photo of land art objects
Petro Bevza / Andrii Gurenko / Myroslav Vaida / Volodymyr Bakhtov / Ilona Silvashi / Yaroslav Prysiazhniuk / Zhanna Kadyrova / Anatolii Bielov / Oleksandr Nykytiuk / Vitalii Kokhan / Volodymyr Kuznetsov / Oleksii Lytvynenko / Ganna Sydorenko / Sergii Yakunin / Oleg Oliinyk / Lisa Schmidtz / Carlotta Brunetti / Yaroslaw Kozjara (Poland) / Alejandro Guzzetti
Photo documenting by Vadym Ilkov
Land art, or earth art, arose from the desire of artists to collaborate directly with nature and in nature, to get out of gallery spaces. In general, two models of the relationship between a landscape and an artist can be distinguished. One emerges as a competition between the creative Self and nature. The other is a dissolution, an inclusion of the artist in the natural process, a co-authorship with the environment. It was the latter concept that the ArtPole festival artists adopted at its different locations — Ivano-Frankivsk, Vinnytsia, Odesa, and Luhansk regions and the Crimean Peninsula.
The ArtPole festival became an event where these artworks could be seen directly in the landscape. Sometimes the process of their birth itself became a common attraction. Land art works can sometimes be transformed by nature in minutes. And sometimes the territories where they emerged become inaccessible, as it happened to the festival locations in Bakhchysarai and at Mstsyhovski’s estate near Alchevsk. In such cases, documenting becomes of particular value.
Over the course of 12 years, objects and action in space were documented. Photo and video records of the most interesting land art events during the festival have become the foundation of the exhibition ArtPole: Hidden Worlds. The exhibition was presented in Kyiv, Kharkiv, Lviv, Ivano-Frankivsk, Ternopil, Vinnytsia, Kramatorsk, Odesa and Prague.
A thematic branch of Hidden Worlds, the photo project Twins by Vadym Ilkov and Olia Mykhailiuk, fuses two areas of exitance. Patterns discovered by the artists in natural environments are noticed in the city — in metal, glass, concrete. Because every landscape is not just a sum of its components but, first of all, the connections between them, with the information about those connections being embedded in certain geometric shapes and ornaments.