ENG:
Plan:
Click on the desired section.
Section number:
# 5
Title:
Tectonic Landscapes
Tags:
Processes / slit:
Name of processes:
Rozpad // Przebudowa
Slit:
Rozdarcie
Rozpad // Przebudowa
Slit:Rozdarcie
Color:
Color number:
#888888
R, G, B:136, 136, 136
Section plan:
List of works:
A: video Mandrake Gardens
B: collage Mandrake Gardens: White Ribbons
C / D: installation Čornaja žoŭć / μέλασ χολη (Black Bile)
E: collage series Plate Tectonics (Social Marble): Landscapes of Mariupol
F: torn rift
A: video Mandrake Gardens
B: collage Mandrake Gardens: White Ribbons
C / D: installation Čornaja žoŭć / μέλασ χολη (Black Bile)
E: collage series Plate Tectonics (Social Marble): Landscapes of Mariupol
F: torn rift
A:
Video
2020
15'00"
The video depicts two parks: illegal raves and queer cruising during the pandemic in Berlin's Hasenheide Park, and the first mass opposition protest of the Belarusian resistance movement in the Peoples' Friendship Park in Minsk. Two screens present a parallel display of two seemingly very different contexts: raves and pickets; the mild response of the Berlin police and the aggression of the Minsk security forces; the sexuality of cruising and the energy of protest; the myth of the mandrake growing from male seed and Belarusian mythology with the semiotics of the potato; etc. The dual video does not so much compare these contexts as it demonstrates an unquenchable longing for life and the struggle for freedom against the backdrop of urban park landscapes.
The exhibition presents a black and white version of the video
Mandrake Gardens
From the cycle Mandrake Gardens2020
15'00"
The video depicts two parks: illegal raves and queer cruising during the pandemic in Berlin's Hasenheide Park, and the first mass opposition protest of the Belarusian resistance movement in the Peoples' Friendship Park in Minsk. Two screens present a parallel display of two seemingly very different contexts: raves and pickets; the mild response of the Berlin police and the aggression of the Minsk security forces; the sexuality of cruising and the energy of protest; the myth of the mandrake growing from male seed and Belarusian mythology with the semiotics of the potato; etc. The dual video does not so much compare these contexts as it demonstrates an unquenchable longing for life and the struggle for freedom against the backdrop of urban park landscapes.
The exhibition presents a black and white version of the video
B:
Collage
2021 [2024]
A collage of two images, where a white ribbon with a knot on a tree in Berlin's Hasenheide Park symbolizes places of queer cruising, and a white ribbon on an arm symbolizes the protest movement in Minsk in 2020. The two images are clumsily glued together with marble-patterned foil, referencing the dual-channel video nearby..
The exhibition presents a black and white version of the collage
Mandrake Gardens: White Ribbons
From the cycle Ogrody Mandragory2021 [2024]
A collage of two images, where a white ribbon with a knot on a tree in Berlin's Hasenheide Park symbolizes places of queer cruising, and a white ribbon on an arm symbolizes the protest movement in Minsk in 2020. The two images are clumsily glued together with marble-patterned foil, referencing the dual-channel video nearby..
The exhibition presents a black and white version of the collage
C / D:
Installation
2024
The installation consists of two bookshelves featuring black-and-white images printed on a photocopier: swamps in the Elnia Reserve, burned stumps, Dürer’s polyhedron, the National Library of the Republic of Belarus, smoke from war, the new fence on the border between Poland and Belarus, an excavation site, the only cave in Belarus, a monument at the site of the burned Odra River in the Cottages, Malevich’s architecture, and the Three Sisters monument. Each shelf contains five books from the "Ten Volumes of Belarusian Literature" series and one architectural model: the Folding Monument 'Three Sisters' and the Architecture of a Transparent Rainbow. The installation is dedicated to the notorious Belarusian melancholy with its codes (ashes, war, swamps, and more), which is particularly reflected in the titles of books written in the Latin Belarusian alphabet, showcasing the diversity of synonymous words for sadness in the Belarusian language. The shelves document the growing national depression and disorientation during the context of the "lost" elections and protests, war, and migration.
Idea, modeling: Sergey Shabohin. Modeling and 3D printing: Roman Shabohin
Čornaja žoŭć / μέλασ χολη (Black Bile)
From the cycle Atlas of Tectonic Landscapes2024
The installation consists of two bookshelves featuring black-and-white images printed on a photocopier: swamps in the Elnia Reserve, burned stumps, Dürer’s polyhedron, the National Library of the Republic of Belarus, smoke from war, the new fence on the border between Poland and Belarus, an excavation site, the only cave in Belarus, a monument at the site of the burned Odra River in the Cottages, Malevich’s architecture, and the Three Sisters monument. Each shelf contains five books from the "Ten Volumes of Belarusian Literature" series and one architectural model: the Folding Monument 'Three Sisters' and the Architecture of a Transparent Rainbow. The installation is dedicated to the notorious Belarusian melancholy with its codes (ashes, war, swamps, and more), which is particularly reflected in the titles of books written in the Latin Belarusian alphabet, showcasing the diversity of synonymous words for sadness in the Belarusian language. The shelves document the growing national depression and disorientation during the context of the "lost" elections and protests, war, and migration.
Idea, modeling: Sergey Shabohin. Modeling and 3D printing: Roman Shabohin
E:
Collage series
2022 [2024]
A series of collages of two paintings: newspaper clippings with photographs of the destroyed Mariupol and postcards with landscapes of Ukrainian sunsets by the romantic painter Arkhip Kuindzhi. Kuindzhi himself comes from Mariupol. The landscapes of Mariupol (the ruins of Mariupol and the bloody visions of Kuindzhi) are combined with a self-adhesive film with a marble texture.
The exhibition presents black and white versions of the collages
Plate Tectonics (Social Marble): Landscapes of Mariupol
From the cycles Atlas of Tectonic Landscapes and Social Marble2022 [2024]
A series of collages of two paintings: newspaper clippings with photographs of the destroyed Mariupol and postcards with landscapes of Ukrainian sunsets by the romantic painter Arkhip Kuindzhi. Kuindzhi himself comes from Mariupol. The landscapes of Mariupol (the ruins of Mariupol and the bloody visions of Kuindzhi) are combined with a self-adhesive film with a marble texture.
The exhibition presents black and white versions of the collages
F:
Slit
Torn slit.
Torn slit.
Photos:
