The Gelman Gallery is hosting an exposition titled “Regeneration,” a new project by contemporary artist Yury Solomko, previously known for his map compositions. This time the artist strives to update his creative vocabulary and the project is graphic evidence of this. Quite logically, the new display is geared towards provoking a heightened response from the viewer.
Yury Solomko tries to trigger this response by using a technique he has used in previous works: photos of physically handicapped individuals. Several years ago, he produced a series portraying all kinds of disabled persons, but at that time the shocking images were superimposed by a traditional map grid. Now, the exposition is composed of nude female models, girls with amputated legs, presented in a parlor/studio manner, with flowers, masks, and draperies.
Indeed, this technique is nothing new. Artists elsewhere in the world have long and actively used this kind of “anti-aesthetics.” One example is the noted US avant-garde artist, Matthew Barney, and his markedly inventive film Cremaster-3 and its legless art star and athlete, Amy Malins. However, the main reason for the viewer’s keen response is not the usage of techniques, but the model. Her name is Olena Chynka.
Ms. Chynka is so beautiful, an artist does not have to apply any tricks of the trade. Very quickly, you forget all about her physical condition. Moreover, she is a full-fledged protagonist of the project; her story somehow merges with that of the artist. Olena attended the opening ceremony and the way she communicated with people, just her every photo on display was filled with such dignity, such complete awareness of her charms, that any critical, social, or psychological commentaries were utterly irrelevant. Olena was there and she was gorgeous. One could only bow to her for want of words to describe one’s respect and admiration. She was an artist capable of creating — rather, regenerating — herself as a true work of art.
This is perhaps the greatest accomplishment of “Regeneration.”
