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Tour group exhibition:
ID: E22.2


Title:

When the Sun Is Low – the Shadows Are Long



Tour:
2022

April 1 – May 13, 2022:
Arsenal Gallery, Bialystok, Poland

June 10 – September 25, 2022:
GfZK – Museum of Contemporary Art Leipzig, Leipzig, Germany

Curator:
Anna Karpenko

Artists:
Alexander Adamov, Irina Anufrieva, Bazinato, Evelina Domnitch / Dmitry Gelfand, Jazep Drazdovič, Zhanna Gladko, Jan Helda , Siarhei Hudzilin, Zahar Kudin, Siarhiej Leskiec, Masha Maroz, Aliona Pazdniakova, Anton Sarokin, Ala Savashevich, Olga Sazykina, Sergey Shabohin, Jura Shust, Anna Sokolova, Władysław Strzemiński, Masha Svyatogor
Works:
Pictorially collage series Tectonic Plates, 2022;
video Mandrake Gardens, 2020





Sergey Shabohin:
pictorially collage series Tectonic Plates, 2022


Explication:
Belarussian philosopher Ihar Babkou dubbed Belarus the "Kingdom of Ruins" in reference to a history of abandonment and orphanhood, coupled with an extraordinary wealth of this place that the media often calls the "terra incognita". "Ruins" delineate the boundaries of every civilisation's repatriation to "Nature". Shadows of the past become the harbinger of our attempts to interpret, visualise, and embrace a trace of times haunted by absence and persecution. The longer the shadows, the less our chance of discovering the truth about the objects that cast them.

The exhibition When The Sun Is Low – The Shadows Are Long offers a view of a historical and contemporary context of Belarussian art, revealing intricate interconnections between the deep archaic nature of human beings in social, political and cultural dimensions, and a timorous desire to break the vicious cycle of repressive regimes and their systems.

Anna Karpenko

Poster

Organizers:
Project by:
Arsenal Gallery in Białystok GfZK – Museum of Contemporary Art Leipzig
Goethe-Institut Warsaw

Supported by:
The Foundation for Polish-German Cooperation
Martin Roth Initiative




   
Solo interdisciplinary show (in duet):
ID: E22.5


Title:

ECLAT Festival

Konzert 13:

Practises of Subordination




Date:
February 5, 2022

Place:
Theaterhaus Stuttgart, Stuttgart, Germany

Curator:
Lena Prents

Artists:
Sergey Shabohin and Christoph Ogiermann
Work:
Sergey Shabohin & Christoph Ogiermann: Practices of Subordination cycle: Score (parts: 1, 2, 5, 9, 17, 18)



Sergey Shabohin & Christoph Ogiermann:
Practices of Subordination cycle: Score
,
2021 


Explication [in Germany]:
14:30-15:20 Uhr

PRACTISES OF SUBORDINATION


mit Lena Prents, Kunsthistorikerin, und Christoph Ogiermann, Komponist/Performer

In seinem persönlichen Projekt »Practices of Subordination« analysiert Sergey Shabohin methodisch und akribisch die Mechanismen der Macht. Seit 2010 sammelt der Künstler im öffentlichen Raum und im privaten Umfeld Geschichten und triviale Objekte über alltägliche Ereignisse in Belarus, die von der bewussten, gewaltsamen Einmischung des Staates in das Leben seiner Bürger zeugen. Aus diesem »totalitären Archiv« von Textdokumenten, Bildern, Fotos und Objekten formulierte er in 18 künstlerischen Tafeln eine ergreifende Erzählung über die staatlichen Strukturen, die die Bürger im modernen Belarus unter Druck setzen.
Für das Projekt ECHOES – Voices from Belarus I (ECLAT 2021) entstand ein eineinhalbstündiger Film, für den Shabohin die 18 Tafeln zu einem kontinuierlichen Narrativ zusammenführt und in dem Christoph Ogiermann in seiner Komposition die ganze Wucht, die in den visuellen Botschaften steckt, unmittelbar physisch erfahrbar macht. Ausschnitte dieser eindrucksvollen »Sammlung der verschiedenen Pathologien eines autoritären Systems« sind nun bei ECLAT 2022 live zu erleben. Dank der kenntnisreichen Interpretation der Kunsthistorikerin Lena Prents, die seit vielen Jahren die künstlerische Arbeit Sergey Shabohins begleitet, lernen wir dabei, die unzähligen Zitate und Symbole eines Lebens im Totalitarismus-System zu entschlüsseln.

Organizer:
ECLAT Festival / Musik der Jahrhunderte

Link:



   
Group exhibition:
ID: E22.3


Title:

When Red and White ain’t so Black and White




Date:
February 5 — March 19, 2022

Place:
Sentiment, Zurich, Switzerland

Curator:
Slavs and Tatars’ Pickle Bar

Artists:
Andrey Anro, Uladzimir Hramovich, Vasilisa Palianina, Ala Savashevich, Olia Sosnovskaya, Sergey Shabohin 
Work:
video Mandrake Gardens, 2020





© photo: Philipp Rupp / Julien Gremaud


Explication:
Pickle Bar sees in fermentation an analogy for the social transformation of the stagnate, the spoiled, or rotten political substance into a bracing regime to share the surplus fruits of souring. For the exhibition When Red and White ain’t so Black and White at Sentiment Slavs and Tatars’ Pickle Bar invites six former Belarusian participants of the studio’s mentorship program (2018–2019) to articulate an argument around these notions. Each of the invited artists investigates their epoch amidst the cult of personality, the tyranny of individualism and its repression on collective bodies. A white and red stork offers us a more generative take on the white and red flag of Belarus, asking us to reconsider new symbols far from a reductive nationalist attitude, be they related to exhaustion, hospitality, club or queer culture.
Poster

Link:
link



   
Group exhibition:
ID: E21.14


Title:

Reading the City




Date:
December 2021

Place:
online exhibition, Lublin, Poland

Curator:
Paweł Korbus

Artist/s:
Yuriy Biley, Grzegorz Bożek, Ludomir Franczak, Magdalena Franczak, Yaroslav Futymskyi, Emrah Gökdemir, Lila Kalinowska, Anastasiia Kashtalian, Simona Kasprowicz, Paulina Kempisty, Paweł Korbus, Magdalena Łuczyn, Jerzy Norkowski, Jadwiga Sawicka, Sergey Shabohin, Łukasz Szewczyk, Maria Wrońska, Ewa Zarzycka
Work:
private history





Sergey Shabohin:
private history,
2016

Paweł Korbus: video
2021 


Explication [in Polnish]:
Wirtualne miejsce refleksji nad miastem. Platforma indywidualnych oglądów, zapisów wizualnych poszczególnych warstw pamięci, rozpracowywania prywatnych i zbiorowych mitologii. Tworzą ją osoby związane z Lublinem na różny sposób – niektórych przywiodła  praca, miłość, legenda rodzinna, inni mieszkają tu prawie całe życie. Są w tej grupie ludzie sztuki, pasjonaci miasta, teoretycy, filozofowie codzienności, flaneurzy i flaneurki. Każda z osób tworzy punkt lub szlak na mapie według własnego klucza. Specyficzna wielowarstwowa mapa Lublina budowana jest z odczuć, wyobrażeń, wspomnień, fizycznej obecności i tęsknoty. Tworzą ją delikatne materie, urywane narracje, poetyckie znaki, forma oscyluje pomiędzy dokumentacją a abstrakcją. Czytanie Miasta ukazuje różne wizje miasta, konfrontuje wyobrażenia z istniejącymi przestrzeniami ukazując Lublin jako nieoczywisty fenomen. Umożliwia podróżowanie w czasach zarazy, kiedy każdy z nas staje się Odysem, mającym swoją Itakę we własnym wnętrzu.





   
Group exhibition:
ID: E21.6


Title:

Unlearning


ODKSZTAŁCENIE / ДЭФАРМАЦЫЯ / UNLEARNING





Date:
October 7 — November 3, 2021

Place:
Domie, Poznan, Poland

Curators:
Aleksei Borisionok, Raman Tratsiuk, Vera Zalutskaya
Coordination:
Pavel Preobrazhensky, Sergey Shabohin

Artists:
Anna Baumgart, Patrycja Cichosz, Lia Dostlieva & Andrii Dostliev, Vika Grebennikova, Uladzimir Hramovich, Kafe-Morozhenoe media activist collective, Annette Krauss, Marina Naprushkina, Agnieszka Polska, Ala Savashevich, Sergey Shabohin, Olia Sosnovskaya, Masha Svyatogor, Raman Tratsiuk, Honza Zamojski
Works:
9 works from collages series
We are Stern Consumers of Cultural Revolutions: Patches (Social Marble)





Sergey Shabohin:
collages series
We are Stern Consumers
of Cultural Revolutions:
Patches (Social Marble),

2020


Explication:
The uprisings in Belarus, Black protests in Poland remind us that there are intuitions, affects, intimacy that exist outside the field of knowledge. To know is also to capture, designate, hierarchize, order. Radical non-knowledge, unlearning, eluding the imposed form oppose discipline, control and order. The process of weaning and diversion can be painful, but it can also be fierce joy, willfulness, and cheerful obstinacy. Sarah Ahmed speaks of willfulness as a feminist practice of killjoy – interrupting sexist conversation, avoiding a shared model of happiness, refusing to live the way we are forced to. Figures of radical non-knowledge – such as Dunno, Molla Nasredin, the ignorant teacher Joseph Jacotot, or the feminist killjoy, question the structure of a world that does not suit them – and come up with possibilities for its transformation. Likewise, the artists whose works are part of the exhibition invent new forms of (un)learning, refusal and resistance. They question temporality and ideas based on a linear understanding of time – the lessons of history, denial of the past, fetishism of the future, and offer other models of affectation, participation and living.

Organizers:
Rönne Stiftung (Berlin), The Research Platform of the Belаrusian Contemporary Art KALEKTAR.org (Minsk/Poznań), Supported by German Federal Foreign Office, Civil Society Cooperation
Partners:
Domie (social, artistic, architectural and economic experiment of collective care), Stowarzyszenie Komplet, Galeria Miejska Arsenał, Arsenal Gallery in Białystok

Link: