APPROPRIATING PHOTOGRAPHY: IN SEARCH FOR THE AUTHOR

The history of the appropriation strategy in art and literature dates back to more than a century, but its use in the field of photography has not become everyday practice yet and from time to time opens up new debates. Artists appropriate or, in other words, borrow any artifacts of the real world: from objects […]

20 YEARS LATER, or ОN CONTINUITY IN PHOTOGRAPHY BY

Exploring photography and establishing continuity trends are closely associated with the topic of cultural identity – the issue which still remains painful for us. Photography has always been characteristic of such main functions as reality registration and the photographer’s existential search, and in this aspect it provides researchers with rich data for analysis. In regard to these questions «BY NOW» is a project of a particular interest. It was the result of the ambitious contest held in 2013 by the German curators Matthias Harder and Hans Pieler

WHAT RUSLAN VAŠKIEVIČ DOES NOT REGARD

pARTisan #27’2015 In the novel «What I Loved» which attempts to give interpretation to a contemporary artist’s creativity, the American writer Siri Hustvedt comes to the conclusion that any painting starts to exist only when observed by the viewer. «Any time including a viewer’s shadow into the composition, the artist emphasizes the space between the viewer and the painting, because it is there where a real action […]

«ANATOMIA. PERFECT BODY»: FINDING ANSWERS WHEN SEARCHING

Just a couple of days ago at Ў Gallery of Contemporary Art the group exhibition «The Dimension of Emptiness» opened, being another example of «АRТ-SOC-LAB» project activities. Maksim Bahdanovič Literary Museum positively surprises with its courageous cooperation with contemporary art. And the Center of Contemporary Art not for the first time welcomes in its halls Dzina Daniłovič’s long-term project «Anatomia».

MINSK. NON-CONFORMISM OF THE 1980S EXHIBITION

What was the period of the 80s like? Who were its key figures and how did those artists survive and work despite the circumstances? Who did they find support in and who did they address their manifestos to? How was art understood and why was it art that became a space for free person’s expression?

LUDMILA RUSAVA. LIFE AS THE MANIFESTO

In Belarus at late Soviet period there was silence and discursive ignorance in terms of feminist ideas. However, women artists, of course, did exist and work in their field. And among them there was Ludmiła Rusava, one of the leading figures of the Belarusian nonconformist art

NOT LEGITIMATION, BUT — IMITATION

What is happening with contemporary art in Belarus: does it use guerrilla tactics or is it becoming colonized, being transformed into local «mainstream»?

FREEDOMS AND MYTHS OF «BELARUSIAN CLIMATE»

«Why do people create myths? Well, people do not exist in this reality, in principle!» — Philip Chmyr concludes, giving me a cunning look across the table in a busy café. Next to him there is one more protagonist of the Belarussian art-irreality sitting — Ihar Korzun, for more than an hour braiding an infinitely intricate and controversial story of the rise and dissolution of the art group «Belarusian climate»

6TH LINE GALLERY: 1992 — 1998

13 November — 13 December 2014 in Minsk in Museum of Modern Art and Contemporary Art Centre the exhibition Suma Sumarum will be open. It’s the first project of the legendary gallery 6th Line after a pause of 16 years

SUBVERSIVE PRACTICES OF CONTEMPORARY ART IN BELARUS

To counter the dominance of ideology in the public consciousness, the Belarusian independent community more and more often articulates the idea of having a public platform where agonistic competition among different discourses would be possible. The rivalry among them would thus generate new meanings. Contemporary art becomes one of such platforms. This kind of intervention can be seen if one looks at three events in Belarusian contemporary art: the art of the painter called A.R.Ch (A.R.Č)., the project by Marina Naprushkina (Maryna Napruškina) «Anti-propaganda Bureau», and the exhibition of Zhanna Gladko (Žanna Hładko) works «Inciting Force»

ZHANNA GLADKO: THE RIGHT OVER ONE’S OWN BODY

Identity and its numerous manifestations became an object of attention of curators and participants of the art project «XXY», which opened in early September 2014 in the Minsk gallery «Ў». Not for the first time within this gallery’s space we can find the works of a contemporary Belarusian artist Zhanna Gladko

MANIFESTA 10: IN FACT THEY’RE COLONIZED

On June 28, 2014 The European Biennial of Contemporary Art Manifesta10 was launched in St. Petersburg, according to some opinions — the biggest and most controversial art event of the year (according Russian media). St. Petersburg was selected as the venue for this year’s Biennale, partly due to the 250th anniversary of the Hermitage. Tania Arcimovič (critic, «pARTisan» media project editor,), Alaksiej Barysionak (critic, «ArtAktivist» editor) and Volha Šparaha(philosopher, «New Europe» editor) share their impressions about the Biennale, about the strategy of (non) participation (if we can use such tactics speaking about Belarus?), also trying to reflect on the reasons why Belarus is not present in Manifesta

8TH BERLIN BIENNALE: FOR CONNECTING TO HISTORY AND FUTURE

This year, the 8th Berlin Biennale for Contemporary Art welcomes visitors to the different areas of the city, the cartography of which brings everyone to rich history of Berlin. After spending some time in Berlin, the curator admitted the importance of architecture for connecting the city both to its history and its future

REPLIKA: BELARUSSIAN ART-GENERATION Z

While the narrative of the contemporary Belarusian art of the 1990s and the 2000s is only recently being written (names are regained, facts and phenomena recalled, a struggle with state institutions against the monopolization of history and the spheres of influence is pursued), a number of exhibition-events have been held in Minsk. What are they like? What distinguishes them from one another and from their predecessors?

«CONSTRUCTION SIDE BOARD»: SPACE TESTING

During the night between May, 7th and 8th a part of the multimedia installation «Construction Side Board» by Anton Sarokin and Alaksiej Navumčyk presented within the project «OFFSIDE» became a victim of vandalism

THE EXPOSITION OF «OFFSIDE» ART PROJECT

Artists: Paulina Vituščanka, Siarhei Hudzilin, Michaił Hulin, Valancina Kisialova, Alaksiej Łunioŭ , Alaksiej Navumčyk, Anton Sarokin, Antanina Słabodčykava, Maxim Tyminko, Jura Shust and art-group Bouillon (Georgia).
The curators’ group: Таnia Arcimovič, Alaksiej Barysionak, Valancina Kisialova, Inha Lindarenka.

PROCRUSTEAN BED OF BELARUSIAN ART: 10 CENTURIES?

The exhibition «Ten Centuries of in Belarus Art », which opened at the National Art Museum in March, was immediately named as «unique» by critics, visitors and mass media. Nevertheless, despite all the advantages, the importance of such a project in the country’s culture and its historical role, what can such a form of presentation warn us about? What things already dealing with our present days does it speak about? What is it that we are losing now and in what way are we becoming witnesses of the history formation?

THE SPACE OF ONE’S PRIVATE FOREST

In March 2014 the project «Angulum Ligno» was exhibited in the Contemporary Art Gallery «Ў». The installation bearing the same name was created by the artist Alena Haiduk in the framework of the gallery’s program «START» aimed at supporting the creative youth

PRESENT CONTINUOUS, or PHOTOGRAPHY in ‘PROCESS’

Having learnt that a new photo-exhibition at ‘CECH’ art-space is named ‘Process’, the first thing that comes to one’s mind is certainly Franz Kafka. The story which starts with the absurd of nothing and ends up with the death of nothing, despair and foolishness of bureaucratic pitfalls as well as the painful omnipresence of Big Brother seem to be more than relevant

Belarus in in the 54th Venetian biennale: archive!

In 2011 Belarus firstly took part in Venice Biennale. The results of this project were actively discussed and criticized by Belarusian independent art community. Nevertheless, it was clear that the first important step towards the integration of Belarusian contemporary art in a global context was done. Artists and curators were optimistic about the future. But when the next Biennale for Belarus will happen, it’s no longer clear. Does it mean that the official Belarusian Culture played long enough in Venice, or simply missed the deadline? We don’t know. We can only remember the last experience and publish the interviews of Artur Klinau, a participant of the Belarusian project in 54 Venice Biennale.

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