This exhibition is a very unique one in Kyiv’s recent history. Primarily, because of it’s location – the new Art Ukraine gallery, which resembles private art galleries in Paris or London. Secondly, due to the central subject of this exhibition – Paradise. It is a metaphor – a melting pot of ideas from independent and open-minded people and their take on Ukrainian culture and how they interpreted it in their own ways.
The three artists, Roman Minin, Oleg Tistol and Mykhail Matsenko, are a part of Ukraine’s New Wave movement; they aim to create their own discourse, techniques and topics, more relative to Ukrainian culture, rather than parodying Western one’s. The name of the exhibition – «Paradise-Museum» isn’t random. What artists wanted to convey, is the idea that artists of the past and present are all seeking their own version of Paradise. The application of this idea to the exhibition aims to create a discourse among diverse, independent and open-minded people alike. This notion of a place, which would hold these ideas, in Ukrainian sense, is akin to Paradise. All artists diverge in techniques – if Tistol’s work is more structured and layered, Matsenko’s work is more heraldic and symbolic; whereas Minin’s work is rather fluid and graphic. It has to be stated, that whereas Matsenko and Tistol work in a tandem («NATSPROM» is the name of their common project), Minin is their successor. However, all three of them chose a selection of works, which would unify the exhibition.
The symbol that is prevalent throughout the exhibtion is the palm tree, which has a dual meaning. On the one hand it represents and idea of Paradise; on the other, it epitomizes the currently occupied Crimean territory. Let me expand on these two signifiers. Primarily, the idea that palm trees, beach, sea and sun all conjure an idea of a paradise. Secondly, it is an object which reminds artists of the Crimean peninsula. During the summertime, Ukrainians, escaped to Crimea for a holiday; it was an accessible and an affordable option. However, most of all, it was considered a place, vernacular of Ukrainian culture and seasonal past-time. For artists, it was a place, where they obtained inspiration and idione alike. In their minds, it was a place akin to Paradise. The palm inhabits the central scultpture and many canvases of all three artists.
«NATSPROM» is an art-project created by Matsenko and Tistol in the beginning of 1990s. It was a study of national stereotypes through materials and objects, and how it fits within European and global context. The aim is to come up with typically Ukrainian stereotypes, which would be recognisable to the world as primarily Ukrainian. There are several interpretations of the project’s name – «NATSPROM». It could stand for «National Trade,» «National Industry,» or «National Promotion.»
Oleg Tistol uses grid and symbolism to convey his message. For instance, grid represents Soviet’s rationality and order in any artistic sphere – be that architecture or art. He was informed by everyday objects (e.g. a Soviet cigarette pack, ‘Kazbek’). Unlike the graphic designers, which used fine art to influence their works, Tistol did the opposite – he took everyday objects and transformed them into artwork, yet not through imitation, but as a form of metaphor. He observed that art is often a two-way process. All spheres of art – graphic design, fine art are connected; they all inform one another. Additionally, Oleg Tistol is the thinker and ideator of the trio. He proposed (and keeps insisting on), a radio programme, where all artists would gather to share their ideas and thoughts within the artistic field.
Matsenko’s work is permeated with the folklore of Ukrainian culture – the use of agrarian objects (e.g. a fork that is used to harvest a field) in his works, as well as many fruits and vegetables, that could be translated as one of the vernacular of Ukrainian culture, as Ukraine is known for it’s fertile ground – «chernozem». It could be stated, that his works are symbolic of his ideas. For instance, the cable is a modern symbol, whereas a bough is traditional one, often used in heraldry to create an ornament. By combining the two, Matsenko pays homage to the traditional symbols, yet ‘updates’ it with a symbol of contemporary culture.
Focus of Minin’s works is, by far and large, on miners, whom he considers as his heroes. However, he doesn’t aim to capitailse on this idea, considering the current conflict in the eastern part of Ukraine. He comes from a miner’s family and they have been subjects of his works since 2007. His work isn’t one of a reactionary; they have different connotations, more sacred and ethnic, more of a grassroots approach, rather than a political one. Such approach shows that his work is personal, yet remains relevant. In a way, it dignifies the miners, since they are often misrepresented in society. His magnum opus, “Carpet of Promises,” a triptych of stained-glass windows, depicts miners as heroes from a Biblical story. His technique could be described as a fusion of Egyptian and primitive styles in art, however, the artist states that his technique was a ‘happy accident.’ He deems it as ‘naive and primitive 3D’. Having said that, he isn’t keen on fine art – his passion lies with projects. «I would like to build a Miner’s Temple. Maybe it could even be mobile; it could travel across the entire Ukraine,» admits the artist. He is one of the artists that doesn’t refer to the other artists for inspiration. When answering the question, regarding which artist and/or movement have inspired him, he timidly replied, «My professor at HGAID (Kharkiv National Academy of Art and Design), which once asked me, «what are you doing? why aren’t you painting the miners?»» And since then he was. He really liked it, he said. He also said that he doesn’t want to be known for himself as a celebrity, in a way many contemporary artists are. He said, that «that’s kind of a bad form – to be known for yourself, rather than your work. I encourage you [audience], next time you visit a gallery to judge the artist by their performance. Is what he offers interesting and thought-provoking? Do you enjoy their interplay between form, colour and visual language?» Minin’s technique, which he deems as ‘Naive 3D,’ evolved through experiments, ‘happy accidents,’ as he calls them. Having the fortune to listen to the artist himself, it could be said that he is a very down-to-earth person. A the same time, he is very intelligent and a musician as well. One of the things he left the audience with was, «You have to do what you really love, but with everything you’ve got.»
Overall, the «Paradise-Museum» is a vivid interpretation of Ukrainian culture in contemporary times by artists, which developed their own visual language and presented their take on what it means to be a Ukrainian and it’s culture. Even thouhgh the works of the three artists diverge in their techniques, their message is quite similar in its intent – they aim to advance the cause of Ukrainian contemporary art.
Alma libera 