The Memory on her Face
Voloshyn Gallery extended the pop-up show in Miami as the Ukrainian artists' peaceful protest against the war in Ukraine.
“Voloshyn Gallery opened the pop-up exhibition The Memory on Her Face in Miami back on February 5, 2022. That was three weeks before the tragic events in Ukraine, when everybody still thought this turn of events impossible. At 5AM on February 24, the Russian Federation attacked Ukraine, beginning a large-scale war against our country. To support Ukraine, Ukrainian artists and their art in this difficult time, we decided to extend the pop-up show in Miami as the Ukrainian artists' peaceful protest against the war in Ukraine. They bring together the individual and the collective grief, and document physical destruction, collective anxiety and pain caused by the unignorable events that the whole world needs to talk about,” said Max and Julia Voloshyn, the co-founders of Voloshyn Gallery.
The Memory on her Face is an attempt to highlight the artists’ take on historical events and processes, interactions between the past and the present, as well as their ideas of the future. The artists address the issues of national identity, destruction and renaissance. The pop-up exhibition curated by Omar Lopez-Chahoud, an independent curator and artistic director of UNTITLED, Art. The participating Ukrainian artists are Nikita Kadan, Lesia Khomenko, Nikolay Karabinovych, Maria Sulymenko and Oleksiy Sai.
“The Memory on her Face a refection on how past and recent historical events shape the Ukrainian identity. The artists participating in this exhibition embrace a visual language that expresses their own personal experiences in a poetic way. It transcends place and time to connect to a much broader audience where shared experiences become the common ground,” - added Omar Lopez-Chahoud, an independent curator and artistic director of UNTITLED, Art.
The Voloshyn Gallery’s pop-up exhibition will present works from Nikita Kadan’s series A Broken Pole and Tiger’s Leap. The title of Tiger’s Leap is an allusion to Walter Benjamin’s notion of “the tiger’s leap into the past” in search of an impetus to actualize the political struggle in the present. Kadan’s Tiger’s Leap is a reconstruction of quotidian instruments refashioned into handmade spears used by workers of the Horlivka Machine-Building Factory during the 1905 armed uprising against the Belgian factory owner. On the one hand, the history of the uprising sheds light on the Europeans’ role in the 1 st modernization of Donbas. On the other hand, it deals with the history of abuses, workers’ struggle and revolutions in the Russian Empire. In his Broken Pole, Kadan addresses the avant-garde legacy (the works of the artist Vasyl Yermilov, among others), reimagining it with a contemporary flair. The Broken Pole brings together resin-coated metal shields and silk prints of photographs of the buildings destroyed during the military hostilities in Donbas.
the Ukrainian academic artistic system. In her earlier works, Khomenko critiqued and reimagined elements of the visual language entrenched in the post-Soviet figurative school. “Personal vocation” (Congenial work) is a term coined by the Ukrainian idealist philosopher Hryhoriy Skovoroda (1722- 1794), who believed that every person is congenial to work of a certain kind and happiness lies in doing the work to which one is naturally predisposed.