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ST()RE cycle:
ID: C3





Date:
Since 2010 

Introduction:
Research project. The discovery of the hidden historical layers. Work in the field of memory: public spaces, museums and historically rich places.

The project is being implemented in different cities, today it is: Bialystok, Bishkek, Gomel, Krakow, Minsk, St. Petersburg, Stockholm, Warsaw.






Total installation
ST()RE #6,
Bogdanovich Museum,
Minsk, Belarus,
2015




Stages the project
implementation:


2019:

ST()RE #11:
Blind Window

(Breakthrough)


W75.1

︎ technical info
Site-specific installation
For Forum Regionum, Dnipro Center for Contemporary Culture, Dnepr, Ukraine





The installation is located in the lobby of the building of the early 20th century, which for a long time was in an abandoned state. Now in this building repair and creation of the Dnepr Center of Contemporary Culture has begun. The main large window in the lobby is missing. Installation repeats the emptiness of its opening. The sculpture is pasted over with a rocaille film depicting marble (the sculpture is hollow inside), creating the effect of a heavy marble slab. This work also belongs to the cycle Social Marble.

On the reverse side, a detailed glossary is displayed on the installation surface, which tells about the many connotations and contains references to historical and current processes. This installation is about the reorganization (breakthrough) of the historical space into a new cultural institution and a warning about the dangers of creating fakes.
 

Site-specific installation
ST()RE #11: Blind Window,
Dnipro Center for
Contemporary Culture,

Dnepr, Ukraine,
2019



2019:

ST()RE #10:
Kadaverruhe

W74.1

︎ technical info
Site-specific installation
For festival Contexts 2019 / IX International Festival of Ephemeral ArtSokołowsko, Poland





The action of the book by Thomas Mann "Magic Mountain" takes place in a sanatorium for patients with tuberculosis. The writer introduces the romantic term Kadaverruhe (German: “corpse” plus “rest”), which can be translated as rest of corpses or rest on corpses. In sanatoriums to maintain importance for recovery, optimism was forbidden to discuss their illness, complain about health, and talk about death. These motels for many hopelessly sick were hospices. Just as no one suffered, did not see. Everyone who disappeared from the sanatorium was immediately consigned to oblivion.

The cycle of works ST()RE is devoted to the opening of an invisible history. Showcases are always used for this project (in this case, the window of the former sanatorium). On the glass are placed xero-wallpaper with the image of the X-ray of the lungs of a patient with tuberculosis. This is a deliberate reminder at the carefree festival of the many victims of the disease.
 

Site-specific installation
ST()RE #10: Kadaverruhe,
Brehmer's Sanatorium,
The Black Hall
,

Sokołowsko, Poland,
2019



2017:

ST()RE №9:
Sunset 24  (Sunny Stall)

W51.1

︎ technical info
Public-art installation
For group exhibition Market, part of The Kyiv International — Kyiv Bienniale 2017, Zhytniy Market, Kyiv, Ukraine






Public-art installation
ST()RE №9,
Zhytniy Market
,
Kyiv, Ukraine,
2017

The installation is a stall from the 90s in Belarus.




2017:

ST()RE #8:
Reconstruction of the Orangery
(Greenhouse of Glasnost)

W48.1

︎ technical info
Public-art site-specific installation
For festival Art Prosрect, Gareyev Botanical Garden, Bishkek, Kyrgyzstan





The Internet is filled with news about the reconstruction of the old Gareev Botanical Garden in Bishkek and the struggle for its territory; about the wild decisions of deputies and illegal logging in Kyrgyzstan, etc. But the main thing is this news about the birth and consolidation of environmentalists, urbanists, cultural workers and other members of the public. For Sergey Shabohin, this greenhouse installation is an image of the park and the situation around it. An image of how the wildness of nature must oppose the wildness of politics and economics. The image of the greenhouse, which still grows exotic ideas of citizenship, as they begin to strengthen and break out.

A greenhouse is a reduced copy of a orangery built in a botanical garden in the 1960s and located in an emergency. Posters depicting plants from a greenhouse are pasted on the inside, on which fragments of articles from the Internet are layered, telling a variety of dramatic stories around the park and the greenery of Bishkek: on illegal logging, on the crisis of the scientific center, on garbage, on initiatives and consolidation, on festivals and public involvement, etc. The installation is integrated into the Botanical Garden. The viewer, thinking that the posters contain information about plants, is confronted with the history of the emergence of civil society in Bishkek around the catastrophic situation with the ecology of the city.


Public-art installation
ST()RE #8:
Reconstruction of the Orangery
(Greenhouse of Glasnost)

Gareyev Botanical Garden,
Bishkek, Kyrgyzstan,  
2017
All posters: