New resource:
ID: N19.3
New website:
shabohin.com
Date:
August 1, 2019
Start of new detailed database on the artist's work of Sergey Shabohin. Here you can find information about the activities of the artist during the last 10 years.
Website structure:
Information About the artist: full CV, contacts, bibliography, selected articles and partner institutions.
Works are presented in the form of Cycles, with detailed technical information, as well as an Index.
Also on the site detailed information about Exhibitions with an Index. + News with Index.
The site has developed a detailed Index with the ability to sort materials by date, place, name and tag.
Works are presented in the form of Cycles, with detailed technical information, as well as an Index.
Also on the site detailed information about Exhibitions with an Index. + News with Index.
The site has developed a detailed Index with the ability to sort materials by date, place, name and tag.
Work cycles:
Practices of Subordination
Mobile author collection of objects of fear. Totality archive: the total author’s collection, photographs, documentation of actions, video, objects etc.
Mobile author collection of objects of fear. Totality archive: the total author’s collection, photographs, documentation of actions, video, objects etc.
ST()RE
Research project. The discovery of the hidden historical layers. Work in the field of memory: public spaces, museums and historically rich places.
Research project. The discovery of the hidden historical layers. Work in the field of memory: public spaces, museums and historically rich places.
Art Aktivism
A series of activist, institutional criticism and anti-aesthetic art works, actions and installations.
A series of activist, institutional criticism and anti-aesthetic art works, actions and installations.
We are Stern Consumers of Cultural Revolutions
Work is concerned with the heritage of the avant-garde. At the beginning of the 1920s the art school UNOVIS was located in the town of Vitebsk. Artist points out the fact that, during the Cold War, the ideas of the avant-garde were received in a far more positive and appreciative way in western culture. They are returning to Belarus today in the form of mass culture and design for the mass consumer.
Work is concerned with the heritage of the avant-garde. At the beginning of the 1920s the art school UNOVIS was located in the town of Vitebsk. Artist points out the fact that, during the Cold War, the ideas of the avant-garde were received in a far more positive and appreciative way in western culture. They are returning to Belarus today in the form of mass culture and design for the mass consumer.
Social Marble
The cycle is based on the practice of cleaning services in Minsk, which are not able to wash graffiti on marble and began to glue them with a film with a marble ornament. Works on historical fakes and layers, on Belarusian society and its myths.
The cycle is based on the practice of cleaning services in Minsk, which are not able to wash graffiti on marble and began to glue them with a film with a marble ornament. Works on historical fakes and layers, on Belarusian society and its myths.
Zones of Repression
Or Displacement Zones
On the example of how men leave telling each other in the men's toilets of Minsk at the joints between the tiles, the series of works tells about the situation of the LGBTQ + community in Belarus and the styrene conservative society as a whole.
Or Displacement Zones
On the example of how men leave telling each other in the men's toilets of Minsk at the joints between the tiles, the series of works tells about the situation of the LGBTQ + community in Belarus and the styrene conservative society as a whole.
Fear of Castration
The series of works aimed at criticizing the official Belarusian culture through paradoxical clash with gay sex subculture.
The series of works aimed at criticizing the official Belarusian culture through paradoxical clash with gay sex subculture.
Street Without End
The project is dedicated to Novopolotsk – a young city in Belarus, which began to be built in 1958 as a utopia.
The project is dedicated to Novopolotsk – a young city in Belarus, which began to be built in 1958 as a utopia.
Murals
Wall paintings are highlighted in a separate cycle of works.
Wall paintings are highlighted in a separate cycle of works.
ПУСТ*
ПУСТ* (PUST) is an interdisciplinary project exploring the processes of mythologization of a specific historical event – the Belavezha Accords of 1991. The project includes а light installation, dance, sound, multi-channel video, along with found and specially created objects.
ПУСТ* (PUST) is an interdisciplinary project exploring the processes of mythologization of a specific historical event – the Belavezha Accords of 1991. The project includes а light installation, dance, sound, multi-channel video, along with found and specially created objects.
Depending on the Pat
Or The Transparent Choice
A series of objects and actions on the theme of choice.
Or The Transparent Choice
A series of objects and actions on the theme of choice.
Every Day I Talk to the Dead & Alive Artists
Appropriation of works by other artists, reflection on the history of art and the art system. Criticism of the commercialization of art and consumerism.
Appropriation of works by other artists, reflection on the history of art and the art system. Criticism of the commercialization of art and consumerism.
Plans:
Soon the site will contain information about publications, collections, as well as the procedural journal of the artist.
Award:
ID: N19.1
Award: Rada
January 21, 2019
The exhibition 18 / Practices of Subordination by Sergey Shabohin received a prize in the nomination Best Art Project 2018
Prise:
Rada Award, Minsk, Belarus
Nomination:
Best Art Project 2018
Sergey Shabohin:
fragment of the exhibition
18 / Practices of Subordination,
Canteen XYZ, Minsk, Belarus,
2018
fragment of the exhibition
18 / Practices of Subordination,
Canteen XYZ, Minsk, Belarus,
2018
Curator:
Ana Loktionova
Residence:
ID: A18.1
Residence: Slavs & Tatars studio
Date:
November 20 – December 20, 2018
Place:
Slavs & Tatars studio, Berlin, Germany
Support:
Goethe Institut Minsk
Sergey Shabohin in
the Slavs & Tatars studio,
Berlin, 2018
the Slavs & Tatars studio,
Berlin, 2018
About residence:
We’re excited to announce a new residency for artists, curators researchers and scholars from Slavs and Tatars’ geographical remit, starting with Minsk, Belarus. A fully equipped studio apartment will be available for single residents for a period of 1-3 months. The courtyard apartment is contiguous to the Slavs and Tatars’ studio. Residents will split their time between their own practice and a mentorship program with Slavs and Tatars. The 2018–2019 program is generously supported by Goethe-Institut, Minsk and Goethe-Institut, Yerevan respectively.
The incident:
ID: N18.1
May, 2018
The exhibition Sergey Shabohin: 18 / Practices of Subordination was not open to the public due to the ban to hold public events in the space Canteen XYZ. This is an act of censorship directed against the institution in connection with its activities in organizing the queer festival Dotyk in Belarus. Thus, the Belarusian authorities prohibit public LGBTK events and punish the organizers.
Installation of the exhibition lasted 11.04 – 31.05.2018.
Installation of the exhibition lasted 11.04 – 31.05.2018.
Sergey Shabohin:
fragment of the exhibition
18 / Practices of Subordination,
Canteen XYZ, Minsk, Belarus,
2018
fragment of the exhibition
18 / Practices of Subordination,
Canteen XYZ, Minsk, Belarus,
2018
Chronicle:
April 6 — monitoring commission by the district administration visits the gallery;
April 6 – the gallery is banned to host public events, the access to the gallery is forbidden;
April 8 – reciprocal measures and waiting for the permission to open Canteen XYZ gallery;
On May 17, the British embassy hanged a flag in support of the LGBT community of Belarus;
On May 19, the Interior Ministry publicly criticized this action and the LGBT community;
May 21, it became known that previous events directly affected the district administration, who insisted on closing the space.
A month later, the space was forever closed
The exhibition was never open to the public. The exhibition was able to visit only some of the friends and colleagues of the artist on special invitations. Private tours were conducted illegally: June 1 — July 1, 2018.
April 6 – the gallery is banned to host public events, the access to the gallery is forbidden;
April 8 – reciprocal measures and waiting for the permission to open Canteen XYZ gallery;
On May 17, the British embassy hanged a flag in support of the LGBT community of Belarus;
On May 19, the Interior Ministry publicly criticized this action and the LGBT community;
May 21, it became known that previous events directly affected the district administration, who insisted on closing the space.
A month later, the space was forever closed
The exhibition was never open to the public. The exhibition was able to visit only some of the friends and colleagues of the artist on special invitations. Private tours were conducted illegally: June 1 — July 1, 2018.
Research and plein air:
ID: A17.1
Research plein air:
PUST*
in
Belavezha Forest
Date:
July 5 – 18, 2017
The plein air conference is devoted to the research of the Belovezhsky Agreement of 1991.
Places:
Minsk and Belavezha Forest, Belarus
PUST* team:
Yuri Akbalkan, Daria Plokhova, Alexandra Portyannikova, Sergey Shabohin, Snezhana Vinogradova
Camera:
Alexey Kubasov
Support:
Goethe-Institut St. Petersburg
Working materials
The project ПУСТ* (PUST*) refers to events that took place on December 7-8, 1991, during which the presidents of Russia, Ukraine and Belarus signed the Belavezha Accords, officially dissolving the Soviet Union and the Commonwealth of Independent States.
The authors of the ПУСТ* project are representative of a generation that witnessed the disintegration of the Soviet Union and thereby helped shape the historical trauma of the era.
The authors of the ПУСТ* project are representative of a generation that witnessed the disintegration of the Soviet Union and thereby helped shape the historical trauma of the era.
Belavezha Accords,
1991
1991
*
ПУСТ (PUST) – the title of the project refers to the Old-Slavic etymology of the word пуща (Puschtscha), which means a “primeval forest”. The word was formed from the short form of the adjective пуст (empty). Several words from the same root can be found in Slavic languages: пустота (emptiness), пустыня (desert), пусть (let it be).