Estamos luchando por nuestra cultura’: artistas ucranianos se dirigen a la Bienal de Venecia

 

Artistas ucranianos se dirigen a la 59 Bienal de Venecia.

“La idea de Rusia es eliminar Ucrania y eliminar la cultura ucraniana. Si no tiene cultura, Ucrania no existe”.

Ese fue el sentimiento que impulsó a Pavlo Makov, el artista ucraniano oficial de la 59 Bienal de Venecia, a viajar a Italia para instalar su exposición.

Makov y su equipo, incluida la curadora Maria Lanko, estaban decididos, dijo Pavlov, a “mostrar que estamos aquí y existimos. No estoy citando a Churchill directamente, pero habló sobre las cosas por las que estamos luchando, y estamos luchando por nuestra cultura, nuestra forma de ver el mundo”.

El trabajo de Makov se llama Fuente del agotamiento: una pirámide de 78 embudos de bronce colocados en niveles, a través de los cuales fluye el agua. La idea original surgió en 1995, cuando, debido a graves inundaciones, la ciudad de Kharkiv se quedó sin suministro de agua durante varias semanas.

The art of Oleg Tistol

Oleg Tistol

"The art of Oleg Tistol (paintings, large-scale installations, photos, sculptures, and art objects) has always been in the center of the artistic process, what is illustrated by his regular participation in the international art events. Tistol's art, which emerged at the edge of the Soviet and post-Soviet epochs, combined both a critique of Soviet culture with re-evaluation of its clichés, as well as the vital, joyful, and playful atmosphere, which largely defined the appeal of the “Ukrainian new wave”. 


Combining in his works the national and soviet symbols, myths and utopias he discovered for himself the notion of simulacrum — a copy with no original. Such a paradoxical self-sustainability of propaganda as substitution for the non-existing items unexpectedly unites propaganda with pop-art. Tistol was primarily interested in its formal aesthetic aspects - stencil plates, color back-ups, smoothly painted surfaces."


In 1984, Oleg Tistol began to work on the project “Ukrainian Money”. The project was in progress until 2001 (at the beginning of the 1990s, Mykola Matsenko joined in). In this project, Tistol moved from small drawings and etchings to big panel paintings and large-scale installations. 


In Tistol's project money appears as a cultural and symbolic category, which not only marks the history of national independence (in 1918, the design for Ukrainian “karbovantsy” was developed by such famous artists as Heorhiy Narbut, Mikhail Boichuk, and Alexander Bogomazov), but also anticipates and reflects the main characteristic of contemporary Ukrainian reality. 


Combining in this project Ukrainian “historical brands”, such as the legendary Roxelana, Cossack horsemen, hetmans, and pseudo-baroque décor read through the Soviet aesthetics of stencil plates and clichés, the artist introduced the phantoms of national mythology into the explicitly of “marked spaces” of today’s market.







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The Art and the Revolution

 The exhibition "Building the Revolution" will examine Russian avant-garde architecture made during a brief but intense period of design and construction that took place from c.1922 to 1935. Fired by the Constructivist art that emerged in Russia from c.1915, architects transformed this radical artistic language into three dimensions, creating structures whose innovative style embodied the energy and optimism of the new Soviet Socialist state."



The drive to forge a new Socialist society in Russia encouraged synthesis between radical art and architecture. This creative reciprocity was reflected in the engagement with architectural ideas and projects of such artists as Kazimir Malevich, Vladimir Tatlin, Liubov Popova, El Lizzitsky, Ivan Kluin and Gustav Klucis, and in designs by such architects as Konstantin Melnikov, Moisei Ginsburg, Ilia Golosov and the Vesnin brothers, as well as Le Corbusier and Erich Mendelsohn, European architects who were draughted in to help shape the new utopia.


The exhibition will juxtapose large-scale photographs of extant buildings with relevant Constructivist drawings and paintings, vintage photographs and periodicals. Many of the works have never been shown in the UK before.

Courtyard Sculpture 


In conjunction with the exhibition, a reconstruction of Vladimir Tatlin’s Monument to the Third International, known as ‘Tatlin’s Tower’, specially commissioned from Jeremy Dixon of Dixon Jones Architects has been installed in the Royal Academy’s Annenberg Courtyard.
A supporting exhibition in the Architecture Space (23 September – 29 January 2012) explores the conception, vision and symbolism of Tatlin’s Tower and uncovers the intriguing process undertaken for its special recreation at the Royal Academy.


Exhibition organised by the Royal Academy of Arts in collaboration with the SMCA-Costakis Collection, Thessaloniki, and with the participation of the Schusev State Museum of Architecture, Moscow, and Richard Pare.

List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan)


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Building the Revolution - Exhibitions - Royal Academy of Arts: