Ain't nobody's business
April 25 - June 02, 2019
PinchukArtCentre presents the international group show "Ain't nobody's business". Referring to a hit by the Swedish emigrant singer Ardis from 1994, it unmutes voices clamoring for the freedom of self-expression. The exhibition features Fabiana Faleiros (Brasil), Nikolay Karabinovych (Ukraine), Ignas Krunglevicius (Lithuania), Angelina Merenkova (Russia), Zamir Suleymanov (Azerbaijan), Luba Tokareva (Ukraine), and Sergey Shabohin (Belarus).

Many of the artists are being shown for the first time in Ukraine. This international cast of "Ain't nobody's business" aims at contributing to the further development of the dialogue and cooperation between Ukrainian and international artists, which is an integral part of the vivid development of the country's cultural landscape.

The title of the exhibition is meant to provoke public discussion on the contradictive relations between regulative power and personal identity. The tone of the narrative is set by Fabiana Faleiro's work MasturBar. The show questions the existing tension between the personal and the political, revealing the influence of power structures on individual freedom and self-identification. If our sexual socialization is censored by political discourse, what kind of emancipatory scenarios we can imagine? And how can we implement them in our everyday practice?

Curators: Valeria Schiller and Alexandra Tryanova, graduates of PinchukArtCentre's Curatorial Platform.

PinchukArtCentre's Curatorial Platform is an educational platform for young curators, relying on the high institutional capacity and expertise of an expert team and offering access to leading practices and knowledge. In addition to prizes for young artists, Curatorial Platform is a sustainable investment of the art centre in the future generation of art specialists.
Fabiana Faleiros
Fabiana Faleiros is a Brazilian artist, poet and musician, living between SaoPaolo and Rio de Janeiro. Using "Lady Incentive" as her stagename, Fabiana recorded an album, "Lady Incentive: New ways of loving and burn CD", at Mobile Radio BSP during the 30th Sao Paulo Biennial, Brazil (2012). Her research is focused on voice and gender productivity through music, performance and text.

Interactive installation MasturBar by Brazilian artist Fabiana Faleiros invites to an intimate space where collections of items related to the subject of sexual and mental release are presented. The name of the bar is inspired by Portuguese verb masturbar, "masturbate", and song I Feel Love by Donna Summer. The artist confronts the perception of her own sexuality and the practice of masturbation with the phallus-centric patriarchal society, engaging soft power in the struggle for individual emancipation.
Mastur Bar, 2015 — ongoing
mixed media: textile, furniture, objects, neon, TV box, curtains
Produced by PinchukArtCentre
Nikolay Karabinovych
Mykola Karabinovych lives and works in Ghent and Kyiv. In 2011, he graduated from the Mechnikov Odessa National University, Faculty of Philosophy. He works with video, text, sound and performative practices, exploring the categories of place and time. Karabinovych focuses his interest on "changing identities" of the East-European post-socialist countries, concentrating on the confrontations between recent nationalist movements and contradictions in historical narratives. Another important aspect of his practice is work with musical archives as an all-accessible resource to explore changes on today's political, historical and social context. Since 2018, he has been studying at the Higher Institute for Fine Arts (HISK) in Ghent, Belgium.

The minimalist sculpture by Nikolay Karabinovych assembled of fired cartridge cases tells about the LGBT+ community and the pro-militarist discourse in today's Ukrainian reality. The work is based on the tragic story of an activist from Odesa and owner of the Tema gay club, Oleksandr Lysokon who went to the front as a volunteer when the military actions started in the East of Ukraine, and never came back. With Lysokon's death, the club that had been an important place for sexual socialisation in a provincial city ceased to exist.
The Dead Pool Won't Ripple, 2019
found sleeves, welding, acrylic paint, postcard
Produced by PinchukArtCentre
Ignas Krunglevicius
Ignas Krunglevicius is an artist and composer. His artistic interests lie in exploring the phenomenon of power, and political and existential factors of the global technologic development. Krunglevicius graduated with an MA from the Norwegian Music Academy in Oslo. He took part in the 12th Havana Biennale, the Nordic Pavilion at the 14th International Architecture Exhibition organized by the Biennale di Venezia, the 19th Biennale of Sydney, the Norwegian Sculpture Biennale, the Ultima Contemporary Music Festival in Oslo and many other international contemporary art forums.

The show opens with an audio-visual installation by Lithuanian artist Ignas Kruglevicius, INTERROGATION, where a hypnotising beat engages the viewer in watching a challenging spoken scene: an investigator attacking a lady suspect of murdering her husband. The policeman's collected and neat phrases reveal the gear of the authority language by problematizing the power of the language as a tool to oppress one's will.
INTERROGATION, 2009
two channel video with sound, 13'
Courtesy of the Artist
Angelina Merenkova
Angelina Merenkova is a Russian artist living in France where she is studying arts. She works with various media, including painting, embroidery on fabric, photography etc. She graduated from the Bauman Moscow State Technical University (specialized in flight control systems). She studied at the Moscow Museum of Modern Art (2011-2012) and the Baza Institute (2012-2014). She won the Brewhouse Art Prize for Research with her project "Middle-Asian Mazars". She took part in residencies, including "A postcard from a city", Gdansk, 2016; and "It is Possible. Possible Rather than Impossible. Impossible Rather than Possible. Impossible" Mytyshi Brewery, 2015.

In her new work from the series "Sex & Empire", Merenkova creates a contradictory image in the aesthetics of a communist flag by combining a pentacle and a masturbating gesture. In that way, the artist opposes a political project and a sexual experiment, revealing the points of tangency between such phenomena.
From the Embroideries: Sex & Empire series
embroidered fabric
Courtesy of the Artist
Sergey Shabohin
Sergey Shabohin is an artist, curator, art-activist, critic and editor at the portal on the Belarusian contemporary art, ArtAktivist.org, and co-founder and chief editor at the research platform on Belarusian contemporary art, Kalektar.org. Shabohin works with subjects such as art in the public space, culture and history system criticism, the role of today's museums and archives, the opening of invisible history, and the category of fear and the social body in the Belarusian society.

In the work by Belarusian artist Sergey Shabohin, we face the reality of the voice of minority in a public space. The work is built upon documenting writings on seams between tiles in public toilets of Minsk that are the only means of communication for the gay community. The public utility services thoroughly clean such writings off, but the space between the tiles does not allow for a fast cleaning. This work is an imprint of the real public space: sterilised, aggressive towards any atypical forms of attitude, where everything that does not fit in the norms of the patriarchal and conservative authority's course is expulsed to hidden areas: clubs, apartments or toilets. In the authority's view, these seams are covered with dirt, but to Sergey Shabohin, these are the symbols of freedom of expression.
Zones of Repression, 2014 — 2019
ceramic tiles, lamp (exhibition copy)
Produced by PinchukArtCentre
Zamir Suleymanov
Zamir Suleymanov started his artistic career working with photography, and later he started working with video. Suleymanov took part in numerous international contemporary art shows, such as GRID Photo Festival, the 4th Moscow International Biennale for Young Art, the Sharjah Islamic Arts Festival, the Tbilisi Photo Festival, the Triennale di Milano and many other. Now, Suleymanov lives and works in the Netherlands.

One needs to know how to identify the language of oppression in order to be able to protect own individual borders. Most often, the main goal of public speaking is manipulation. At the same time, many important subjects remain tabooed for a public dialogue. The issue of freedom of public speech continues to be extremely relevant to post-Soviet countries. The voice of Zamir Suleymanov's Heavy Words intrudes into an urban public space, stressing on the need to discuss important areas of man's life. These words, GOD-ART-SEX, are heavy indeed. Their meaning has been contested and changed over the whole history of the mankind, and nevertheless, they are of a perpetual importance across the globe. This blessed trinity composed of three-letter words in English boldly explores the city, inciting to a talk.
Heavy words, 2016
three channel video, 5'20"
Courtesy of the Artist
Luba Tokareva
Liuba Tokareva practices painting. In 1994, she graduated from the Grekov Odesa State Art School, specialized in painting. In 2001, she graduated from the Gerasimov All-Union State Institute for Cinema (VGIK) in Moscow with distinction. Her specialty was painter artist. She took part in exhibitions in Ukraine, the Netherlands and Switzerland. She lives and works in Odesa.

Interrogation echoes with the installation by Odesa-based Luba Tokareva, featuring an office interior covered with feathers. By using the surreal tools, the work refers to the edge state of sleep where imagination, memories and fragments of everyday life are interlaced. What are the levels of psyche that keep traces of oppression by authority?
Untitled, 1994
table, chair, lamp, typewriter, feathers (exhibition copy)
Courtesy of the Artist. Co-produced by PinchukArtCentre
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Photographs provided by the PinchukArtCentre © 2019. Photographed by Maksym Bilousov, Yevheniya Bondarenko.
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