Half a century later after “Future Shock” by Alvin Toffler outstanding sales manages discovered that we turned out in turbulent flow of V.U.C.A., volatility, uncertainty, complexity and ambiguity.
Easy to see that the times of turbulence are periodic phases in the state of human culture.
And they occur as a result of the culture activity itself. So the eidos of certainty and perfection in the Renaissance are replaced by turbulent eddies of Baroque.
But if earlier turbulence in the culture has been defined as crises or transitions with their spatial-temporal boundaries, now the state of turbulence claims to be the boundlessness. Ancient curse “May you live in era of change” is losing its meaning because contemporary culture does not assume any eras of stability. Output from turbulent area is considered as a catastrophe that ends human existence as a whole.
Unity and opposition to the private and the general come into the most danger zone of risk. Radical means of design modeling are urgently needed in a permanent change accelerates exponentially. One of such means has been art. A daily challenge of the art at all times has been work with universal relationship including dynamic one. Value of this function in turbulent zone seeks to infinity.
We once again call to look into the essence of social problems through the specific and universal art optics.
We exist at the turn where isolation of audience of contemporary art (which is a generation of post industrial society) becomes unbearable.
Odessa Biennale once again confronts the artists the global problem. That, according to many authoritative experts, is one of the signs of provincialism or marginality. However, in the era of fundamental crises, and even more so – a crisis of fundamentality – true outline of the future often encountered in the margins of canonic texts, at the boundaries which are melting in the fire of innovations.
Museum of Odessa Modern Art
MoOMA is the organizer of the 5th Biennale of Contemporary Art. This is where most of the works of the “Turbulence Area” project took place.
In the courtyard, in the main building, in the Artery space and in the exhibition hall are represented more than 60 authors from Belarus, Bosnia and Herzegovina, Brazil, Great Britain, Germany, Israel, India, Iran, Spain, Italy, Poland, Russia, Romania , Serbia, USA, Turkey, Ukraine, the Philippines, Croatia, also including two special projects of the Biennale: “Song of the Petrel. Short Course “of the Kharkov Municipal Gallery under the supervision of Tatyana Tumasyan and the interactive project «Odyssey: Donbass-Kiev. Donbass-Odessa» by Odos group.
Among the participants are authors of different generations: widely known internationally (Boris Mikhailov, Artur Zmijewski, Dan Perjovschi and others), and those who beginning their path in the contemporary art.
Museum of the History of Jews of Odessa “Migdal-Shorashim”
Vadim Kruglikov “Suitcase, train station, Israel.»
Vadim Kruglikov was born in Sverdlovsk, spent his childhood in Ukraine (in Yalta), then graduated from Moscow State University and became a famous artist, a vivid representative of the “Moscow conceptualism.” His works were included into the collections of the Tretyakov Gallery, the «Garage» Museum of Contemporary Art.
The artistic career was developing quite successfully, despite the fact that Kruglikov actively participated in the protest civil actions of recent years. But in 2016 Vadim for ideological reasons emigrated to Israel. The exposition presents works of the Moscow period from the series «Exhibitions «Exhibitions-sales», «Black Square», as well as recent performances by Kruglikov in Tel Aviv.
Odessa Museum of Western and Eastern Art
The «Turbulence Area» exposition in two halls of the museum represents works by artists from different countries and from various media. The biennial project already traditionally uses the specifics of the first, “dark” hall, concentrating luminous installations and video in the room.
Ivaylo Hristov (Bulgaria) in his work “Ideology” operates with the signs of the flag, color, and light. Zanny Begg (Australia) in her film “City of Ladies” addresses feminist issues. Yvon Chabrowski (Germany) invites the viewer to enter the zone of his video installation “Territory”. Natasha Shulte (Ukraine) in her video Bubble Gum combines the documentation of the process of birth with the metaphor of dramatic immersion into the water element. Nicolas Vionnet (Switzerland) in the installation “Changeover” (or “Sea crossing”) uses a special foil blanket of refugees to actualize the problems of internally displaced persons.
In the second room there are works of the Ukrainian authors. The installation of Daniil Galkin “When they came (Pandemonium)” is interactive, like the work of Chabrowski. Visitors must pass through the forest of red stretchers, referring to the ceremonial “red carpet” for statesmen. Evgenia Belorusets in her photo-literary series “For Example” seeks through a delicate analysis of private and seemingly insignificant “cases” to reveal common problems of society. And the work of Albina Yaloza “The Game” calls into question the possibility of art to exert a serious influence on the life of society.
Odessa Municipal Museum of Private Collections. A.V. Bleshchunov
The Museum has two fundamentally different projects. In the ruined space of “apartment № 6″ a special curator project of Camilla Boemio (Italy) “Distributing Obsolescence: Foodbank, art bank, technology bank (Switch on and off)” was implemented. In this project, Camilla brought together two authors – David Goldenberg (Great Britain) and Fabio Lattanzi Antinori (Italy). Highly intellectual texts of the curator and authors speak about the unfading problem of going beyond the limits of art controlled by the powerful people and the mass consumption society.
And in the «Odessika” hall there is a series of graphic works by Vladimir Kozhukhar, which not trying to go beyond art’s limits. Motives of everyday objects or landscapes paradoxically combine in themselves an old good realistic school with the aesthetics of Zen.
However, for all the difference between these projects, lovers of Kozhukhar’s work well remember a series of his photographs with the signature “I’m looking for not art!”.
Odessa History and Local Lore Museum
Kateryna Radchenko «Оblivion»
In accordance with the specific location artist refers to the problem of historical memory.
A series of works based on original photos from the museum’s funds, and from the personal archive of Barskov – white emigrant, who lived in France for more than 40 years, after the author’s processing, become as lyrical and dramatic appeal to the catastrophic moments of our past.
The ousting of terrible episodes of history from memory, when a person forgets about humanity, he is in danger of today’s day.
Gallery “Invogue Art”
Maria Kulikovskaya “Raft “Crimea: Maps of Fate”
This project has already been shown at the Kyiv Visual Culture Center. In the space of the Invogue Art Gallery, which usually avoids artistic statements with political connotations, and in the context of the “Turbulence Area”, the project acquires additional meanings.
A person can become a nomad of his own free will and consider himself a citizen of the world. The postindustrial situation in its own way stimulates “nomadism”: the “permanent place of work” disappears, there is a hunt for changing places, employment and housing. The crisis situation can make a nomad of a perfectly normal and not inclined to travel person, who suddenly, “without leaving his place”, finds himself in another country and is forced to go in search of the lost. Without a clear understanding of what exactly he is looking for. All these three kinds of “adventures” are characteristic for the state of turbulence. All this I find in the project of Masha Kulikovskaya, where compliance and opposition are combined in the same way as femininity with courageous perseverance. The artist does not surrender to the will of uncontrollable elements, and does not try to hide from it.
Most of the exhibits of the 5th Odessa Biennale are quite serious, in many cases – tragic.
In the «Hudpromo» gallery works in which the ironic intonation prevails in the most different gradations are concentrated.
Soft humor of the picturesque animation by Sergei Savchenko. “Anecdotes” by Oleg Kharch, referring to the naive aesthetics of wall rugs. Ceramics of Sergiy Grigorian, which paradoxically combines Japanese porn anime with the “corporeal bottom” of the traditional Carpathian “kakhli”. The sad irony of Vladimir Yershikhin, where glossy consumerism turns into a primitive of «cave paintings». Vadim Bondero’s anti-utopia brings the problem of “augmented reality” to ridiculous absurdity. The wicked irony of Tatyana Ostapenko, addressed not to those who have power, but to those who choose this power.
Worldwide Odessites Club
Visitors to the World Club of Odessa are met by the completely Odessa photo installation “Unequal” by Alexander Shevchuk. Here, in the living room are the works of Max Afanasyev, provided by the Kherson “Totem”, with a wide style range from realism to grotesque surrealism.
In the meeting room of the club there was a performative event “What men should tell their women” Alevtina Kakhidze dedicated to the problem of erectile dysfunction. The documentation of this performance (texts, photos) will be presented in the same room
Odessa Champagne Wine Factory
In this location of the «Turbulence Area” an essential role is played specifically by the architecture of the old building in the depths of the picturesque kurdoner. The exposition begins in the courtyard, continues in the lobby and corridor and ends in an un-repaired representative room.
The works of the participants here are mostly harshly critical of the hypocrisy of the neoliberal, pseudo-liberal and authoritarian societies (Peter Puype, Belgium; Nikita Shalenny, Ukraine; Alnis Stakle, Latvia; Zoya Falkova, Kazakhstan; Jere Ikongio; Nigeria; Alikan Leblelici, Turkey; Gigi Chifali, Italy), to various manifestations of consumerism (Juliana H?schlov?, Czech Republic, Olena Siyatovska, Ukraine, Mikhail Markin, Ukraine). Entering into dissonance with the relaxed disorder of space, this rigidity intensifies even more. And the void project of the Slovak-Spanish-Norwegian tandem of Martinka Bobrikova & Oscar de Carmen, on the contrary, harmonizes with the space due to its meditation, as well as the video installations of the tandems of Marie Ouazzani & Nicolas Carrier (France) and the art group ZOI (Ukraine).
House of Culture by IZOLYATSIA. Platform for cultural initiatives.
On two levels of coworking and the lecture hall there is a special project, timed to the three-year existence of the institution in exile. The curators of the project, was already shown this summer in Kiev Izolyatsia location, Dmitriy Sergeev and Lina Romanukha, managed to solve the complex task of “transferring” a multimedia project (photo, video documentation, video projection, photo installation) to the international composition of participants to Odessa. Thanks to this, on the opening day of the Biennale, a discussion was held about the old and new types of cultural institutions against the backdrop of the images of the ruined “House of Culture” in Gorlovka and the legendary work of Zhanna Kadyrova «The Honor Roll».
open air installation
On Your Knees
Bank «Wostok” window intervention
at Office: Ateliergemeinschaft Milchhof, Schwedter Straße 232
Saturday 6 June 2020 at 12:00h
at Veteranenstraße 21
Sunday 7 June 2020 at 16:00h
at 11th Berlin Biennale c/o ExRotaprint Bornemannstraße 9
Thursday 28 May 2020 at 14:00h
by Gropius Bau
at Niederkirchnerstraße 7
Friday 10 July 2020 at 10:00h
at Bulowstrasse 11
Thursday 20 August 2020 at 19:00h
at Veteranenstraße 21
Sunday 7 June 2020 at 16:00h