effort by putting on this exhibit. As for future prospects, we would like this exhibit to become an annual event that would embrace all regions. We believe that the selection commission will be working throughout the year, that there will be ratings and nominations, and quite possibly, a prize established in 2006.”
Prizes are especially important. Our sculptors are the worst off when it comes to participating in exhibits, not to mention competitions. Whereas there is an abundance of local, individual, and group exhibits held at various galleries and even museums in the fine arts domain — and let’s not forget all those biennales — it is hard to recall a single more or less representative sculpture exhibit. Our sculptors deserve better. Their genre is perhaps the most labor-intensive of all the arts, demanding exceptional physical endurance and a great deal of patience. Ukraine has produced two of the world’s most prominent twentieth-century artists: Oleksandr Arkhypenko (known in the West as Alexander Archipenko) and Volodymyr Sydur.
The organizers of the current exhibit succeeded in enlisting 25 artists representing different generations, including such well-known sculptors as Mykola Rapai, Yulia Ukader, Yuliy Synkevych, Anatoliy Kushch, Volodymyr Protas, Oleksiy Vladimirov, Anatoly Valiyev, Ihor Hrechanyk, Mykola Yesypenko, Viacheslav Klokov, Taras Melnykov, Dina Margolina, Oles Kostkevych, and Borys Dovhan. All of them were united by the idea of creating an allegory of a winter garden dominated by sculptures. The exhibit occupies the hall on the first floor of the Ukrainian Home and features a transparent panel with the outlines of snow-covered trees — a splendid arrangement. The sculptures on display are not large and are positioned in such a way as to make the visitor feel like taking a stroll in a winter garden that is populated by bronze, marble, enameled, and wooden chimeras. Of course, some of the works are of uneven quality and thus do not meet the standard of excellence. Some statues are better than other works, which are saddled with the philosophy of socialist realism or drawing room opportunism. Be that as it may, the most important step has been taken; Ukrainian sculptors now have a real opportunity to be seen and heard.
Time will tell whether this will take the shape of a “Winter Garden” or biennale. At the moment, something genuinely interesting and inspiring, like spring itself, is taking root amidst the late winter’s sleet in downtown Kyiv.
