Title:

Dates:

April 25 — June 2, 2019

27 June — 27 December, 2019

Place:

PinchukArtCentre, Kyiv, Ukraine

Curators:

Valerie Schiller, Alexandra Tryanova

Artists:

Fabiana Faleiros, Nikolay Karabinovych, Ignas Krunglevicius, Angelina Merenkova, Sergey Shabohin, Zamir Suleymanov, Luba Tokareva 

Works:

Installation Zones of Repression (or Displacement Zones);
after re-opening the installation was transformed into a total installation

Referring to the hit of the Swedish singer-emigrant Ardis in 1994, the international exhibition «Ain't nobody's business» activates voices striving for freedom of self-determination. The collective position of artists provokes a public debate about the controversial relationship between regulatory power and personality. How does our sexuality show itself in modern realities? And does its detection depend on ourselves?

Many of the artists are being shown for the first time in Ukraine. This international cast of "Ain't nobody's business" aims at contributing to the further development of the dialogue and cooperation between Ukrainian and international artists, which is an integral part of the vivid development of the country's cultural landscape.

The title of the exhibition is meant to provoke public discussion on the contradictive relations between regulative power and personal identity. The tone of the narrative is set by Fabiana Faleiro's work MasturBar. The show questions the existing tension between the personal and the political, revealing the influence of power structures on individual freedom and self-identification. If our sexual socialization is censored by political discourse, what kind of emancipatory scenarios we can imagine? And how can we implement them in our everyday practice?

In the work by Belarusian artist Sergey Shabohin, we face the reality of the voice of minority in a public space. The work is built upon documenting writings on seams between tiles in public toilets of Minsk that are the only means of communication for the gay community. The public utility services thoroughly clean such writings off, but the space between the tiles does not allow for a fast cleaning. This work is an imprint of the real public space: sterilised, aggressive towards any atypical forms of attitude, where everything that does not fit in the norms of the patriarchal and conservative authority's course is expulsed to hidden areas: clubs, apartments or toilets. In the authority's view, these seams are covered with dirt, but to Sergey Shabohin, these are the symbols of freedom of expression.

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