UA

UA

Exhibition of the 20 Artists Shortlisted
for the PinchukArtCentre Prize 2020

February 9, 2020 - January 3, 2021

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The PinchukArtCentre (Kyiv, Ukraine) presents an exhibition of the 20 artists shortlisted for the sixth edition PinchukArtCentre Prize, a nationwide prize for Ukrainian artists aged 35 or younger. Featuring new and recent works, the show brings together a representative selection of artists and artist collectives from all over Ukraine including artists living abroad.

The artistic approaches of the 20 nominees vary considerably, yet they reflect the vision and thinking of the post-Maidan generation of Ukrainian art. Many of the artists are united by an intensive reflection on social problems and a critical view of archaic power structures. Prominent themes include the value of labor in the post-industrial era, media manipulation that affects political actions both in Ukraine and around the globe, and a celebration of gender identities that stand opposed to physical brutality, which is still a driving force in social processes. Whereas direct activism has been a leading practice, we are starting to see its substitution with gestures that aim to transform the experience and functionality of common urban space.

The 20 nominees for the PinchukArtCentre Prize 2020 were shortlisted by an independent selection committee from more than 1100 applicants. The shortlist includes: AntiGonna (32, Kyiv), Katya Вuchatska (32, Kyiv), Uli Golub (29, Kharkiv/Wroclaw), Pavlo Grazhdanskij (28, Kharkiv), Ksenia Hnylytska (35, Kyiv), Alexandra Kadzevich (26, Odessa), Nikolay Karabinovych (30, Odessa/Ghent), Anton Karyuk (31, Kyiv), Oksana Kazmina (35, Kyiv), Iryna Kudrya (32, Kyiv), Larion Lozovoy (31, Kyiv), Timothy Maxymenko (24, Kyiv), Elias Parvulesco (34, Kyiv), Valentina Petrova (34, Prague/Kyiv), Anna Scherbyna (31, Zaporizhzhia/Kyiv), Alina Sokolova (23, Uzhhorod/Vienna), Dmytro Starusiev (34, Makiivka) and the groups: 12345678910 Studio (Obraztsov Evgeniy, 25, Dnipro/Kyiv; Omelich Anastasiya, 23, Dnipro/Kyiv; Momot Mikita, 24, Dnipro), Yarema Malashchuk (26, Kolomiya/Kyiv) and Roman Himey (27, Kolomiya/Kyiv), Daniil Revkovskiy (26, Kharkiv) and Andriy Rachinskiy (29, Kharkiv).

This exhibition of the PinchukArtCentre Prize 2020 is curated by junior curator Alexandra Tryanova and co-curated by the artistic director of the PinchukArtCentre Bjorn Geldhof.

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AntiGonna

AntiGonna Born in Vinnytsya in 1986. Lives and works in Kyiv, Odesa and Warsaw. Uses such media as performance, video and virtual reality. Studied painting at the Grekov Art College in Odesa. In 2016, together with cameraman Andriy Boyko, she launched a project called "Endless clinical record. Kyiv porn horrors (Part 1). SBIAN" and the trash porn series "AndriyAndreyeva". Since 2016, she has taken part in performances by Mykhaylo Koptev's "Orchid" Provocative Fashion Theatre. Took part in such queer festivals and exhibition projects as "4th International Horror Festival. Mostra Espantomania", Sao Paulo, Brazil (2019), "Audience Awards", New York, the USA (2019); "RabarBar Queer Festival", Krakow, Warsaw, Wroclaw, Poznan, Poland (2019); "POMADA. Eden 8", Warsaw, Poland (2018), "12th Internationale Berlin Porn Festival", Berlin, Germany (2017), "Naughty Bodies", the Bukhanchuk Museum of Fine Arts, Kmytiv, Ukraine (2019).

By addressing her own bodily experience and personal fears, AntiGonna speaks about the collective traumas of the Ukrainian society. By choosing the form of videos, the artist tells us about the taboo and the fearful, exploring the topic of gender violence.
The characters in her videos, played by some of the key personalities of the Kyiv underground scene, seem to protest against the established norms: despite the script provided by the artist, they play out their own story and give their personal interpretations of the chosen topic. Despair and aggression become transformative factors in her videos, they form a platform for a conversation about the deep desires and anxieties of society in a period of post-traumatic changes.

AntiGonna. Endless story of disease. Kyiv Porn Horrors, part 1. SBOYKA

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Katya Buchatska

Lives and works in Kyiv where she was born in 1987. Her projects explore the subject of timelessness, transformation and reincarnation of an object. Works with installation, sculpture, photography and painting. Studied at the Kyiv Publishing and Printing Institute and École Nationale Supérieure d'Art de Dijon, graduated from the National Academy of Arts and Architecture in Kyiv. A member of the initiative group seeking to conserve the heritage of Paraska Plytka-Gorytsvit. A member of the Montage group. Her selected projects include "Photos from last year", the Small Gallery at the Art Arsenal, Kyiv (2019), "Be careful with this axe, Eugene", AKT art space, Kyiv (2019), "Mara" together with Vitaliy Kokhan, Port Creative Hub, Kyiv (2017), "SpaceS, SpaceS Contemporary Art Exhibition", Galerie La Cave, Geneva (2017), "Postcards from Maidan", Lublin, Warsaw (2014).

https://soundcloud.com/user-90013616/art-eng-018-buchanska?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-018-buchanska

Katya Buchatska's installation reproduces a typical room in a natural history museum presenting exhibits of a temporary exhibition — archeological findings and archival documents focused around the figure of the paleontologist William Falconer. We know that Falconer was born in Edinburgh in the mid-19th century, studied paleofauna and died during an expedition under mysterious circumstances. The researcher's remains, conserved in gypsum, have been preserved due to the efforts of his assistant. The unusual fact that Falconer's body has become a part of a fossil collection draws attention to his personal diary. Partially represented in the exposition in the form of a printout, the diary reveals the details about the causes of Falconer's tendency to self-harm.

In the glass showcases, Buchatska demonstrates a dinosaur bone (the so-called Edinburgh specimen found by Falconer), a gypsum cast of a man's body, and a handwritten diary. The installation is titled the Pain Record, which refers to one of the versions of the paleontologist's death — suicide in a flow of hot lava, which can preserve the form of a body, but leaves it empty.

Using only three objects, the artist tells a personal story from the 19th century, far removed from her own context. In her practices, Buchatska often works with the topic of time, applies the methods of media archeology and uses the tactic of "soft" intervention in the environment (gallery, museum or natural space). In the Pain Record, the artist draws attention to the found objects at an archeological distance and raises the question of their meaning for a contemporary viewer, the role of the author in this kind of artistic gesture, and the ability to perceive the drama hidden behind the objects when you are on this side of the glass case.

Katya Buchatska. Pain record. 2020

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Gypsum, natural materials, diary

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Gypsum, natural materials, diary

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Gypsum, natural materials, diary

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Gypsum, natural materials, diary

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Gypsum, natural materials, diary

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Ksenia Hnylytska

Lives and works in Kyiv where she was born in 1984. Uses painting, graphics, ceramics and video in her artistic practice. Studied at the National Academy of Visual Arts and Architecture, the Faculty of Painting. A co-founder and member of the R.E.P. and Khudrada groups. Took part in personal and group exhibitions. Some of the selected projects are "Stratigraphy", Vozdvizhenka 32, Kyiv (2016), "Degree of dependence", Awangarda, Wroclaw, Poland (2016), "Lest the two seas meet", Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw (2015), "Colour test", the Small Gallery at the Art Arsenal, Kyiv (2013), Gyumri Biennial (as part of the R.E.P. group), Gyumri, Armenia (2008).

https://soundcloud.com/user-90013616/art-eng-015-hnylytska?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-015-hnylytska

In her work titled The Dream of Pier Micheli, or The Monument to the Victory of Saprotrophs, Ksenia Hnylytska offers her visionary view of potential future: as a result of humanity's self-destruction, the most ancient kinds of life — fungi and bacteria — will dominate planet Earth again. Her sculptural composition appeals to the typical posthuman image: living nature seizes and populates the remnants of human civilization, embodied in the image of ceramic columns. Ironically, the style of Hnylytska's columns can remind us of the architecture of the Stalinist Empire style, characterized by luxury, grandiosity and monumentality. It is the style of the primary architectural complex of the Kyiv Exhibition of Achievements of National Economy (now renamed as the National Complex "Expo Center of Ukraine"), particularly its Pavilion 6, "Technical Cultures"; the aesthetics of the pavilion served as an inspiration for the artist in creating this artwork.

Ksenia Hnylytska has consistently studied and depicted the world of plants and fungi for over ten years. However, in her new work, she moves on from painting and graphics, which are more usual for her, to three-dimensional sculpture constructed around a conceptual statement.

Ksenia Hnylytska. The Dream of Pier Micheli, or The Monument to the Victory of Saprotrophs. 2019–2020

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Fireclay, glaze

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Fireclay, glaze

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Fireclay, glaze

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Fireclay, glaze

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Fireclay, glaze

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Fireclay, glaze

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Fireclay, glaze

The Second Special Prize Winner

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Uli Golub

Born in Kharkiv in 1990, she currently lives and works in Oakland, the USA. Uses such media as video, installation, 3D animation and collage. A graduate of the Rodchenko School of Photography and Multimedia (Moscow) under the guidance of Sergey Bratkov and a post-graduate student at the Karazin National University. Took part in international exhibitions and biennale, including "Memories from the future. Incredible adventures of the bearded women. Behind the scene", xpon-art gallery, Hamburg, Germany (2019), PinchukArtCentre Prize 2018, Kyiv, "I am not a robot", Electro Museum, Moscow (2018), "Versus", PinchukArtCentre, Kyiv (2017), the Festival of Young Ukrainian Art, Art Arsenal, Kyiv (2017), "Trans-people. State of insecurity", YermilovCentre, Kharkiv, Ukraine (2016).

https://soundcloud.com/user-90013616/art-eng-003-golub?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-003-golub

In her work, Yuli Golub exposes the prejudice and fears of traditional western societies. The artist introduces a community of "aliens" into the story, bearded women who embody "otherness" with their appearance and behavior. For the owners of the house, a middle-aged married couple, these unwelcome guests come as a shock at first. They experience various emotional states: from hostility and confusion to compassion. When the hostess joins a hypnotic ritual dance with the women, she perceives the "aliens" through interaction with the bodies of "others." The video illustrates the possible steps towards overcoming the rejection of "others" and the possible interaction between various communities and undefined identities.

Uli Golub. Look, She's Got a Beard! 2019-2020

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Video 39’00”, stereo sound

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Pavlo Grazhdanskij

Born in Kharkiv in 1991. Lives and works in Kharkiv an St Petersburg. Studied at the School of Engaged Art Chto Delat in St Petersburg (2016). Founder and editor of the long-term art project Travmpunkt which researches Russian-Ukrainian realities on the basis of voluntary documentary writing and data analysis (2017). Co-founder of the Kropotkina 11 art space (2018). Among his selected personal and group projects are "Shelter", Sörnäinen Bomb Shelter, Helsinki (2018), "Everything like the water", Detenpyla Gallery, Lviv, Ukraine (2018), "It is already too much", Roza's Palace of Culture, St Petersburg, Russia (2018), "Get out while still healthy", Autonomy squat, Kharkiv, Ukraine (2017).

https://soundcloud.com/user-90013616/art-eng-013-ponivecheno?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-013-ponivecheno

In his work, Pavlo Grazhdanskij raises the issue of militarization of the broad population, which resulted from the long war in Donbas. Grazhdanskij's work develops according to the logic of human life: from stories about the training of Ukrainian children and youth in military-patriotic camps to representation of everyday life of contract army soldiers and solemn burials after heroic deaths. Using video reports on the Ukrainian army and paramilitary associations, which he has found online, the author creates a critical expression about the general militarization.

Pavlo Grazhdanskij. Ponivecheno. 2020

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Video in loop

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Video in loop

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Video in loop

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Video in loop

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Alexandra Kadzevich

Lives and works in Odesa where she was born in 1992. Her works are at the junction of painting, collage and sculpture. Graduated from the Grekov Art College, the Department of Art, in 2013. Received a scholarship for study in the Kyiv Academy of Media Arts, the course of Lesya Khomenko in 2017. At the beginning of her artistic practice, she favoured traditional painting. Since 2016, she has moved away from academicism to explore possibilities provided by painting. In 2018, she founded the artist-run space "Noch" in her studio. Took part in the fourth art residence programme SWAP: UK/Ukraine 2019. Took part in such projects as "Other people live here", The Naked Room, Kyiv (2019), "A few unnecessary steps to the other side", Artsvit, Dnipro, Ukraine (2019), the "Countryside practices: seasonal closeness" special project as part of the fifth Odesa Biennale of Contemporary Art, Odesa, Ukraine (2017).

https://soundcloud.com/user-90013616/art-eng-011-kadzevych?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-011-kadzevych

The central subject of Alexandra Kadzevich's practice is painting. After completing classic art education, she consistently employs painting techniques and tests various materials to explore this medium. In 2017, in her workshop in Odesa, Kadzevich founded the artist-run space NOCH, which promoted the development of the art environment. Changes in the private space of her workshop have affected the artist's practice and inspired her to reconceptualize the relations between a work of art, space and architecture — her thinking transformed in the direction of spatially-oriented painting, where the materiality of an object has become crucial, while painting itself has developed ephemerality which is characteristic of an intuitive touch.

Alexandra Kadzevich. The Way from Eye to Eye

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Installation view of «The Way from Eye to Eye»

Alexandra Kadzevich. The Way from Eye to Eye

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Installation view of «The Way from Eye to Eye»

Alexandra Kadzevich. The Way from Eye to Eye

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Installation view of «The Way from Eye to Eye». In Some Room, 2020 (left); The White Curtain, 2019 (right)

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». Author's text to the project.

Alexandra Kadzevich. The Way from Eye to Eye

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Installation view of «The Way from Eye to Eye»

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». Untitled, 2020

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». How Should They Know, 2018

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». Three Shadows From One Stone, 2020

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». Object No 1, 2019

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». In Some Room, 2020

Alexandra Kadzevich. The Way from Eye to Eye

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Fragment of «The Way from Eye to Eye». The White Curtain, 2019

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Oksana Kazmina

Born in the town of Yakovlevo, Russia in 1984. Lives and works in Kyiv. Uses such media as performance, installation and video in her artistic practice. Studied journalism at the Ivan Franko National University in Lviv and direction in the Karpenko-Karyy National Theatre, Cinema and Television University in Kyiv. As a film director and artist, she preaches intersectional feminism and posthumanism, researches the existing authorities and the ways corporeal practices can undermine them. Co-founded the OKSANAS art collective and the Bodily Practices project. Received an award for the best short film ("The Secret, the Girl and the Boy") at the Odesa International Film Festival in 2019. Taught film direction at Wesleyan University, the USA. Took part in many national and international projects: Mykola Ridnyy's "Armed and Dangerous", the "Countryside practices: seasonal closeness" special project as part of the fifth Odesa Biennale of Contemporary Art, Odesa, Ukraine (2017), the Kyiv School modern art biennale, Kyiv/Vienna (2015), Berlinale Talents as part of the Berlin International Film Festival, Berlin (2014).

https://soundcloud.com/user-90013616/art-eng-007-kazmina?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-007-kazmina

Oksana Kazmina's work touches on the topic of mundanity of violence. The story in the video work takes place in a second hand store — a place where things are redistributed. As they choose clothes, the female protagonists of the video talk with each other. Their conversations consist of retelling their dreams, fragments from children's folklore, social media posts and chats, book quotes and other things. By articulating real and imaginary stories about identity, morality and corporality, the protagonists expose the mundanity of violence, which each of them has experienced or has been experiencing.

Oksana Kazmina The Intermutation. Neither a Fairytale Nor a Musical. 2020

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Two screens video 23’00”

Oksana Kazmina The Intermutation. Neither a Fairytale Nor a Musical. 2020

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Two screens video 23’00”

Oksana Kazmina The Intermutation. Neither a Fairytale Nor a Musical. 2020

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Two screens video 23’00”

The First Special Prize Winner

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Nikolay Karabinovych

Born in Odesa in 1988. Lives and works in Ghent, Belgium and Kyiv. Uses such media as video, sound, text, installation and performance in his artistic practice. Graduated from the Mechnykov National University in Odesa, the Department of Philosophy. Since 2019 he has studied at the Higher Institute for Fine Arts in Ghent. In 2017, he was an assistant curator at the fifth Odesa Biennale. Winner of the first special PinchukArtCentre Prize 2018. Took part in many national and international projects, including "From sea to sea", Hit Gallery, Bratislava (2019), "The spring (summer, autumn, winter) of nations", BWA, Tarnow, Poland (2019) "Ain't nobody's business", PinchukArtСentre, Kyiv (2018), "Human fate", the Jewish Museum and Tolerance Centre, Moscow (2018), PinchukArtCentre Prize 2015, Kyiv.

https://soundcloud.com/user-90013616/art-eng-002-karabinovych?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-002-karabinovych

In his practice, Nikolay Karabinovych often addresses the roots of his multicultural family, overlaying his experience of working with collective memory on personal history. The point of departure for the author's story in this work is music. The tune played by the music box in the corner of the room is over a hundred years old. Nobody knows its original author. Both Greeks and Jews have their own songs based on this tune. But they are entirely different in their meaning: the Greek one is about love for a beautiful girl, and the Jewish one is about sending a young man to war. Played by the box mechanism, the tune is deprived of anything human which is capable of hate, hypocrisy, violence, and because of this it has a chance to be uniting. We can imagine all these people—Jews, Greeks and everyone else who knows this tune—come together and recognize this tune, maybe wanting to sing it together. But where could that happen—on a deserted shore of a drying liman or any other place where the universal poetry of art comes into power?

Nikolay Karabinovich. Even Further. 2020

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Video on loop, custom music box, text

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Video on loop, custom music box, text

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Video on loop, custom music box, text

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Video on loop, custom music box, text

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Video on loop, custom music box, text

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Anton Karyuk

Born in Dnipro in 1988. Works and lives in Kyiv and Vilnius. Uses painting, video, installation and performance in his artistic practice. Studied architecture at the Prydniprovska State Academy of Civil Engineering and Architecture. Some of his selected personal and group projects include "Pre-education", Dresden, Germany (2019), "Identifying", Leoparden, Uppsala, Sweden (2019), "Sünden unter freiem Himmel - Deutsche Ausgabe", Rasch, Kassel, Germany (2019), "Forbidden family", Kedi, Izmir, Turkey (2017), "Flaws in the open air", Porto Franko modern art festival, Step art group, Ivano-Frankivsk, Ukraine (2017).

https://soundcloud.com/user-90013616/art-eng-006-kariuk?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-006-kariuk

The minimalist installation by Anton Karyuk is dedicated to the topic of safety of LGBTQ+ community members in the public space. After each pride, its participants, afraid of violent incidents, try to leave the city center by jumping into a subway car. In these situations, the presence or absence of a subway token in your pocket determines how quickly you'll be able to leave the dangerous place. The subway token in cast silver embodies the preciousness of personal safety and opposes the violence and hatred against the LGBTQ+ community. As an analogy to the gradually changing and modernizing system of payment in the Kyiv Metro System, the artist speaks about changes in the society, which must find new means of communication, alternative to the language of violence.

Anton Karyuk. Value. 2020

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Silver

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Silver

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Silver

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Silver

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Silver

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Iryna Kudrya

Lives and works in Kyiv where she was born in 1986. Uses such media as video and installation in her artistic practice. Graduated from the State Academy of Statistics, Accounting and Audit. Studied modern art at the Visual Communication School (the course of Kateryna Badyanova and Lada Nakonechna) in 2014-2015. Graduated from the School of Engaged Art, St Petersburg, Russia in 2017. Took part in the Collective of Specific Dates since its establishment in 2014 until its dissolution in 2017. Attended a series of performative practice workshops, Tanzlaboratorium Research Group, in 2014-2017. Took part in many exhibition and research projects, including "How to be cool", PinchukArtCentre (2019); "A distaff, a sabre and a deer", the Stanytsya Luganska local history museum, Ukraine (2018); "Work more! Rest more!", Minsk (2017).

https://soundcloud.com/user-90013616/art-eng-019-kudrya?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-019-kudrya

The author appears before the audience in two roles: as a host and as a guest of a TV show in a popular format, similar to Women's Stories, on an imaginary TV channel ART Planet Kyiv. Acting out the image of an actress, Kudrya speaks about the roles of a feminist and activist, an Orthodox Christian, a downshifting janitor, an office worker. The role of the host, Kira Terentyeva, also played by the artist, refers to the image of a sensitive interlocutor who is essential to the genre format. The video performance, which resembles a TV show in its format and aesthetics, becomes a chance for the author to live her unrealized dream and to be an accomplished actress. In Kudrya, the audience sees two protagonists whose voices speak ironically about the story of their own "success."

Iryna Kudrya. Women's stories with Kira Terentyeva. 2020

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Video

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Larion Lozovoy

Born in 1987, lives and works in Kyiv. An artist and independent researcher interested in the economic history of Central and Eastern Europe and in the ideology of creativity. Studied modern art at the Visual Communication School (Kyiv), the V-A-C Curatorial School (Moscow) and WHW Akademija (Zagreb). An author of critique and art reviews published in Korydor, Prostory and Krytyka Polityczna. Nominated for PinchukArtCentre Prize 2018 and Visible Award. His recent projects include "Sleeping off a Century of Hope", Viafarini, Milan, Italy (2019), "Open Studio/Open Nova", Studio Maljković, Zagreb (2019), "MIDTERM", Galerija Nova, Zagreb (2019), "Living Monuments", Neurotitan / HausSchwarzenberg, Berlin (2018).

https://soundcloud.com/user-90013616/art-eng-005-lozovyy?utm_source=clipboard&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fuser-90013616%252Fart-eng-005-lozovyy

The art practice of Larion Lozovoy primarily focuses on economic history, its connections with art and the dynamics of cultural and industrial modernization. The topic of his new work is the phenomenon of friendly societies — workers organizations that became widespread in Europe in the 18th century. The difficult labor conditions, typical of the early industrial period, encouraged workers to create a system of protection from professional risks, which factory owners refused to provide to them. When they turned into centers of freethinking and class conscience, the societies were quickly banned.
In his work, the artist tells the story of the semi-mythical Amalgamated Society of Free Co-Creators, which emerged at the dawn of the new economic order, when industrial power was rapidly fading away, giving the way to the knowledge economy. Factory rooms and workshops, emptied as a result of these changes, became centers for free creators and entrepreneurs. By telling the story of this Society, Larion Lozovoy emphasizes the "cultural renewal" of outdated systems where artists and organizers of creative processes become harbingers of future changes.

Larion Lozovoy. Amalgamated Society of Free Co-Creators. 2020

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Textile, acrylic, brass, casting, video 15’00”

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Textile, acrylic, brass, casting, video 15’00”