Residence and solo exhibition:
ID: E21.8


Sergey Shabohin

Social Marble:
Nationalization of Freedom

June 25 — July 25, 2021

Rosa Stern Space, Munich, Germany

Lena Prents

Sergey Shabohin 
A series of 17 collages Social Marble: Patches, 2016 — 2021

Collage We are Stern Consumers of Cultural Revolutions. Beat the Whites with the Red Wedge, 2013

5 sculptures Social Marble: Sickles, 2021

Photo Social Marble at the Venice Biennale, 2019

Video We are Stern Consumers of Cultural Revolutions, 2013 — 2020

Video Mandrake Gardens, 2020

Sergey Shabohin:
collage Social Marble: Patches,
2016 — 2021

The personal exhibition of the Belarusian artist Sergey Shabohin is devoted to the processes of nationalization of the heritage of the Vitebsk period of the historical avant-garde in Belarus. More than a hundred years ago, in 1919, the People’s Art School was founded in Vitebsk, which was headed by Marc Chagall. Among the teachers and graduates of it were El Lissitzky, Vera Ermolaeva, Lazar Khidekel, Nina Kogan, Alexandra Romma, Ilya Chashnik and others, united around the UNOVIS group, which was created in the educational institution by Kazimir Malevich. During this period of the development of avant-garde ideas, the school among other things worked out manifestos of Suprematism. The official cultural policy of contemporary Belarus treats this period coldly, rarely and reluctantly finances projects for the preservation of and return to the heritage of the avant-garde. This is proved by the fact that the building of the People’s Art School itself had been in an abandoned state for many years and only not long ago was restored as a new museum in honor of the centenary. The restoration of the building itself and the exposition of the museum opened within its walls hardly stand up to criticism.

The cycle of works by Sergey Shabohin is dedicated to the understanding of the consumer’s attitude in Belarus to the heritage of the historical avant-garde We are Stern Consumers of Cultural Revolutions, fragments of which will be combined at the exhibition with the other cycle: Social Marble. The tragic events taking place in Belarus now reinforce the critical optics chosen by the artist in this project.