New wave has reached Odesa. At least, this is how we interpret the major project undertaken by prominent Kyiv and Odesa trans-avant-gardists and devoted to the first anniversary of the city’s newest exhibition hall, the Art Center (32 Pushkinska St.). The idea of this project was the brainchild of the center’s owner, businessman and philanthropist Oleksandr Korobchynsky; it was implemented by the exhibition curator Anatolii Dymchuk.
The new center, which currently shows contemporary art, was established based on Kyiv’s PinchukArtCentre’s example. It does not resemble the usual exhibition halls of Odesa: vast expanses of space are arranged in postmodernist spirit, the rudeness of non-plastered walls and bare design of ceiling beams contrasts with the elegant minimalism of the floors and furniture. Visitors can see that the interior was well planned before its installation and the overall impression is that of respectability.
The War of Stars is, however, pure form: 5 “art stars” are from Kyiv (Arsen Savadov, Oleh Tistol, Illia Chychkan, Vasyl Tsagolov and Maksym Mamsykov), 5 are from Odesa (Ihor Husiev, Vasyl and Stepan Riabchenko, Volodymyr Kozhukhar, Serhii Zarva). Another “Wandering Star,” Oleksandr Roytburd, is between the two groups. If the word “war” is relevant at all, it is expressed in the collision of ambition and pictorial approaches, marked by individual artists’ specific willingness to shock the spectator with their ultra-modern themes and styles. The art presented is conceptual in its reading. It claims to touch upon current issues and is mostly “pop-artish” in its way of expression. However, the latter quality, I think, is more characteristic of the Kyivites. The Odesite artists, with a few exceptions, stuck to more traditional painting.
Trans-avant-garde, a postmodernist style for three decades now, continues to develop. Its remarkable feature is a subjective interpretation of artistic tradition. This symbiosis of art photography and film, pop-art and social-art (Savadov, Zarva, and Chychkan), results in unexpected combinations. They combine deconstruction and new reading of the past with the metaphysical absurdity of today’s reality. Notable feature in their works are their extroversion, frank demonstrativeness, emphasis on “force,” and expanding frontiers of freedom. Well, that’s how avant-garde ought to be. I think that many of their creations are almost “asking” to go beyond the closed exhibition space, into the streets. Spectators are not called on for participation, they are offered a “finished product,” which, however, in many cases requires the author’s own comments. What meaning has a clearly painted biker helmet with a glowing chandelier reflected upon it? Is it a call for romantic aspirations beyond bourgeois comfort or a hint at the absurdity of our mad times? How to understand the shocking “portraits” Mao and Che, by international artist (Venice Biennale-2009’s participant) Chychkan, where they are painted as chimpanzees? Is this an allusion to “cave communism,” the stupidity and soullessness of the revolution, or a mockery of the symbols of totalitarianism which became part of popular culture? By and large, with a solid theoretical background, most artists do not require analysis and comments; they are above criticism, and see it as way to get more attention.
Compared with his previously known photographs (Donbas-Chocolate, Book of the Dead), Savadov’s baroque decorative panels presented here do not cause the spectator to experience such confusion and rejection. But one should call a spade a spade: this is at best a compromise between genuine creativity and commerce, and the project is a sort of “factory of stars.” Someone will be in the skies longer, someone’s star will twinkle for a moment. Don’t look for the profound and timeless here though. One can see an impressive sight, an intriguing “feast for the eyes,” a beautiful and intelligent art show, an art laboratory that expands our understanding of creativity, and which may prepare grounds for new art. It’s like a dream in which we experience deja vu. At the same time it’s the final result, a kind of selection of convertible artists in an underdeveloped domestic art market.
Odesa’s cultural and artistic environment, if I may say so, is a place where the traditions of the southern school are strong and the representatives of modernism (for example, nonconformists or the Mamay group) have kept their status. They take a dim view of “pop-art” and the commercialization of art. However, some representatives of 1980s nonconformism, such as Vasyl Riabchenko or Oleksandr Roytburd, easily fit in that concept.
One of the project’s novelties is the introduction of known Kyivan New Wave artists’ group into the Odesa art space and contrasting them to Odesite contemporary art. This project, according to its mastermind Korobchynsky, was designed to draw media attention to new trends in Ukrainian art, and to develop the local art market. At present Ukranian art is more prized abroad than in Ukraine. For example, one of Savadov’s works was purchased at Sotheby’s for 50,000 dollars.
The exhibition was held thanks to the assistance, among others, of the PinchukArtCentre. The collaboration with Dymchuk, who has experience in auctions and major projects, wasn’t accidental either. It looks like Odesa is really becoming a Mecca for new art. The Marine art gallery (now Marine art terminal) was its pioneer. There is the Museum of Modern Art in Odesa (MSMO), the NT-Art Gallery, and the Tea Factory experimental center. Thus, the Black Sea port has a chance to become Ukraine’s second center of contemporary art — if Korobchynsky’s dream of creating a museum synthesizing art would come true Odesa may very well outdo Kyiv. Exhibition activity in Odesa is most intense in patron-assisted centers: the MSMO, the Museum of Western and Oriental Art, the NT-Art Gallery. It’s nice to know that in a city with ancient traditions of patronage, the patrons’ circle has expanded to Mr. Korobchynsky. To convert the Art Center into the museum, you need a permanent exhibition. The Museum’s depositories already contain works by Mr. Roytburd and Ms. Maz’ (who, incidentally, was called an “outsider in art,” during an interview with Arsen Savadov). While the “stars” continue to fight, we can only hope to continue to see them shining bright above us.
