Art for Volodymyr Budnikov is a tool for documenting thought. He believes that we know the history of mankind precisely thanks to culture and art, namely the art that was not tied to any event, but in one way or another reflected the state of the author in a certain context
It is impossible to describe his practice in two words, short phrases cannot describe the topics with which the author works. Miroslav Vajda does not think over his specific image, does not build a strategically verified mythology over his “I”, does not “develop a personal brand”. Instead of all this, the artist simply works honestly and hard, boldly experiments, tries new things and, without hesitation, is constantly looking for his place in the world
Jenny Holzer, like many others, uses creativity as a language to change the world. Its goal is to reach as many people as possible. To do this, she makes her art as simple and understandable as possible, discards vanity and takes her works to the streets
The art of Mykola Ridnyi is socially critical and reactionary. In times of changing national identity, aggressive information policy and the division of society, his art seems to be the most accurate, because it asks questions rather than answers them, reflecting human confusion in the face of disproportionately large, difficult circumstances
People in Sidorenko’s art serve as a tool with which the artist conveys his ideas, his philosophy to the viewer. The artist even has his own hero – “a man in underpants”, who literally became a household name, combining the prototype of an inhabitant, an unremarkable bystander, who is at the same time an demonstrative cross-section of the whole society
Anatol Stepanenko was one of the first interdisciplinary artists. He made films, painted pictures, created total installations, was a curator and reinterpreted spaces, seemingly not intended for this, through art. His creative method was in constant dynamics, in eternal search and experiment.
Interest in the concept of corporate culture runs through the art of Oleksiy Sai as a red line. Almost all of his works are in one way or another related to the theme of bureaucracy, stereotyped, faceless corporate system. The artist consciously chooses materials and tools that he does not like in order to convey to the viewer this feeling of inconvenience, slight disgust and recognizable irritation
Damien Hirst entered the history of art as a provocateur, as one who expanded the boundaries of creativity. It was thanks to him that the widespread opinion that supposedly modern art “should shock the viewer” spread, however, it seems that with age, Hirst ceases to believe in it, and his last works no longer shock anyone.
Zhanna Kadyrova uses tiles, smalt and creates mosaic objects. Thanks to the freshness of her gaze, the absence of snobbery and the ability to balance between institutional work and underground culture, the artist creates witty social-critical art without slipping into moralizing and arrogant, abstruse conceptuality.
In his works, Alexander Zhivotkov exploits the universality of symbols: a tree, a cross, a road, the sun, a woman – a set of keys for deciphering the meaning, available to everyone. Often in the works of Zhivotkov, one can see the symbol of Oranta, or the Mother of God – also one of the most common subjects and figures in the history of fine arts, found in cultures around the world.
The art of Ilya Isupov ideally matches all the attributes of classical postmodernism: it quotes predecessor artists, relies on elements of popular culture, operates with personal experience and subconsciousness, responds to the current agenda and, most importantly, does everything with irony
Against the background of disputes and discussions about the value of the historical heritage, as well as what this heritage is, important projects are born, one of which is a large-scale interdisciplinary collaboration called Ukrainian Constructivism – various areas of contemporary art in the broadest sense of the word.