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JUNE, 16 - JULY, 12 2015

landart. 12 years. 6 locations

Odesa Museum of Contemporary Art, Belinskogo str. 5


The pictures of landart objects, the processes of their creation, their «twins» in the spaces of big cities, the imaginary objects and several author projects provoked by reflections regarding the borders of this art direction. The exhibition was already shown in Kharkiv and Kramatorsk, in future Ivano-Frankivsk, Kyiv and Prague are planned.


The images-metaphors for meeting of material and ideal, natural and human worlds were created by Myroslav Vayda, Petro Bevza, Andriy Gurenko, Volodymyr Bakhtov, Ilona Silvashi, Yaroslav Prysyazhnyuk, Zhanna Kadyrova, Anantoliy Belov, Vitalii Kokhan, Volodymyr Kuznetsov, Serhiy Yakunin, Nikita Kadan, Anna Naduda, Oleh Oliynyk, Kateryna Radchenko, Carlotta Brunetti, Lisa Schmitz, Yaroslav Kozyara, Alejandro Guzzetti and others — artists from Argentina, Belorussia, Germany, Poland, Czech Republic and all over Ukraine. The landart objects were fixed on photos by Vadym Ilkov and some authors.


Following the concept of co-authorship with an environment, the artists had been working during 12 years in the different ArtPole locations — Ivano-Frankivsk, Vinnytsya, Odesa, Luhansk regions and in Crimea. However, Odesa experience was exceptional — the nature absolutely refused to cooperate, obviously, because of the previous human activity there. In 2010 ArtPole took the liberty of working out the area near sanatorium “Kuyalnyk”. At that time the former famous resort turned into a zone of ecological disaster — the therapeutic muds were removed with impunity, and the mouth of river, feeding the firth with a fresh water, was bestrewed because of the future construction. The organizers-idealists decided that they would manage to take attention to the problems of the firth and over time solve it by common efforts.


«The territory of the resort “Kuyalnyk” is situated on the crossroads of vertical green hills ending in sand and clay cliffs, and a horizontal shore line. It’s 100-200 grams of salt per liter of the firth water, black therapeutic muds concealed under seemingly white sandy beach, prairie herbs and examples of Soviet architecture of 80s — and it is located only 15 km away from the Odesa railway station. The dominant of proposed space is eclectics penetrating everywhere like a salt. And this is the principal difference from the previous festival locations. This is a new dimension with unique, very interesting atmosphere. The history of the firth can be divided into a few waves of people's conquering attention to the natural environment — the extraction of the salt, the usage of therapeutic muds and finally, the curing and the rest for as many people as it was possible. Each of these colonization attempts left own material traces — from elegant building of 1892 till Soviet imperial 15-storey buildings of 1986. Here creation and destruction are fixed in a fragile balance. The nature tries to swallow the human made objects, and the process of decolonization continues — dematerialization of the human presence. The buildings are covered with cracks, the winds also destroy them so the rust does, and they start to look less alien and more implanted into the environment. They are losing their functionality and turning into the active esthetic factors of the landscape. The concreteness of everyday usage is eaten by erosion of time, and an ordinary object becomes an artifact. Ephemerality and fancifulness are dissolved in the air like a heat and a smell of salt water. This is a space of transformation, where things do not mean their original notions anymore», — Andriy Gurenko wrote that time.


The only art project which happened that time was “Museum” by Volodymyr Kuznetsov: «We were looking for different artifacts left from the previous times on the territory of Kuyalnyk firth, Kuyalnyk village and resort situated there. We were interested in neglected abandoned buildings and things thrown away in the trash. We wanted to bring everything into one space, describe and archive in the tradition of classical museum. Also we had an idea to cover things with salt from the firth. Accidentally bumping into that empty room, we met the neighbors who told us about its past. Since the founding of the resort in ХІХ century there was a church cell, in Soviet times — a public dining room, and then — a carpentry studio. It was surrounded by alive history, and an artificial building-museum was unnecessary. All the things were organically connected to the time and the space. Each period imposed its marks on the building, and also left certain artifacts — carved decorative elements, moldings, spoons, plates, nails, instruments, shoes, old newspapers, notebooks with school works, bookkeeping and hundreds of different things which before the founding of Museum were lying — dumped in a pile and mixed with a dust. We wanted to take viewer’s attention to the reality, which is often ignored and passed by not stopping a sight. The Museum existed for a couple of days. Then the neighbor hung a lock on the door explaining that homeless were sleeping there».


The story of Museum was not finished that time. The internally displaced persons are living in the sanatorium now. The curators of the exhibition proposed to Odesa artists to think about art form of the current transformations in the eco system of the firth, the coastal community and in each of us. The best ideas proposed during a month will complement the current exhibition.


The event is held within the program Tandem Ukraine.