- Art fairs, festivals, salons
- The Kyiv Art Fair
- The International ART Festival
- Art salons
- War
- Alypius
- Re-organisation
- Independence
- The Legacy
- Fedir Tetyanych: Personal exhibition and performance
- Natprom
- Petro Bevza, Olexiy Lytvynenko
- Exhibition of artwork by Johann Georg Pinzel
- The Orange Revolution
- The Revolution of Dignity
- The International Art Fair and Exhibition Art-Kyiv
- Flash. Ukrainian photography today
- Site-specific performance "The Road To..."
- Maria Prymachenko. The salvaged legacy
- Valentyn Rayevsky God's Sanctuary, Section І
- Together.UA
- Windows
- The Art Preserve group
- The cultural revolution's domain
- PROJECTS.Contemporary Ukrainian art
- Media Junkie
- The Anniversary of True Care
- Ukrainian House - 30
The Anniversary of True Care
The Ukrainian House presents exhibition The Anniversary of True Care to mark 30 years since the Centre's founding.
For three decades the modernist-style building located at 2 Krhreschatyk street has been known as the Ukrainian House. It was built in 1982 and intended as the Lenin Museum. For a long time, the building was a symbol of Ukraine's controversial and difficult communist past.
The Centre's history has been fraught with challenges - it was at the epicentre of the two recent revolutions, it had booms and busts. The Centre has long served as a venue for international and state events, it welcomed presidents and international high-profile delegations, it hosted spectacular large-scale artistic ventures. The building opened its doors for dignitaries, politicians, and artists and at the times of social upheaval it became a safehouse and headquarters for Ukrainian protesters. The Ukrainian house also had it's busts when bad managerial decision-making and lack of financing failed to give its due to this magnificent building at the very heart of Kyiv. But the Centre has always bounced back – the building's versatility, its size, and architecture have made it the country's leading artistic hub and a trend setter in Ukraine's cultural life. The Centre hosted many exhibitions, international art festivals, art salons, presentations, and site-specific performances. Today the Ukrainian House is scaling up its activities by systematically implementing a multidisciplinary programme which includes a range of activities in the visual arts, cinema, music, public dialogue, cultural awareness projects, and events for the Ukrainian youth.
Ukraine's most recent historic journey can be traced through the Centre's progress, which makes the history of the Ukrainian House especially significant.
The Anniversary of True Care exhibition takes a journey through Ukraine's history since the proclamation of independence and views it through the prism of signature events hosted by the Ukrainian House. The exhibition presents big names in art, features Ukrainian classical and contemporary artists as part of selected projects, photos, films, and printed materials.
We are excited to reminisce about the past and talk about the friendship which continued for thirty years.
Director: Olha Vieru
Curators: Alisa Hryshanova, Valery Sakharuk, and Olexander Solovyov
Curator and event facilitator: Olexiy Ananov
Designer: Svitlana Koshkina
Videographer: Halyna Kliuchkovska
Head of the installation team: Ihor Klymenko
The project's exhibition features artwork by the following Ukrainian artists: Olexander Babak, Petro Bevza&Olexiy Lytvynenko, Volodymyr Budnikov, Ihor Hayday, Marko Heyko, Mykola Hluschenko, Olexadner Hnylitsky, Oleh Holosiy, Petro Honchar, Serhiy Hryhoriyev, Taras Hrynchyshyn, Nina Denysova, Maksym Dondiuk, Olha Drozd, Vasyl Chehodar, Olexander Dubovyk, Olexander Zhyvotkov, Viktor Zaretsky, Fedir Zakharov, Illya Isupov, Dmytro Kavsan, Hlib Katchuk&Olha Kashymbekova, Pavlo Kerestey, Halyna Kliuchkovska, Evhen Kolesnyk, Volodymyr Kostetsky, Mykola Kryvenko, Anatoliy Kryvolap, Olexander Levych, Yakym Levych, Olexander Lopukhov, Pavlo Makov, Mykola Malyshko, Evhen Maloletka, Maksym Mamsikov, Olexander Matviyenko, Mykola Matsenko, Volodymyr Melnichuk, Ksenia Oxin, Mykhailo Palinchak, Serhiy Panych, Bohdan Poshyvailo, Kyrylo Protsenko, Vlada Ralko, Kostyantyn Reunov, Olexander Roytburd, Roman Romanyshyn, Arsen Savadov, Olexiy Say, Yuri Syvyryn, Viktor Sydorenko, Olexander Synytsya, Yuliy Sinkevych, Tyberiy Silvashi, Olexander Sukholit, Fedir Tetyanych, Oleh Tistol, Mykola Trokh, Olexiy Furman, Lesya Khomenko, Vasyl Tsaholov, Volodymyr Tsupko, Mstyslav Chernov, Serhiy Shyshko, Olexiy Shovkunenko, Vitaly Shostya, and Tetyana Yablonska.
We are grateful to our partners for their support and loaned artwork by the Revolution of Dignity Museum, UNIAN press agency, Ukrainian artists, and private collectors.
Fragment of a poster created by Vitaly Shostya
Independence
Ukraine officially achieved independence on August 24, 1991. Now we know that the real test was still come but at the time the nation looked to the future with hope and lived in the moment. The exhibition's introductory section displays just a single exhibit. It's a poster created by Vitaly Shostya in the fateful year of 1991. The colours of the Ukrainian flag break through the darkness of the previous decades. The traditional colour blue is for the sky, but the colour yellow is for the sun and not for the traditional rolling fields of wheat. On February 24, 2022 Shostya's poster art has gained a new meaning. The colour black now stands for the brutal enemy forces coming back to conquer Ukraine. It will take superhuman strength and self-sacrifice to win this fight and survive as a nation. Only then Ukraine will achieve the goal it set 32 years ago it will become a truly independent state.
Ukraine officially achieved independence on August 24, 1991. Now we know that the real test was still come but at the time the nation looked to the future with hope and lived in the moment. The exhibition's introductory section displays just a single exhibit. It's a poster created by Vitaly Shostya in the fateful year of 1991. The colours of the Ukrainian flag break through the darkness of the previous decades. The traditional colour blue is for the sky, but the colour yellow is for the sun and not for the traditional rolling fields of wheat. On February 24, 2022 Shostya's poster art has gained a new meaning. The colour black now stands for the brutal enemy forces coming back to conquer Ukraine. It will take superhuman strength and self-sacrifice to win this fight and survive as a nation. Only then Ukraine will achieve the goal it set 32 years ago it will become a truly independent state.
Re-organisation
During its thirty years of history the Ukrainian House has gone through a number of official re-organisation schemes which sought to define its main axis of development. Each new management team tried to focus exclusively on such fields of activities, like public awareness campaigning, arts, or promoted the Centre as a business hub. But the Centre always reversed back to its original purpose which was to serve as a cultural and artistic space. Initially, it was in the interest of the artistic community, but in time it became the Centre's official policy. It was a difficult journey with success stories and unintentional failures. And again, the Centre was sucked into a whirlpool of dramatic events in the country's history. Twice its imposing building on the European square located at the very heart of Kyiv was thrown into the epicentre of revolutionary activity. In 2004 it became the headquarters of Ukrainian revolutionaries and in 2014 it was the site of clashes between the protesters and the Berkut military police. And in time, as the protests gained the upper hand, the Ukraine House became the protester's cultural hub.
Now, with the first dramatic months of the Russia-Ukraine war behind the Centre is actively engaged in the cultural life of the country and plays a significant role on the capital's art scene.
During its thirty years of history the Ukrainian House has gone through a number of official re-organisation schemes which sought to define its main axis of development. Each new management team tried to focus exclusively on such fields of activities, like public awareness campaigning, arts, or promoted the Centre as a business hub. But the Centre always reversed back to its original purpose which was to serve as a cultural and artistic space. Initially, it was in the interest of the artistic community, but in time it became the Centre's official policy. It was a difficult journey with success stories and unintentional failures. And again, the Centre was sucked into a whirlpool of dramatic events in the country's history. Twice its imposing building on the European square located at the very heart of Kyiv was thrown into the epicentre of revolutionary activity. In 2004 it became the headquarters of Ukrainian revolutionaries and in 2014 it was the site of clashes between the protesters and the Berkut military police. And in time, as the protests gained the upper hand, the Ukraine House became the protester's cultural hub.
Now, with the first dramatic months of the Russia-Ukraine war behind the Centre is actively engaged in the cultural life of the country and plays a significant role on the capital's art scene.
Fedir Tetyanych, "Biotechnosphere", 1990
Fedir Tetyanych: Personal exhibition and performance
On November 18, 1990 the Lenin Museum ceased its operations. The halls stood abandoned and the staff feverishly brainstormed ideas about the new exhibition displays. Fedir Tetyanych, a prominent Kyiv painter and performance artist quickly took advantage of the situation and suggested to organise his personal exhibition. And now everyone involved was totally shocked by what they were about to see in the imposing halls of a once official building. Tetyanych, a respectful member of the Artists' Union of Ukraine and the key person behind the exhibition, enters the building in character of the Thrypulya Cossack. It's a cosplay on the Eternal Cossack, a gentle ruffian dressed in rags which grew into the artist's persona. The third floor of the Ukrainian House was transformed into one single installation which to an untrained eye, had little in common with a regular museum exhibition.
Tetyanych's magic performance exorcised the spirit of Communism from the Ukrainian House. The performance was videotaped and today we can see one of the leading Ukrainian art performers in action. But more importantly, we can pay witness to one of largest social transformations of the time and birth of a new social order. In time, Tetyanych's performance became legendary and continued to live on for years.
On November 18, 1990 the Lenin Museum ceased its operations. The halls stood abandoned and the staff feverishly brainstormed ideas about the new exhibition displays. Fedir Tetyanych, a prominent Kyiv painter and performance artist quickly took advantage of the situation and suggested to organise his personal exhibition. And now everyone involved was totally shocked by what they were about to see in the imposing halls of a once official building. Tetyanych, a respectful member of the Artists' Union of Ukraine and the key person behind the exhibition, enters the building in character of the Thrypulya Cossack. It's a cosplay on the Eternal Cossack, a gentle ruffian dressed in rags which grew into the artist's persona. The third floor of the Ukrainian House was transformed into one single installation which to an untrained eye, had little in common with a regular museum exhibition.
Tetyanych's magic performance exorcised the spirit of Communism from the Ukrainian House. The performance was videotaped and today we can see one of the leading Ukrainian art performers in action. But more importantly, we can pay witness to one of largest social transformations of the time and birth of a new social order. In time, Tetyanych's performance became legendary and continued to live on for years.
"Natprom" (Oleh Tistol, Mykola Matsenko)
The origins and development of Ukrainian money
1995
Oleh Tistol began working on the exhibition dedicated to the origins and development of Ukrainian money back in 1990. The exhibition culminated in an installation developed in partnership with Mykola Matsenko in the framework of the Kyiv Art Connection project. The installation was displayed on the main wall of the venue's central hall. The wall was completely covered by a huge banknote where all of the composition elements were turned from 2D into 3D. Ukrainian money is a whimsical take on the future national currency which was launched within a year. The project grew out of the Ukrainian House architecture and once again historically merged into the building's fabric. The metal tondo in the middle has a representation of the Italian condottiero of the Renaissance Erasmo da Narni, known as "Gattamelata". The future artists at almost every art school and studio perfected their skills by copying his equestrian alabaster statue. This way the Ukrainian artist symbolically links his personal life experiences with the nation's history and merges them into one.
The origins and development of Ukrainian money
1995
Oleh Tistol began working on the exhibition dedicated to the origins and development of Ukrainian money back in 1990. The exhibition culminated in an installation developed in partnership with Mykola Matsenko in the framework of the Kyiv Art Connection project. The installation was displayed on the main wall of the venue's central hall. The wall was completely covered by a huge banknote where all of the composition elements were turned from 2D into 3D. Ukrainian money is a whimsical take on the future national currency which was launched within a year. The project grew out of the Ukrainian House architecture and once again historically merged into the building's fabric. The metal tondo in the middle has a representation of the Italian condottiero of the Renaissance Erasmo da Narni, known as "Gattamelata". The future artists at almost every art school and studio perfected their skills by copying his equestrian alabaster statue. This way the Ukrainian artist symbolically links his personal life experiences with the nation's history and merges them into one.
Petro Bevza, Olexiy Lytvynenko
The Legacy, 1999
In 1999 Petro Bevza and Olexiy Lyvynenko presented to the publics their Legacy installation in the framework of the Fourth International ART Festival. The artists sought to discover the new visual language, which would ultimately define Ukrainian art within the international contemporary artistic tradition. The project defined the Ukrainian national identity based on the review of the Ukrainian artistic legacy and the country's cultural heritage.
The Legacy, 1999
In 1999 Petro Bevza and Olexiy Lyvynenko presented to the publics their Legacy installation in the framework of the Fourth International ART Festival. The artists sought to discover the new visual language, which would ultimately define Ukrainian art within the international contemporary artistic tradition. The project defined the Ukrainian national identity based on the review of the Ukrainian artistic legacy and the country's cultural heritage.
Valentyn Rayevsky
God's Sanctuary, Section І
In December 1993 Rayevsky's installation God's Sanctuary was open to the public at the central hall of the Ukrainian House. The artist himself describes the project in the following terms: "Time does not exist. Reality is just a thin veneer on which memories intertwine to create a rich tapestry. What if there are no barriers between us and we flow into each other - eternally, majestically…"
God's Sanctuary, Section І
In December 1993 Rayevsky's installation God's Sanctuary was open to the public at the central hall of the Ukrainian House. The artist himself describes the project in the following terms: "Time does not exist. Reality is just a thin veneer on which memories intertwine to create a rich tapestry. What if there are no barriers between us and we flow into each other - eternally, majestically…"
Exhibition of artwork by Johann Georg Pinzel
Sculptures by Johann Georg Pinzel, a Baroque artist active in Eastern Halicia were first exhibited to the Kyiv art lovers at the Ukrainian House. In 1994 Svitlana Ivanenkova, the Centre's director was able to convince Borys Voznytsky, the director of the L'viv Picture Gallery and a great champion of Pinzel's legacy to move the exhibition to Ukraine's capital. The ecstatic saints in their golden robes looked especially majestic on the dark backdrop of the central hall located on the third floor of the Ukrainian House. The Centre's then director Natalia Zabolotna was behind the second Kyiv exhibition of the artist's work. Pinzel's work was shown to the public in the framework of the Grand Sculpture Salon (2008). The expressive sculptures of saints welcomed the art-goers right at the central hall.
Sculptures by Johann Georg Pinzel, a Baroque artist active in Eastern Halicia were first exhibited to the Kyiv art lovers at the Ukrainian House. In 1994 Svitlana Ivanenkova, the Centre's director was able to convince Borys Voznytsky, the director of the L'viv Picture Gallery and a great champion of Pinzel's legacy to move the exhibition to Ukraine's capital. The ecstatic saints in their golden robes looked especially majestic on the dark backdrop of the central hall located on the third floor of the Ukrainian House. The Centre's then director Natalia Zabolotna was behind the second Kyiv exhibition of the artist's work. Pinzel's work was shown to the public in the framework of the Grand Sculpture Salon (2008). The expressive sculptures of saints welcomed the art-goers right at the central hall.
Fragment of the installation
The Legacy
The Centre's history is closely intertwined with the country's cultural heritage. As a young nation Ukraine had a great challenge ahead of itself, the country had deal with the ideological impact of its Communist past. Its effect is often unpredictable and irrational just like the content of a large metal box kept at one of the underground vaults of the Ukrainian House. The box is filled with mass-produced figurines of Vladimir Lenin. The bronze figurines take on a number of varied expressive postures as if they are posing on camera, each has a tag around its neck just like a convicted criminal. Today, the figurines are more suited as part of a conceptual art project. But it took many years to rid oneself of these now quirky but in reality, sinister remnants of the past. And today these symbols serve as a warning and a reminder of the past mistakes.
The Centre's history is closely intertwined with the country's cultural heritage. As a young nation Ukraine had a great challenge ahead of itself, the country had deal with the ideological impact of its Communist past. Its effect is often unpredictable and irrational just like the content of a large metal box kept at one of the underground vaults of the Ukrainian House. The box is filled with mass-produced figurines of Vladimir Lenin. The bronze figurines take on a number of varied expressive postures as if they are posing on camera, each has a tag around its neck just like a convicted criminal. Today, the figurines are more suited as part of a conceptual art project. But it took many years to rid oneself of these now quirky but in reality, sinister remnants of the past. And today these symbols serve as a warning and a reminder of the past mistakes.
Запрошення на відкриття виставки Сергія Панича в галереї «Аліпій», Український Дім, 1995
Alypius
The Alypius gallery is one of the first national state galleries which have shaped the art culture in Ukraine. It developed independently from other major players in the field like the Artists' Union of Ukraine and leading national museums. The gallery was created in 1993 as part of the State Cultural and Educational Centre Ukrainian House. In 1993-1996 the gallery hosted a series of large-scale events and personal exhibitions. Some of the most significant initiatives include Art Impressions (with a total of 38 participants), Pastures by Olexander Babak and Olexander Sukholit, and St Helena Island by Serhiy Panych. Currently the gallery's art collection is stored at the Ukrainian House National Centre.
The gallery was launched by Ihor Verba, the Ukrainian Presidential Advisor; Valery Sakharuk is the gallery's curator and manager.
The Alypius gallery is one of the first national state galleries which have shaped the art culture in Ukraine. It developed independently from other major players in the field like the Artists' Union of Ukraine and leading national museums. The gallery was created in 1993 as part of the State Cultural and Educational Centre Ukrainian House. In 1993-1996 the gallery hosted a series of large-scale events and personal exhibitions. Some of the most significant initiatives include Art Impressions (with a total of 38 participants), Pastures by Olexander Babak and Olexander Sukholit, and St Helena Island by Serhiy Panych. Currently the gallery's art collection is stored at the Ukrainian House National Centre.
The gallery was launched by Ihor Verba, the Ukrainian Presidential Advisor; Valery Sakharuk is the gallery's curator and manager.
Art Impressions
The Art Impressions exhibition was open to the public on February 18, 1994. The exhibition catalogue describes the event in the following terms: "It's an ultimate cross section of Ukrainian art of the past several years which paints a complete picture of the rich national art culture and abundance of artistic styles as represented by the nation's biggest names. The artists display high artistic merit and are easily identified with a respective art movement." The participants include such varied artists as Viktor Ryzhykh, Lubomyr Medvid, and Ivan Marchuk, some of the most quintessential Ukrainian artists and representatives of therealistic art movement; Volodymyr Tsupko, Tyberiy Silvashi, and Olexander Zhyvotkov (painting and plastic art); conceptual artists like Oleh Tistol, Anatol' Stepanenko, and Olexander Kharchenko; postmodern artists like Oleh Holosiy, Olexander Hnylitsky, and Yuri Solomko. By bringing these artists together the exhibition created a comprehensive and complete picture of Ukrainian art in the early 1990's.
The Art Impressions exhibition was open to the public on February 18, 1994. The exhibition catalogue describes the event in the following terms: "It's an ultimate cross section of Ukrainian art of the past several years which paints a complete picture of the rich national art culture and abundance of artistic styles as represented by the nation's biggest names. The artists display high artistic merit and are easily identified with a respective art movement." The participants include such varied artists as Viktor Ryzhykh, Lubomyr Medvid, and Ivan Marchuk, some of the most quintessential Ukrainian artists and representatives of therealistic art movement; Volodymyr Tsupko, Tyberiy Silvashi, and Olexander Zhyvotkov (painting and plastic art); conceptual artists like Oleh Tistol, Anatol' Stepanenko, and Olexander Kharchenko; postmodern artists like Oleh Holosiy, Olexander Hnylitsky, and Yuri Solomko. By bringing these artists together the exhibition created a comprehensive and complete picture of Ukrainian art in the early 1990's.
Експозиція «Мистецьких імпресій», 1994
The Kyiv Art Connection
The Kyiv Art Connection exhibition was designed as an important step in launching the Alypius gallery and Ukrainian art onto the international art scene. However, there was a breakdown in communication between the gallery and international artists: the Ukraine art community and the Ukrainian House management team believed that their suggestions are too radical. A number of breakdowns in communication followed and the project which was in the process of development for many months was cancelled. Eighteen years after the event art critic Kateryna Botanova recalls: "It was a brazen intrusion onto the artistic process and the subject has re-surfaced again in the past several years, when such brazen intrusions are now becoming the new normal." The Kyiv Art Connection project was a failed cause but it left behind a catalogue of artwork, a painful reminder of plans which never came to fruition.
The Kyiv Art Connection exhibition was designed as an important step in launching the Alypius gallery and Ukrainian art onto the international art scene. However, there was a breakdown in communication between the gallery and international artists: the Ukraine art community and the Ukrainian House management team believed that their suggestions are too radical. A number of breakdowns in communication followed and the project which was in the process of development for many months was cancelled. Eighteen years after the event art critic Kateryna Botanova recalls: "It was a brazen intrusion onto the artistic process and the subject has re-surfaced again in the past several years, when such brazen intrusions are now becoming the new normal." The Kyiv Art Connection project was a failed cause but it left behind a catalogue of artwork, a painful reminder of plans which never came to fruition.
Василь Цаголов. Вимушене насилля (Кримінальний тиждень) 1994. Фотофільмоповість, слайд-фільм. Серія з 30 кольорових і чорно-білих фотографій
Art fairs, festivals, salons
In 1994 the Ukrainian House quickly became a significant part of the Kyiv art scene. The venue boasts unique exhibition abilities and state-of-the art lighting systems. The Centre's flexible and accommodating policies have made it popular with the artists who before weren't able to exhibit their work at the Lenin Museum, the Centre's former name during the Communist rule. Soon, from 1994 such ground-breaking artists like Olexander Sukholit, Roman Romanyshyn, and Volodymyr Tsupko held their personal exhibitions there. The same year the Ukrainian House also exhibited an installation called God's Sanctuary for a god by Valentyn Rayevsky and organised the first art fair.
Today, the Ukrainian House regularly supports artistic projects specially suited to its unique exhibition space. The Centre hosted such large-scale events like the Kyiv Art Fair (1994–1995), International ART Festival (1996–2000), Art Salons (2005–2010), and Art-Kyiv Festival (2008–2010).
The Ukrainian House injected a new energy to the Kyiv art scene. The artistic project supported by the Ukrainian House have drawn thousands of spectators and popularised contemporary Ukrainian art, together with the more traditional Ukrainian heritage and European artists.
The Kyiv Art Fair
In 1994–1995 the Ukrainian House hosted the first and second Kyiv art fairs which turned out to be a total success with the art lovers. Leonid Kravchuk, the first President of Ukraine paid a visit to the first art fair, which significantly raised the status of the event among the Ukrainian public and drew more attention to the novel approaches to exhibiting art and the country's art life in general. The fair was initially inspired by a group of private galleries, namely Artinform, Honchari, and Tryptic. It was supported by such powerful institutions like the Ministry of Culture of Ukraine, Chief Department of Culture under the Kyiv City Administration, and Directorate of Exhibitions under the Artists' Union of Ukraine.
The first fair welcomed representatives from 29 art galleries from Kyiv, Kharkiv, Odesa, Sumy, Cherkasy, Chernihiv, Kryvy Rih, and even New York , USA. The second fair featured the two original exhibitions, including a project by the First Responders Team which includes Serhiy Bratkov, Borys Mykhailov, and Serhiy Solonsky called If I Was German. The event caused a real stir on the Kyiv art scene.
The Kyiv art fairs were chiefly coordinated by Evhen Solonin and Ihor Oksametny.
In 1994–1995 the Ukrainian House hosted the first and second Kyiv art fairs which turned out to be a total success with the art lovers. Leonid Kravchuk, the first President of Ukraine paid a visit to the first art fair, which significantly raised the status of the event among the Ukrainian public and drew more attention to the novel approaches to exhibiting art and the country's art life in general. The fair was initially inspired by a group of private galleries, namely Artinform, Honchari, and Tryptic. It was supported by such powerful institutions like the Ministry of Culture of Ukraine, Chief Department of Culture under the Kyiv City Administration, and Directorate of Exhibitions under the Artists' Union of Ukraine.
The first fair welcomed representatives from 29 art galleries from Kyiv, Kharkiv, Odesa, Sumy, Cherkasy, Chernihiv, Kryvy Rih, and even New York , USA. The second fair featured the two original exhibitions, including a project by the First Responders Team which includes Serhiy Bratkov, Borys Mykhailov, and Serhiy Solonsky called If I Was German. The event caused a real stir on the Kyiv art scene.
The Kyiv art fairs were chiefly coordinated by Evhen Solonin and Ihor Oksametny.
The International ART Festival
In 1996 the Kyiv Art Fair gave way to the International ART Festival. It was organised by the Association of Art Galleries of Ukraine which was created to act on behalf of individual galleries. In contrast to the previous smaller scale art fairs the festival blossomed into a fully-fledged art project with a comprehensive programme which was developed by Ukraine's leading experts. The project featured contemporary art work and stressed the importance of context in which the artwork functioned. "Ukrainian classical avant-garde and contemporary art" was the festival's slogan and it reflected the country's long-standing history of artistic tradition. The art festival also included an international conference of art critics and launched the Golden Ratio Award specially crafted for the Ukrainian contemporary artists with the upmost achievements in the field. The first Golden Ratio awards were presented to such art groups like the Art Sanctuary and Azbuka and 16 individual artists, including Olexadner Hnylitsky, Oleh Tistol, Arsen Savadov, and Pavlo Makov. For the next five years the art festival established itself as a major forum for Ukrainian visual arts of the late 20th century.
The festival was developed and coordinated by its permanent director Viktor Khamatov.
In 1996 the Kyiv Art Fair gave way to the International ART Festival. It was organised by the Association of Art Galleries of Ukraine which was created to act on behalf of individual galleries. In contrast to the previous smaller scale art fairs the festival blossomed into a fully-fledged art project with a comprehensive programme which was developed by Ukraine's leading experts. The project featured contemporary art work and stressed the importance of context in which the artwork functioned. "Ukrainian classical avant-garde and contemporary art" was the festival's slogan and it reflected the country's long-standing history of artistic tradition. The art festival also included an international conference of art critics and launched the Golden Ratio Award specially crafted for the Ukrainian contemporary artists with the upmost achievements in the field. The first Golden Ratio awards were presented to such art groups like the Art Sanctuary and Azbuka and 16 individual artists, including Olexadner Hnylitsky, Oleh Tistol, Arsen Savadov, and Pavlo Makov. For the next five years the art festival established itself as a major forum for Ukrainian visual arts of the late 20th century.
The festival was developed and coordinated by its permanent director Viktor Khamatov.
Art salons
In 2004 the Ukrainian House launched its Art Salon Programme. It comprised of the Grand Sculpture Salon, Grand Art Salon, and Antiques Salon. The first art salon called the Winter Garden was organised in February 2005. It featured some of the best sculpture Ukraine has to offer. This salon was quite unique in its efforts to popularise sculpture and featured powerful and spectacular stage effects. The Grand Art Salon was set to become the programme's central feature, its concept drew on the achievements of the previous salon and was closely linked to the next Antiques Salon. Together the salons were to paint a complete picture of the country's artistic development at the start of the 21st century. From 2007 till 2010 the Ukrainian House holds regular art salons. These are international events which attract trailblazing artists and art collectors. The salons reflect Ukraine's dynamic art market and cater for the emerging community of art dealers and experts.
The concept behind the salons was developed by Valery Sakharuk and implemented by Natalia Zabolotna.
In 2004 the Ukrainian House launched its Art Salon Programme. It comprised of the Grand Sculpture Salon, Grand Art Salon, and Antiques Salon. The first art salon called the Winter Garden was organised in February 2005. It featured some of the best sculpture Ukraine has to offer. This salon was quite unique in its efforts to popularise sculpture and featured powerful and spectacular stage effects. The Grand Art Salon was set to become the programme's central feature, its concept drew on the achievements of the previous salon and was closely linked to the next Antiques Salon. Together the salons were to paint a complete picture of the country's artistic development at the start of the 21st century. From 2007 till 2010 the Ukrainian House holds regular art salons. These are international events which attract trailblazing artists and art collectors. The salons reflect Ukraine's dynamic art market and cater for the emerging community of art dealers and experts.
The concept behind the salons was developed by Valery Sakharuk and implemented by Natalia Zabolotna.
Auguste Rodin "The Burghers of Calais"
The International Art Fair and Exhibition Art-Kyiv
After a long pause Natalia Zabolonta, the then director of the National Centre, revived the long-established tradition of art fairs at the Ukrainian House and developed some new approaches.
From 2006 the Ukrainian House organised four art fairs under the auspices of the Art-Kyiv festival.
The Art-Kyiv festival traditionally engaged several galleries, but it was the other special events that really caused a stir, namely projects like, Austerity and Fat by Olexadner Hnylitsky, Tyberiy Silvashi. Painting, The Street. Transformation of time, The Myth Creators, video-art project by Fleshka, and the Basic Instinct figurative art project. But most significantly, the Art-Kyiv featured artwork from Ukrainian private collections.
During the period the Ukraine House team launch FINE ART UKRAINE, which in 2010 presented a large exhibition of the work of Tetyana Yablonska.
After a long pause Natalia Zabolonta, the then director of the National Centre, revived the long-established tradition of art fairs at the Ukrainian House and developed some new approaches.
From 2006 the Ukrainian House organised four art fairs under the auspices of the Art-Kyiv festival.
The Art-Kyiv festival traditionally engaged several galleries, but it was the other special events that really caused a stir, namely projects like, Austerity and Fat by Olexadner Hnylitsky, Tyberiy Silvashi. Painting, The Street. Transformation of time, The Myth Creators, video-art project by Fleshka, and the Basic Instinct figurative art project. But most significantly, the Art-Kyiv featured artwork from Ukrainian private collections.
During the period the Ukraine House team launch FINE ART UKRAINE, which in 2010 presented a large exhibition of the work of Tetyana Yablonska.
The Orange Revolution
The Orange Revolution on the Maidan erupted in 2004. The wave of national protests came as a result of widespread vote rigging during the presidential elections in favour of the pro-government candidate Viktor Yanukovych in a race against his opposition rival Viktor Yushchenko.
On November 25th the protesters occupy the Ukrainian House building and turn it into their rest station. While the protests are in their active phase the Ukrainian House acts as the humanitarian centre for the Yushchenko supporters.
The protests wined down as the Supreme Court ordered a new runoff in the presidential race which insured Yushchenko's victory.
On January 23, 2005 the Ukrainian House hosted celebrations for the inauguration of the new president.
The Orange Revolution on the Maidan erupted in 2004. The wave of national protests came as a result of widespread vote rigging during the presidential elections in favour of the pro-government candidate Viktor Yanukovych in a race against his opposition rival Viktor Yushchenko.
On November 25th the protesters occupy the Ukrainian House building and turn it into their rest station. While the protests are in their active phase the Ukrainian House acts as the humanitarian centre for the Yushchenko supporters.
The protests wined down as the Supreme Court ordered a new runoff in the presidential race which insured Yushchenko's victory.
On January 23, 2005 the Ukrainian House hosted celebrations for the inauguration of the new president.
The Revolution of Dignity
The Ukrainian House once again found itself at the epicentre of dramatic events during the Revolution of Dignity when the nation was appalled and horrified by the violence unleased on the students who took to the streets in a peaceful show of protest against the government's U-turn on European integration.
Initially the Ukrainian House was seized by the Ukrainian military police and following a successful recapture by the protesters on the night of January 25, 2014 it became the protesters' headquarters.
The building's wide-open spaces created an atmosphere of trust and cooperation. The venue was used by the protesters as a rest station, it was also used to host talks by the Open University of Maidan, organise film screenings, and artistic performances. This is where the Student Centre and Student Assembly began, this is where the Artistic Hundred together with the Maidan Library trace back their origins. The Ukrainian House became the epitome of culture, sharing, and learning.
During the violent and deadly clashes on the Institutska street between the protesters and the military police the Ukrainian House was re-captured by the pro-government forces. The military police had complete control of the building for several days till the end of the Revolution and according to witness accounts the venue was left in total disarray, the halls were looted and ransacked. But as soon as the protesters gained complete control of the pillaged building, the activists and volunteers were quick to put everything in order, clear and tidy the rooms.
The Ukrainian House once again found itself at the epicentre of dramatic events during the Revolution of Dignity when the nation was appalled and horrified by the violence unleased on the students who took to the streets in a peaceful show of protest against the government's U-turn on European integration.
Initially the Ukrainian House was seized by the Ukrainian military police and following a successful recapture by the protesters on the night of January 25, 2014 it became the protesters' headquarters.
The building's wide-open spaces created an atmosphere of trust and cooperation. The venue was used by the protesters as a rest station, it was also used to host talks by the Open University of Maidan, organise film screenings, and artistic performances. This is where the Student Centre and Student Assembly began, this is where the Artistic Hundred together with the Maidan Library trace back their origins. The Ukrainian House became the epitome of culture, sharing, and learning.
During the violent and deadly clashes on the Institutska street between the protesters and the military police the Ukrainian House was re-captured by the pro-government forces. The military police had complete control of the building for several days till the end of the Revolution and according to witness accounts the venue was left in total disarray, the halls were looted and ransacked. But as soon as the protesters gained complete control of the pillaged building, the activists and volunteers were quick to put everything in order, clear and tidy the rooms.
Maxim Dondyuk
Culture of Confrontation, 2013-14
Culture of Confrontation, 2013-14
Ihor Hayday, Antonov
Together.UA
Ihor Hayday's project Together.UA explores the human phenomenon of collective energy, relationship between the self and the collective, and the nature of social ties. The artist uses panoramic photography to capture on camera different groups of people in different settings, like the mill workers, military, church goers, teams of workers involved in stadium construction, guests at a wedding, and so on.
The project was first presented at the Ukrainian House in 2007. The Heartfelt Involvement exhibition also features some of the most significant of Hayday's works which stood the test of time.
Ihor Hayday's project Together.UA explores the human phenomenon of collective energy, relationship between the self and the collective, and the nature of social ties. The artist uses panoramic photography to capture on camera different groups of people in different settings, like the mill workers, military, church goers, teams of workers involved in stadium construction, guests at a wedding, and so on.
The project was first presented at the Ukrainian House in 2007. The Heartfelt Involvement exhibition also features some of the most significant of Hayday's works which stood the test of time.
If a building becomes architecture, then it is art
The cultural revolution's domain
Exhibition the Cultural revolution's domain was organised at the Ukrainian House in late May beginning of June, 1994. The exhibition featured forty of some of the most celebrated artists active on the Ukrainian art scene at the time. It was a massive special project in the framework of the Kyiv Art Fair, and the exhibition covered all of the fifth floor of the building. The project curators Tetyana Savadova and Olexander Solovyov developed creative solutions to display the artwork. The collection was exhibited from behind an orange screen which extended from wall to wall. The visitors were able to view the artwork through a row of long-range opera glasses which were pinned to the screen at eye level. The exhibition was presented as an integrated "exhibition and performance" which was envisaged as a single installation.
Exhibition the Cultural revolution's domain was organised at the Ukrainian House in late May beginning of June, 1994. The exhibition featured forty of some of the most celebrated artists active on the Ukrainian art scene at the time. It was a massive special project in the framework of the Kyiv Art Fair, and the exhibition covered all of the fifth floor of the building. The project curators Tetyana Savadova and Olexander Solovyov developed creative solutions to display the artwork. The collection was exhibited from behind an orange screen which extended from wall to wall. The visitors were able to view the artwork through a row of long-range opera glasses which were pinned to the screen at eye level. The exhibition was presented as an integrated "exhibition and performance" which was envisaged as a single installation.
The Art Preserve group
In 1995 the Ukrainian House hosted an exhibition developed by the Art Preserve group which was formed back in the early nineties. The group included such artists like Tyberiy Silvashi, Anatoly Kryvolap, Olexander Zhyvotkov, Mykola Kryvenko, and Marko Heyko. The artists were united in their search for the "pure form" in painting and plastic abstraction. It was a third collective exhibition, which coincided with the group's most productive period.
In 1995 the Ukrainian House hosted an exhibition developed by the Art Preserve group which was formed back in the early nineties. The group included such artists like Tyberiy Silvashi, Anatoly Kryvolap, Olexander Zhyvotkov, Mykola Kryvenko, and Marko Heyko. The artists were united in their search for the "pure form" in painting and plastic abstraction. It was a third collective exhibition, which coincided with the group's most productive period.
Reality check
The 2005 exhibition Reality check which was curated by Olexander Solovyov featured seventeen contemporary Ukrainian artists representative of different art styles and movements. The unifying idea or concept behind the exhibition is to emphasise the links between different art styles and genres as they exist in a post-media context where the new media are intermingling with the old media, the mixing of steady images and images in motion, screen vs canvas, and canvas vs photographic images.
The 2005 exhibition Reality check which was curated by Olexander Solovyov featured seventeen contemporary Ukrainian artists representative of different art styles and movements. The unifying idea or concept behind the exhibition is to emphasise the links between different art styles and genres as they exist in a post-media context where the new media are intermingling with the old media, the mixing of steady images and images in motion, screen vs canvas, and canvas vs photographic images.
Кирило Проценко "Пенальті" (ескіз)
Site-specific performance "The Road To..."
The multimedia site-specific performance "The Road To…" was produced and presented to the public by the Ukrainian House to celebrate Ukraine's 30th anniversary of independence.
Vlad Troyitsky, the theatre director explored the concept of a journey as metaphor for change and radical transformation, as means of accepting oneself and getting rid of any preconceived notions. This is a journey of development, independence, and a celebration of growing into your own skin. "The Road To…" is a grand scheme for Ukraine' future, and as a nation we truly want it to become a reality.
The stage production ran from August 25 till August 28, 2021.
The project creative team:
Directed by Vlad Troyitsky;
Choreography by Krystyna Shyshkaryova;
Ballet company: the Totem dance theatre;
Music by Yana Shliabanska;
Vocalists: Ruslan Kirsh, Andriy Koshman, Olena Pin'kovska, and Anna Okhrimchuk;
Narrated by Tatyana Troyitska;
Cello: Zhanna Marchynska;
Sound designer: Yana Shliabanska;
Lighting designer and video engineer: Maria Volkova.
The multimedia site-specific performance "The Road To…" was produced and presented to the public by the Ukrainian House to celebrate Ukraine's 30th anniversary of independence.
Vlad Troyitsky, the theatre director explored the concept of a journey as metaphor for change and radical transformation, as means of accepting oneself and getting rid of any preconceived notions. This is a journey of development, independence, and a celebration of growing into your own skin. "The Road To…" is a grand scheme for Ukraine' future, and as a nation we truly want it to become a reality.
The stage production ran from August 25 till August 28, 2021.
The project creative team:
Directed by Vlad Troyitsky;
Choreography by Krystyna Shyshkaryova;
Ballet company: the Totem dance theatre;
Music by Yana Shliabanska;
Vocalists: Ruslan Kirsh, Andriy Koshman, Olena Pin'kovska, and Anna Okhrimchuk;
Narrated by Tatyana Troyitska;
Cello: Zhanna Marchynska;
Sound designer: Yana Shliabanska;
Lighting designer and video engineer: Maria Volkova.
The Road To...
Site-specific performance
30х30. Contemporary Ukrainian art
Exhibition 30x30. Contemporary Ukrainian art was open to the public at the Ukrainian House in September 9-29, 2021. The exhibition was developed by art critic and curator Valery Sakharuk. The organisers published a collectible coffee-table edition with depictions of artwork. The project was dedicated to the 30th anniversary of Ukraine's independence. Sakharuk creatively reviewed the country's artistic legacy and presented it as thirty signature works from Ukraine's most recent past.
Exhibition 30x30. Contemporary Ukrainian art was open to the public at the Ukrainian House in September 9-29, 2021. The exhibition was developed by art critic and curator Valery Sakharuk. The organisers published a collectible coffee-table edition with depictions of artwork. The project was dedicated to the 30th anniversary of Ukraine's independence. Sakharuk creatively reviewed the country's artistic legacy and presented it as thirty signature works from Ukraine's most recent past.
The Premonition. Olexander Dubovyk
Exhibition project the Premonition was open to the public at the Ukrainian House on August 2 till September 18, 2022, it featured a collection of works by Olexander Dubovyk, created during different time periods including at the time of the Russia-Ukraine war. Each work is a premonition of radical changes in our mind and the world around us. Dubovyk anticipates these changes, his artwork serves as a warning and a guide for the things to come. With his art Dubovyk presses on the raw nerve of the time, his work reflects the trying times Ukraine and the world are experiencing today.
Exhibition project the Premonition was open to the public at the Ukrainian House on August 2 till September 18, 2022, it featured a collection of works by Olexander Dubovyk, created during different time periods including at the time of the Russia-Ukraine war. Each work is a premonition of radical changes in our mind and the world around us. Dubovyk anticipates these changes, his artwork serves as a warning and a guide for the things to come. With his art Dubovyk presses on the raw nerve of the time, his work reflects the trying times Ukraine and the world are experiencing today.
War
The graphic art project titled War by Svitlana Koshkina was created to feature in an eponymous exhibition scheduled for the summer of 2022 at the Ukrainian House. Though the project did not come to fruition due to the declared state of military emergency, it left a chilling reminder: the word "war" in giant letters across the event banner. It's plain to see, it is right there as part of the graphic art project written across the façade of the Ukrainian House. It looms over the city: Ukraine is in the state of war!
The exhibition was dedicated to the 31st anniversary of Ukraine's independence and the word "war" which now strikes a painful chord with every Ukrainian could have become a visual beacon for the upcoming ceremonial events. But ideas never die and today Koshkina has finally presented her work to the public in the framework of the Anniversary of Heartfelt Involvement exhibition. It's is a symbolic reminder of what is happening in Ukraine at the moment.
The graphic art project titled War by Svitlana Koshkina was created to feature in an eponymous exhibition scheduled for the summer of 2022 at the Ukrainian House. Though the project did not come to fruition due to the declared state of military emergency, it left a chilling reminder: the word "war" in giant letters across the event banner. It's plain to see, it is right there as part of the graphic art project written across the façade of the Ukrainian House. It looms over the city: Ukraine is in the state of war!
The exhibition was dedicated to the 31st anniversary of Ukraine's independence and the word "war" which now strikes a painful chord with every Ukrainian could have become a visual beacon for the upcoming ceremonial events. But ideas never die and today Koshkina has finally presented her work to the public in the framework of the Anniversary of Heartfelt Involvement exhibition. It's is a symbolic reminder of what is happening in Ukraine at the moment.
Ukrainian wartime posters
The first offline exhibition project organised by the Ukrainian house since the start of the Russian full-scale invasion featured wartime poster art. The exhibition was open to the public from July 14 till August 14, 2022.
At the start of the war, it became evident to many artists that wartime posters go beyond slogans, and could be weaponised. Protesters who rally in support of Ukraine's at home and abroad use these buzzwords and catch phrases to push their message forward, the slogans are repeated in the media, and go viral. With this project the Ukrainian House aimed to promote poster art to a wider audience and extend its thanks to the artists.
The first offline exhibition project organised by the Ukrainian house since the start of the Russian full-scale invasion featured wartime poster art. The exhibition was open to the public from July 14 till August 14, 2022.
At the start of the war, it became evident to many artists that wartime posters go beyond slogans, and could be weaponised. Protesters who rally in support of Ukraine's at home and abroad use these buzzwords and catch phrases to push their message forward, the slogans are repeated in the media, and go viral. With this project the Ukrainian House aimed to promote poster art to a wider audience and extend its thanks to the artists.
Flash. Ukrainian photography today
The war in Ukraine has brought to the surface those types of art and art media which help capture reality in the moment. It includes photography, which became the key art medium to document the war and explore the different experiences of ordinary Ukrainians during these trying times. The exhibition Flash. Ukrainian photography today was open to the public at the Ukraine House from September 29 till November 6, 2022; it featured almost 500 photos by fifty photographers.
The war in Ukraine has brought to the surface those types of art and art media which help capture reality in the moment. It includes photography, which became the key art medium to document the war and explore the different experiences of ordinary Ukrainians during these trying times. The exhibition Flash. Ukrainian photography today was open to the public at the Ukraine House from September 29 till November 6, 2022; it featured almost 500 photos by fifty photographers.
Windows
On October 10, 2022 Kyiv came under a massive rocket attack, and the glass dome of the Ukrainian House was smashed by the shock wave from the blast. Now, the war was truly here. The dome was covered in gaping wounds which revealed surprising images of birds, leaves, a butterfly, and an angel…. Film director Halyna Kliuchkovska has carefully videotaped and photographed the images. So, the Windows docu-art project was born, it was open to the public on November 17-27, 2022. For the Ukrainian House team, it became a testament of strength and proof that even at the time of war life still goes on - we can find beauty around us, draw inspiration and persevere ahead.
On October 10, 2022 Kyiv came under a massive rocket attack, and the glass dome of the Ukrainian House was smashed by the shock wave from the blast. Now, the war was truly here. The dome was covered in gaping wounds which revealed surprising images of birds, leaves, a butterfly, and an angel…. Film director Halyna Kliuchkovska has carefully videotaped and photographed the images. So, the Windows docu-art project was born, it was open to the public on November 17-27, 2022. For the Ukrainian House team, it became a testament of strength and proof that even at the time of war life still goes on - we can find beauty around us, draw inspiration and persevere ahead.
Halyna Kliuchkovska "Windows"