An additional $20,000 was awarded between Special Prize winners Gabrielle Goliath (South Africa) and Cooking Sections (UK).

The winners were chosen by the prize’s distinguished international jury, consisting of: Pablo León de la Barra, curator at large, Latin America, Solomon R Guggenheim Museum and Foundation, New York; Björn Geldhof, artistic director, PinchukArtCentre, Kyiv; Gabi Ngcobo, curator, 10th Berlin Biennale; Tim Marlow, artistic director, Royal Academy of Arts, London; and Hoor Al Qasimi, president, Sharjah Art Foundation and International Biennial Association.

Celebrating the 10^th anniversary of the prize, Björn Geldhof, artistic director, PinchukArtCentre comments:

It is exciting to be part of a prize which champions current, dynamic and talented young artists. The truly global nature of the prize allows creative voices from all over the world to be represented. Aptly for this year’s edition of the Future Generation Art Prize, which is now in its 10^th year, the work explores the ‘archaeology of the future’, questioning the possibilities of tomorrow. All the artists in this year’s exhibition have shown an undisputed quality of artistic acumen – deciding the ultimate winner was incredibly difficult.

Commenting on Emilija Škarnulytė as the winner of the Future Generation Art Prize 2019, the Jury said:

Emilija Škarnulytė’s work “t 1 ⁄ 2” stems from deep and extensive research which has been translated in a coherent and confident way. The jury found its scale, rhythm and pace mesmerising alongside its capacity to deal with vast expanses of time in a precise manner.

Her use of video expands into a multi-dimentional experience, confronting many of the major issues facing humanity which are often left unspoken. Without being overtly didactic, the work stays open-ended and poetic while raising fundamental questions about where we come from, who we are and where we might end-up.

Commenting on Gabrielle Goliath as the winner of the Special Prize, the Jury said:

We admired her handling of such difficult and important subject matter in a touching yet sharp manner in the work “This song is for...”. It speaks directly and emotionally to the viewer while generating a powerful sense of discomfort. The work leaves room for personal reflection and maintains respect for the six individual testimonies.

Commenting on Cooking Sections as the winner of the Special Prize, the Jury said:

We have a deep respect for artistic practice that engages with serious issues. Through the work “CLIMAVORE: For the Rights of the Soil Not to be Exhausted”, Cooking Sections proposes a better future and successfully engages a broader public to increase awareness of such issues.

All the shortlisted artists will take part in the Future Generation Art Prize 2019 @ Venice group exhibition organised by the PinchukArtCentre as an official Collateral Event of the 58th International Art Exhibition at Palazzo Ca’ Tron. As the winner of the Future Generation Art Prize 2019, Emilija Škarnulytė will present her solo show at the PinchukArtCentre in Kyiv, in 2020.

The exhibition of the 21 shortlisted artists for the fifth edition of the Future Generation Art Prize is on show at the PinchukArtCentre, Kyiv, Ukraine until 7 April 2019, curated by Björn Geldhof and Tatiana Kochubinska, curator, Research Platform at the PinchukArtCentre. The show presents works by the following shortlisted artists and groups: Alia Farid (Kuwait), Monira Al Qadiri (Senegal), Yu Araki (Japan), Korakrit Arunanondchai (Thailand), Kasper Bosmans (Belgium), Madison Bycroft (Australia), Gabrielle Goliath (South Africa), Rodrigo Hernández (Mexico), Laura Huertas Millán (Columbia), Marguerite Humeau (France) Eli Lundgaard (Sweden), Taus Makhacheva (Russia), Toyin Ojih Odutola (Nigeria), Sondra Perry (United States), Gala Porras-Kim (Columbia), Emilija Škarnulytė (Lithuania), Jakob Steensen (Denmark), Daniel Turner (United States), Anna Zvyagintseva (Ukraine) and artist collectives Basel Abbas and Ruanne Abou-Rahme and Cooking Sections.

Anna Zvyagintseva is included as the winner of the PinchukArtCentre Prize 2018 - a national contemporary art prize awarded to young Ukrainian artists up to the age of 35. All other artists were chosen by an international selection committee, which includes: Natalia Valencia Arango, Associate Curator, Estancia Femsa Casa Barragán (Mexico City); Julie Boukobza, Director of Luma Arles residency programme and 89plus residency at the Lab of the Google Cultural Institute (Paris); Tatiana Kochubinska, Curator, Research Platform at the PinchukArtCentre (Kyiv). Tumelo Mosaka, Chief Curator for the Investec Cape Town Art Fair; Zeynep Öz, Curator, Turkish Pavilion at the Venice Biennial 2019 (Istanbul) and Richard Riley, independent curator and Chair of the Gilbert & George Centre (London). 

20 shortlisted artists will be commissioned to create new works on view in exhibition at the PinchukArtCentre in Kyiv. The Main Prize in the amount of UAH 250 000 and two Special Prizes equal to UAH 60 000 each will be awarded by a distinguished international jury. In addition, the winners will receive internship in studios of world leading artists. A Public Choice winner will be determined by votes of the visitors attending the exhibition of the shortlisted artists and will be awarded UAH 25 000. The winners of the Prize will be announced at the Award Ceremony in March 2020.  

The winner of the Main Prize will be automatically included in the shortlist of the Future Generation Art Prize 2021 – an international art prize for young artists. 

Björn Geldhof, artistic director of the PinchukArtCentre: “The launch of the PinchukArtCentre Prize is always the most exciting moment for us in the year as it gives us a view on who is coming up next into Ukrainian art scene. With the changing country we also see the art scene changing dramatically in the most positive sense. I am convinced that this year will be a year full of surprises and amazing artists will be shown to Ukraine and to the world.”    

More than 10 years the PinchukArtCentre Prize has been supporting the future generation of Ukrainian artists by discovering new names and introducing them to Ukrainian public and the international community. Empowering the young generation of artists, giving them a platform, and creating an international hub of contemporary art in Kyiv is at the core of PinchukArtCentre’s work. 

20 shortlisted artists will be chosen by the Selection Committee in June 2019. The members of the selection committee in 2020 are: Kostiantyn Doroshenko, art critic, curator, historian, publicist; Serhii Kantsedal, manager of the Barriera exhibition space, curator of OGR YOU (Young Adults) CLUB & TALKS, OGR Officine Grandi Riparazioni, Turin, Italy; Tatiana Kochubinska, Curator of the Research Platform at the PinchukArtCentre; Lada Nakonechna, artist, participant of the R.Е.P. group, co-founder of the Method Foundation and co-editor of PROSTORY; Oleh Suslenko, artist, teacher of the department of graphic design of the Lviv National Academy of Arts, curator of the cathedral experimental platform of contemporary art “Gallery TSE.”

The PinchukArtCentre Prize is a biannual prize awarded to the best Ukrainian artists up to 35, launched in 2008. Funded by the Victor Pinchuk Foundation it is aimed at fostering, supporting and developing a new generation of young Ukrainian artists. 

Individual artists, as well as groups of artists with Ukrainian citizenship working with any genre of contemporary art are allowed to participate in the competition. One artist (or a group of artists) may submit from 3 to 7 works. The applications should be submitted according to the PinchukArtCentre Prize Rules. 

Featuring new and recent works, the exhibition explores two recurring themes through a variety of media. The first considers an ‘archeology of the future’, exploring the past and present through the eyes of tomorrow. Using cutting-edge technologies, the works question the possibilities of interpreting knowledge in today’s world.

Investigating ideas of the self, the second theme of the exhibition draws from individual socio-cultural values and traditions, whilst also exploring more poetic considerations of the psychological journey. Here, artists similarly reflect on a discrepancy between those traditions and shifting realities in a globalised world.

Shortlisted artists are: Monira Al Qadiri (35 – Kuwait), Yu Araki (33 – Japan), Korakrit Arunanondchai (31 – Thailand), Kasper Bosmans (28 – Belgium), Madison Bycroft (31 – Australia), Alia Farid (33 – Kuwait), Gabrielle Goliath (34 – South Africa), Rodrigo Hernández (34 – Mexico), Laura Huertas Millán (35 – Colombia), Marguerite Humeau (31 – France), Eli Lundgaard (28 – Norway), Taus Makhacheva (35 – Russia), Toyin Ojih Odutola (33 - Nigeria), Sondra Perry (31 – United States), Gala Porras-Kim (33 – Colombia), Emilija Škarnulytė (31 – Lithuania), Jakob Steensen (31 – Denmark), Daniel Turner (35 – United States), Anna Zvyagintseva (32 – Ukraine) and artist collectives Basel Abbas and Ruanne Abou-Rahme and Cooking Sections.

Björn Geldhof, Artistic director of the PinchukArtCentre comments: “Through its truly global and democratic format, the prize has been empowering artists from all over the world for over 10 years, with growing support from institutions and artist communities alike. Its unique concept guarantees each edition presents a fresh perspective on “a future generation of artists” – and we are proud knowing that these cutting-edge artists work to challenge our world views, whilst proposing new models for tomorrow.”

The exhibition is curated by Björn Geldhof, Artistic director of the PinchukArtCentre, and Tatiana Kochubinska, Curator of the Research Platform at the PinchukArtCentre.

Anna Zvyagintseva is included as the winner of the PinchukArtCentre Prize 2018 - a national contemporary art prize awarded to young Ukrainian artists up to the age of 35.

All other artists were chosen by an international selection committee, which includes: Natalia Valencia Arango, Associate Curator, Estancia Femsa Casa Barragán (Mexico City); Julie Boukobza, Director of Luma Arles residency program and 89plus residency at the Lab of the Google Cultural Institute (Paris); Tatiana Kochubinska, Curator, Research Platform at the PinchukArtCentre (Kyiv). Tumelo Mosaka, Chief Curator for the Investec Cape Town Art Fair; Zeynep Öz, Curator, Turkish Pavilion at the Venice Biennial 2019 (Istanbul) and Richard Riley, independent curator and Chair of the Gilbert & George Centre (London).

The selection committee was appointed by Future Generation Art Prize’s distinguished international jury which includes: Pablo León de la Barra, Curator at Large, Latin America, Solomon R Guggenheim Museum and Foundation (New York); Björn Geldhof, Artistic Director, PinchukArtCentre (Kyiv); Helen Molesworth, writer; Gabi Ngcobo, curator, 10th Berlin Biennale; Tim Marlow, Artistic Director, Royal Academy of Arts (London); Christine Macel, Chief Curator, Centre Pompidou (Paris) and curator, Venice Biennale 2017; and Hoor Al Qasimi, President, Sharjah Art Foundation and International Biennial Association.

From the shortlisted artists, the jury determine the winners of the main prize and special prizes during the Future Generation Art Prize exhibition at the PinchukArtCentre, Kyiv. Prizes are awarded at a ceremony on 22 March 2019.

The Future Generation Art Prize is a biannual global contemporary art prize open to all artists aged 35 or younger from anywhere in the world, working in any medium. Shortlisted artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale.

The main prize winner receives US $100,000 split between a $60,000 cash prize and a $40,000 investment in their practice. A further $20,000 is awarded as a special prize/s between up to five artists at the discretion of the jury for supporting projects that develop their artistic practice. 

Zhanna Kadyrova’s work refers to models of living together where we all look for a private space within an urban environment. The work by Lesia Khomenko draws the attention onto everyday life (much like Kadyrova) while the material used – satin glass – underlines the difficulties of sharing experiences with others. Finally the work of Dmytro Starusiev is a large scale layered photograph that is both a product of pushing technological limitations of handmade analogue photography and an abstract composition that thinks of Ukraine as a cross-road and a border between different worlds and realities.

Ukraine House operates January 21-25, 2019 in Davos and is organized by the Victor Pinchuk Foundation, Western NIS Enterprise Fund (WNISEF), Horizon Capital Ukrainian and Venture Capital and Private Equity Association (UVCA).

On January 24, 2019, the Victor Pinchuk Foundation and international investment advisory group EastOne will hold the annual Davos Ukrainian Breakfast, their traditional private event organized at the occasion of the Annual Meeting of the World Economic Forum (WEF).

Address of the Ukraine House:

Promenade 62, Davos, Switzerland

Official website: ukrainehousedavos.com

Ksenia Malykh, a head of PinchukArtCentre’s research department, responsible for Curatorial Platform: "We organize the Curatorial Platform to train new generation of curators. After 3 months of studying young curators have created their first exhibition that proposes a fresh and non-conventional view on Ukrainian contemporary art scene. It corresponds to our practice within the Research Platform to invite external curators to make exhibitions on Ukrainian art.”

The exhibition investigates what it means to be cool today. In search of the answer to this question, the show compares popular clichés and desperate attempts to match them. This way the curators and artists are trying to identify the patterns of our behavior and reasons we follow them.

Participants in the exhibition include Anna Bekerska, Kateryna Berlova, Ksenia Hnylytska, Dobrinya Ivanov, Iryna Kudrya, Katya Libkind, Bogdan Moroz, Stanislav Turina-Shameful-Cunning-Shameless-Caught(?)-Servant of God and Studio 12345678910.

PinchukArtCentre's Curatorial Platform is an educational platform for young curators, relying on the high institutional capacity and expertise of an expert team and offering access to leading practices and knowledge. In addition to prizes for young artists, the Curatorial Platform is a sustainable investment of the art centre in the future generation of art- specialists.

The title of the exhibition references Virginia Woolf’s classic essay A Room of One’s Own (1929), in which the writer challenged the stereotypical understanding of a woman artist’s position and place in the “men’s” world. By engaging with this title, the exhibition raises the question of women’s “room” in contemporary Ukrainian society. Eschewing clear definitions of what this space might be, the show raises the question of the nature of comfort zones, spaces of freedom, and spaces of expression instead, etc.

Participating artists: Yevgenia Belorusets, Kateryna Bilokur, Yana Bystrova, Oleksandr Chekmeniov, Oksana Chepelyk, Semen Ioffe, Zhanna Kadyrova, Alevtina Kakhidze, Oksana Kazminа, Alina Kleytman, Alina Kopytsa, Oksana Pavlenko, Maria Prymachenko, Polina Raiko, Vlada Ralko, Anna Scherbyna, Maryna Skugareva, Hanna Sobachko-Shostak, Mykola Trokh, Kateryna Yermolaeva, Margarita Zharkova, Anna Zvyagintseva. 

The exhibition attempts to highlight the specificity of the Ukrainian art context, which, having inherited outstanding contradictions of the Soviet experience, simultaneously seeks to inscribe itself, if somewhat artificially, into preexisting West European narratives.

The exhibition is comprised of roughly three parts focusing on different interpretations of the notion of space: as enforced and hidden, as political and manifested, and as bodily and sensual. These “spaces” are constructed around a dialogue between the works of contemporary artists and historical artworks (propaganda posters of the 1920s-30s, Soviet monumental art, the so-called folk art, etc.) This marks the first time when PinchukArtCentre invited artists to create new works for a research exhibition, addressing or rethinking the issues raised in the show.

Curators: Tatiana Kochubinska and Tetiana Zhmurko.

The exhibition was made possible through the cooperation with the National Art Museum of Ukraine, the National Museum of Ukrainian Decorative Folk Art, V.I. Vernadskyi National Library of Ukraine, and Polina Raiko Charity Foundation. 

Technical partner of the exhibition: Front Pictures. 

Shortlisted artists are: Alia Abdal Figueroa (33 – Kuwait), Monira Al Qadiri (35 – Senegal), Yu Araki (33 – Japan), Korakrit Arunanondchai (31 – Thailand), Kasper Bosmans (28 – Belgium), Madison Bycroft (31 – Australia),  Gabrielle Goliath (34 – South Africa), Rodrigo Hernández (34 – Mexico), Laura Huertas Millán (35 – Colombia), Marguerite Humeau (31 – France) Eli Lundgaard (28 – Sweden), Taus Makhacheva (35 – Russia), Toyin Ojih Odutola (33 - Nigeria), Sondra Perry (31 – United States), Gala Porras-Kim (33 – Colombia), Emilija Skarnulyte (31 – Lithuania), Jakob Steensen (31 – Denmark), Daniel Turner (35 – United States), Anna Zvyagintseva (32 – Ukraine) and artist collectives Basel Abbas and Ruanne Abou-Rahme and Cooking Sections.

Anna Zvyagintseva is included as the winner of the PinchukArtCentre Prize 2017 - a national contemporary art prize awarded to young Ukrainian artists up to the age of 35. All other artists were chosen by an international selection committee, which includes: Natalia Valencia Arango, Associate Curator, Estancia Femsa Casa Barragán (Mexico City); Julie Boukobza Director of Luma Arles residency program and 89plus residency at the Lab of the Google Cultural Institute (Paris); Tatiana Kochubinska, Curator, Research Platform at the PinchukArtCentre (Kyiv). Tumelo Mosaka, Chief Curator for the Investec Cape Town Art Fair; Zeynep Öz, Curator, Turkish Pavilion at the Venice Biennial 2019 (Istanbul) and Richard Riley, independent curator and Chair of the Gilbert & George Centre (London). 

The selection committee was appointed by Future Generation Art Prize’s distinguished international jury which includes: Pablo León de la Barra, Curator at Large, Latin America, Solomon R Guggenheim Museum and Foundation (New York); Björn Geldhof, Artistic Director, PinchukArtCentre (Kyiv); Helen Molesworth, writer; Gabi Ngcobo, curator, 10th Berlin Biennale; Tim Marlow, Artistic Director, Royal Academy of Arts (London); Christine Macel, Chief Curator, Centre Pompidou (Paris) and curator, Venice Biennale 2017; and Hoor Al Qasimi, President, Sharjah Art Foundation and International Biennial Association.

From the shortlisted artists, the jury determine the winners of the main prize and special prizes during the Future Generation Art Prize exhibition at the PinchukArtCentre, Kyiv. Prizes are awarded at a ceremony in March 2019. 

The Future Generation Art Prize is a biannual global contemporary art prize open to all artists aged 35 or younger from anywhere in the world, working in any medium. Shortlisted artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale. 

The main prize winner receives US $100,000 split between a $60,000 cash prize and a $40,000 investment in their practice. A further $20,000 is awarded as a special prize/s between up to five artists at the discretion of the jury for supporting projects that develop their artistic practice. 

Yalta European Strategy (YES) and the PinchukArtCentre present contemporary art the 15^th Annual Meeting of Yalta European Strategy (YES) – “The Next Generation of Everything”. The world's leading artists Andreas Gursky, Martin Kobe, Raquel Kogan, Jeff Koons, Takashi Murakami, Mariko Mori, Marc Quinn, and Vasyl Tsagolov offer an imagination for the future. Their works at the 15^th YES Annual Meeting support debate on what lays ahead.

Yesterday, during the welcoming reception of the 15^th YES Annual Meeting

Victor Pinchuk, founder and member of the Board of Yalta European Strategy presented “Wave UFO” by Mariko Mori as a symbol for the future. It suggests a world connected beyond its own and people connected with each other. Mori explores ideas of cosmos through technology and spirituality. The work is an interactive experience that brings 3 persons together in the UFO. They will see images and hear sounds that are a direct result from their collective brain waves measured during their experience.

For the first time the main visual element for the YES Dining Hall is done with the support of an artist. A fragment from the large painting by Olafur Eliasson “Whenever the rainbow appears” is a reminder of the full spectrum of possibilities the future provides. The idea of the rainbow symbolizes hope and triggers our imagination, giving capacity to see beyond what is evident and direct. It is a celebration of diversity and creation, a celebration of what is to come: the next generation of everything.

In an exlusive collaboration with 15^th YES Annual Meeting Takashi Murakami created a new painting “Ukraine: War & Peace” (ウクライナ：戦争と平和), a diptych depicting flowers and skulls on the colors of the Ukrainian flag. One canvas, with skulls, shows the price Ukraine is paying for the ongoing war and its hard-fought independence. The other canvas, filled with flowers, shows hope and a bright future for a country that has all the potential to flourish.

These unique artistic collaborations highlight the 15 year long tradition of YES to bring art at the heart of political discussion. The active support of some of best artists globally equally shows the shared belief that Art is a change maker, provoking and influencing discussion.

The art landscape of the conference also includes these works:

Evolution by Marc Quinn explores an idea of new life and through this new life an idea of new possibilities, hopes, and a future we have not yet imagined. This installation, comprising nine large sculptural components and one rock of unhewn marble, presents the human embryo throughout the stages of its development. Each sculpture represents one month in its gestation.

Cracked Egg by Jeff Koons is a meticulous and monumental painting of an open eggshell. The painting suggests the birth of something new. In the context of the forum one can imagine the birth of new ideas, a new life, a new generation. It suggests we know something is coming but at the moment we can only imagine what it will be. Perhaps the next generation of everything.

Untitled by Martin Kobe explores how the virtual realm takes over and merges into reality. On the canvas it seems those two worlds collide. Space, architecture, and time transform into one giving a sense of movement and progress. The painting brings our gaze to a near-science fiction world where construction and de-construction are in continuous flux. Where the old is systematically replaced by the new.

Kamiokande by Andreas Gursky is an image made inside a neutrino observatory that is located 1,000 m under Mount Ikeno in Japan. It was designed to detect high-energy neutrinos to search for proton decay, study solar and atmospheric neutrinos, and keep watch for supernovae in the Milky Way Galaxy. In the context of the conference, the work refers to our search for new technologies and science. Studying space offers us a different understanding of our world and generates potential new ideas that could revolutionize the world as we know it today.

Les Mees by Andreas Gursky is an image of a photovoltaic plant near Marseille in France. In this exceptional location, the panels become part of the landscape. It is an image that allows you to see the old world in the background, the mountains, and the modern world, the plant, up front. Les Mées, like Kamiokande, is looking at the stars, more specifically the sun that feeds the world today and is the source of the future's clean energy while depicting the impact this potentially has on nature.

Oneness by Mariko Mori suggests the idea of openness and overcoming the fear before unknown. The work is a metaphor of society’s attitude towards outcasts and calls to reach out and part from prejudice. In the context of the works in this exhibition, it directs our thoughts to space. To where we will explore the unknown and, with a mixture of joy and curiousness, welcome new ideas and realities.

Reflexao #2 by Raquel Kogan makes each visitor become a digital figure. Upon entering her immersive work, it seems as if one has entered a digital space and left the real world. The work plays upon how digital reality has gained real-world rights and relevance and how its deep impact has grown into the way we live our life and develop our skills. A human being, outside of the digital real, seems like a hard-to-imagine future.

Double landing and Weeding, Vasyl Tsagolov

Double landing and Weeding by Tsagolov are two paintings that introduce the world beings to the landing of Aliens. With a strong sense of humor and irony, rural life gets interrupted and partially taken over by the extraterrestrial lifeforms. Tsagolov depicts the entire scene with a wonderful naivety offering us a sense of balance where the existence of aliens become a natural part of our existence.

The official Twitter handle of the 15^th YES Annual Meeting is @yes_ukraine, and participants and followers can include the hash tag: #YESUkraine2018

Partners of 15th YES Annual Meeting:

• Arawak Energy
• Hillmont Partners
• lifecell
• International Renaissance Foundation
• Western NIS Enterprise Fund (WNISEF)

Media partners of 15th YES Annual Meeting:

• Dzerkalo Tyzhnya (DT.UA)
• European Pravda
• ICTV
• Liga.net
• Novoye Vremya Strany (NV)
• PRYAMIY Channel
• Radio NV
• The Kyiv Post

A balanced programme between academic and practical approach includes:

• working as a curatorial assistant;
• practice during preparation of exhibition the Future Generation Art Prize 2019;
• seminars on theory and philosophy of art;
• workshops on project management, curating and critical writing;
• curating your own exhibition in PinchukArtCentre.

The course starts on October 1, 2018 and will last till February 28, 2019. During this period all selected applicants will get a stipendium 7000 UAH per month.

Requirements to the applicants:

All applicants should send a Cover Letter delivering applicants’ motivation as well as a CV (both in English) to: info@pinchukartcentre.org 

Applicants should:

• commit to develop themselves professionally in the field of contemporary art;
• to be up to 35 years old;
• speak and write fluently English;
• have good verbal and writing skills;
• background in arts and/or communication is an advantage;
• have own laptop.

Application deadline is September 16, 2018.

PinchukArtCentre’s Curatorial Platform is a training centre for young curators based on the high institutional competence as well as the experience of its team of professionals offering access to the best practice and knowledge. The first edition of the Curatorial Platform was launched in 2011. Tatiana Kochubinska, the participant of the project, joined the art centre’s team on a permanent basis as Junior Curator. Now she is a Curator of the PinchukArtCentre’s Research Platform.

“I want a dyke for president.” It is the first sentence of the exhibition and the opening of the 1992 Poem by Zoë Leonard called I want a President. Although written more than two decades ago by a feminist activist poet in the USA, it has lost no relevance either to the US or to Ukraine. 

The poem provokes considerations toward recent global elections that shifted balances of power and sharply points towards the upcoming presidential election for Ukraine on March 31, 2019 as well as the Parliamentary elections in Ukraine on October 27, 2019. This provocation is present, future and past.  

Democracy Anew? exhibition departs from a double question: “Do we need to rethink democracy? How to adjust or adapt this system to survive the challenges it faces today?” or “Do we need a new model? Is democracy losing? Is the representative power model is no longer functional and up to the task?” Throughout the exhibition, we do not offer a linear view to these questions we pose but rather suggest a complicated framework of thoughts, risks and dreams that define or threaten democracies as we know them today. 

The first floor offers a historical and conceptual framework for the exhibition. The works of Luc Tuymans, Zoë Leonard, Allora & Caldzadilla and Rachel Whiteread offer reflections on the model of representative democracy: its failures and imperfections but equally at its capacity to inspire hope and brotherhood. Three robot-drawings (all 2018) by Goshka Macuga are juxtaposed to this. They are a playful gesture alluding to the finiteness of human dominance to interpret history or predict the future in favor of possible artificial intelligence.   

Throughout the exhibition, one of the major challenges democracies face today keeps coming back: “How to protect democracy as an open society?” Especially the 2008 work Don’t Cross the Bridge Before you Get to the River by Francis Alÿs tackled this challenge head on. Today’s political choices to close borders, separate children from their families when trying to immigrate or keep people afloat in mid-sea threaten the fundamental openness of our societies and therefore democracy itself. 

It touches upon the fundamental principle of a democracy to protect and emancipate the minority. This is a historical struggle of power represented in the works of Martine Tayou, who looks at this from an African point of view, and in the work of Sondra Perry dealing with the African-American struggle in the US. 

Many of those risks and challenges become more complicated to handle in a world where populism and authoritarian regimes seem attractive and successful. An idea projected a newly produced painting by Takashi Murakami or in the works of Maurizio Cattelan.

But throughout, art is one of many forms that offer resistance. Art takes systematically the position of the minority and provokes the status quo. Like the work Still river (2016) by Olafur Eliassion, its provocation is both aimed at itself, generating a polyphony of forms, and aimed at the standards to which a society and its individuals judge their way of life, their future and surroundings. 

Contemporary art, just like a good functioning democracy, creates “a sense of possibilities”¹. Looking forward the presidential elections in Ukraine, it’s this sense of possibilities we must cherish. To say it with a phrase Zoë Leonard poem: “… I want a candidate who isn’t the lesser of two evils…” 

Curator – Björn Geldhof, Artistic director of the PinchukArtCentre.

¹Luhmann quote / in The Art of Democracy, Pascal Gielen, pg 7.

“Red Book: Soviet Art in Lviv in the 80s and 90s” is focused on the Soviet art of 1980s Lviv   and the visual practices of the 1990s that have been neglected within the institutional domain for a long time and covered by academic works only partly. 

Stanislav Silantiev, one of the exhibition’s curators: “The internal opposition between artistic metropoles and groups of authors contributed to an expectable localization of the artistic process, which turned fast into a collective reluctance to write one “extended history” of the Ukrainian contemporary art.” 

This exhibition is one of the first large studies exploring the artistic life of Lviv in 1980s and 1990s. There, the dynamic late Soviet-era culture of the 1980s acquired features of an “anti-civilisation,” and starting in the second half of the 1990s, the role of the artist was devaluated to the point of full dissolution of the author’s identity in the chaos of the new market economy.

The show presents works by 1980s and 1990s Lviv-based artists part of which recurred to an inner existential or physical emigration following the collapse of the Soviet Union. Participating artists: Boris Berger, Stas Horskyi, Halyna Zhehulska, Oleksandr Zamkovskyi, Oleksii Iutin, Mykola Kumanovskyi, Illia Levin, Iryna Nirod, Ihor Podolchak, Platon Silvestrov, Rostyslav Silvestrov, Iurii Sokolov, Volodymyr Surmach, Bronislav Tutelman, Mykola Filatov, Ivan Frank, Mykhailo Frantsuzov, Ihor Shuliev, Iurii Shcherbatenko, Myroslav Iahoda, Myroslav Iaremak and Serhiy Yakunin.

Invited curators: Stanislav Silantiev and Halyna Khorunzha, founders of the “First Jean Jaures Proletarian Reserve” curatorial group.

Exhibition Design - Oleksandr Burlaka.

PAC-UA presents Lesia Khomenko’s solo exhibition, “Perspektyvna”, which focuses on the point of view and perspective distortions it engenders. In this case, the point of view is defined by the artist’s studio on the street formerly known as Perspektyvna (Perspective) Street (Kyiv), and it is brought to the institution and into the public space.

In this work, Khomenko transposes the observation point from private into public (which means political) field, from periphery to the centre, and she delegates properties of a subject to an object. By continuing to reflect on and challenge the powers of painting  - the primary medium she has been working with during her whole practice – Khomenko elaborates this time on the impossibility to see without distortions. 

PAC-UA is a special program line to present new produced works of Ukrainian artists embedded in the context of the Research Platform, aiming to research ongoing artistic processes within the country and support strong and long-term collaboration between the PinchukArtCentre and the artists. Since its launch in 2011, the exhibitions by Vasyl Tsagolov, Arsen Savadov, Oleksandr Roytburd, Iliya Chichkan, Mykola Matsenko, Pavlo Makov, Zhanna Kadyrova, Alexey Salmanov, Sergiy Bratkov, Zinaїda Lihacheva, Sasha Kurmaz and Anna Zvyagintseva were showcased at the PAC-UA.

Invited curator: Ksenia Malykh.  

Lesia Khomenko was born in 1980 in Kyiv, Ukraine. She graduated from the National academy of fine arts and architecture in 2004. In 2004, she c-founded and participated in R.E.P. group, and since 2008, she has been part of the Hudrada curatorial group. Her works were on show as part of solo and group exhibitions, including the main project in the first Kyiv Biennale of Contemporary Art, Arsenale 2012; the main project of the Kyiv Biennale 2015 “School of Kyiv”; the National Art Museum of Ukraine, Kyiv; MUMOK, Vienna; White Box Gallery, New-York; Zacheta gallery, Warsaw. In 2005 and 2006, she took part in the contemporary art residency at Kyiv-Mohyla Academy National University, and in 2008, together with R.E.P. group, she  took part in the residency at LIA (Leipzig International Art program), Leipzig , Germany. In 2009, 2011 and 2013 she was a finalist in the PinchukArtCentre Prize and the Future Generations Art Prize, Kyiv Ukraine, and the Kazimir Malevych Artist Award (2012, 2016), Kyiv. She lives and works in Kyiv, Ukraine. Since 2015, she has been teaching the contemporary art course at KAMA (Kyiv Media Art Academy).

Research Platform was launched by the PinchukArtCentre in 2016. It is an open platform for thinking, research and discourse that aims to generate a living archive of Ukrainian Art from the early 80ties till present. Accessible to all, the research platform is a pioneering project to preserve, catalogue and reconsider historical information that is crucial for critical reflection on Ukrainian identity today and tomorrow.

The exhibition practice of the Research Platform develops and displays exhibitions drawn from the research activities and “PAC-UA” – investment in new production of young artists. 

Established by the Victor Pinchuk Foundation in 2009, it is the 10th anniversary of the founding of the Prize. The distinguished international jury each appoint a member of the selection committee to review every application and nominate 20 artists for the shortlist. From the shortlisted artists, the jury determine the winners of the main prize and special prizes during the Future Generation Art Prize exhibition at the PinchukArtCentre, Kyiv. Prizes are awarded at a ceremony in March 2019.  

The Future Generation Art Prize is a biannual global contemporary art prize open to all artists aged 35 or younger from anywhere in the world, working in any medium. Shortlisted artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale.

The main prize winner receives US $100,000 split between a $60,000 cash prize and a $40,000 investment in their practice. A further $20,000 is awarded as a special prize/s between up to five artists at the discretion of the jury for supporting projects that develop their artistic practice.  

Jury members

Pablo León de la Barra, curator at large, Latin America, Solomon R Guggenheim Museum and Foundation, New York

Pablo León de la Barra was selected as the second curator for the Guggenheim UBS MAP Global Art Initiative in 2013 – a programme that creates direct global access to contemporary art and education. He is also the founder of the curatorial project, Novo Museo Tropical, and was the curator of the first Gran Bienal Tropical, San Juan in 2011. 

Björn Geldhof, artistic director, PinchukArtCentre, Kyiv

Since 2009, Bjorn Geldhof has been responsible for the Future Generation Art Prize. Prior to this, he was artistic and strategic director of YARAT, Baku. Geldhof has curated numerous projects internationally, including the Ukrainian National Pavilion at the 56th Venice Art Biennale in 2015 and the Future Generation Art Prize exhibitions in Venice in 2011, 2013 and 2017.  

Helen Molesworth, writer

Formerly the chief curator of the The Museum of Contemporary Art (MOCA), Los Angeles, Helen Molesworth was also was the chief curator at the Institute of Contemporary Art (ICA), Boston from 2010 to 2014.  

Gabi Ngcobo, curator, 10th Berlin Biennale

Gabi Ngcobo is engaged in artistic, curatorial, and educational projects in South Africa and internationally, and is a founding member of the Johannesburg-based collaborative platforms NGO and Center for Historical Reenactments. Her writings have been published in various catalogues, books, and journals. 

Tim Marlow, artistic director, Royal Academy of Arts, London

Prior to Tim Marlow’s appointment as artistic director of the Royal Academy of Arts in 2014, he was director of exhibitions at White Cube, London from 2003 to 2014. Marlow was the founding editor of Tate magazine and is the author of numerous books and catalogues.

Christine Macel, chief curator, Centre Pompidou, Paris and curator, Venice Biennale 2017

Christine Macel is an art critic and art historian, who has been the chief curator at the Centre Pompidou since 2000. Macel was the artistic director of Viva Arte Viva, the 57th Venice Art Biennale in 2017.  Marcel has written numerous catalogues and also contributes to publications such as Artforum and Flash Art. 

Hoor Al Qasimi, president, Sharjah Art Foundation and International Biennial Association

Hoor Al Qasimi is a curator and practicing artist who was appointed the curator of Sharjah Biennial 6 in 2003 and has since continued as the Biennial Director. Al Qasimi serves on the board of directors for MoMA PS1, New York; KW Institute for Contemporary Art, Berlin; Ashkal Alwan, Beirut and Darat Al Funun, Amman.

The book includes articles that reveal the squat’s history, analyse exhibition activities of its members and explore the importance of Parcommune as a phenomenon in whole. All the information is presented in the historic context of the late 1980s and early 1990s, and supported with archival materials collected by the Research Platform team from the Ukrainian art scene figures. 

The book "Parcommune. Place. Community. Phenomenon" has been based on the research that preceded an eponymous exhibition that was held in October 2016. The goal of the exhibition was to comprehend the phenomenon of a squat that was active in Kyiv between 1990 and 1994 on Paris Commune street (Mykhailivska st. today). The exhibition featured works, photographs, videos and archival materials relating to life and oeuvre of artists such as Illya Chichkan, Dmytro Dulfan, Oleg Golosiy, Oleksandr Hnylytskyi, Dmytro Kavsan, Oleksandr Klymenko, Yuri Solomko, Valeria Troubina, Vasyl Tsagolov, Leonid Vartyvanov and many others.

Publication of books and holding research exhibitions is a strategic activity of the art centre to explore the local artistic context, foster professional debate and invest in the intellectual product. An important element to this process is creation and development of a library at the art centre that allows experts and public access to materials, including archival items the work of the Research Platform is based upon.

We would like to inform you that from 15 May until 23 June, 2018 the PinchukArtCentre is closed for exhibition changeover.

One Love Coffee will operate as usual.

See you soon!

Mykola Karabinovych received the first special prize. Group Yarema Malashchuk and Roman Himey was awarded with the second special prize. Besides UAH 60 000 ($ 2300 USD), the PinchukArtCentre will also offer one month international studio residence for each winner.

The winners were selected and announced at the award ceremony in Kyiv by a distinguished international jury consisting of Bjorn Geldhof, artistic director of the PinchukArtCentre; Zhanna Kadyrova, artist; Alicia Knock, curator of the Center Pompidou; Viktor Misiano, curator, editor-in-chief of the edition “Artistic magazine”; Daniel Muzyczuk, curator of the Muzeum Sztuki.

Introducing Anna Zvyagintseva, the winner of the PinchukArtCentre Prize 2018, the jury stated: “Anna Zvyagintseva captured the attention of the jury through a well-refined and precise formal language. In a very discrete way, her poetics unravel an understated political dimension to the viewer. She defines drawing as a form of open writing that expands into sculpture and space. Her method records the movement of bodies and draws from the everyday, both personal and collective. We recognize her consistent practice and thoughtful artistic potential.”

Commenting on works by the first special prize Mykola Karabinovych, the jurors said: “The jury was struck by the outstanding work by Mykola Karabinovych. We recognize its minimal and simple formulation that contradicts the complexity of a historical and yet intimate narrative. It is a dedicated performative gesture turned into a humble transient monument occupying the memory of the repressed, regardless of their ethnicity or nationality.”

Awarding Yarema Malashchuk and Roman Himey, the second special prize, the jury stated: “We recognize the seductive professional visual language of the film by Yarema Malashchuk and Roman Himey. It captures real people in a daily situation with a particular eye for detail, slowly enticing the viewers into a surprising experience with an unexpected twist that takes them from reality to the threshold of the sublime.”

The public choice prize of UAH 25 000 (approx. $ 1000 USD) was awarded to Alina Kleitman for her work “Ask A Mom.” The winner of this nomination was chosen based on the results of voting by the PinchukArtCentre visitors held from February 22 to April 15, 2018.

The 20 nominees for the PinchukArtCentre Prize 2018 were shortlisted by an independent selection committee from more than 650 applicants and include: Mykhailo Alekseienko (27, Kyiv), Iuliana Golub (27, Kharkiv), Taras Kamennoi (32, Kharkiv), Mykola Karabinovych (29, Odessa), Pavlo Khailo (29, Lugansk/Kyiv), Alina Kleitman (26, Kharkiv), Vitalii Kokhan (30, Sumy/Kharkiv), Yulia Krivich (29, Dnipro), Sasha Kurmaz (30, Kyiv), Larion Lozovyi (29, Kyiv), Roman Mikhaylov (28, Kharkiv/Kyiv), Oleg Perkowsky (33, Kamianets-Podilskyi/Lviv), Sergii Radkevych (30, Lutsk/Lviv), Yevgen Samborsky (33, Ivano-Frankivsk/Kyiv), Dmytro Starusiev (32, Makiivka), Ivan Svitlychnyi (28, Kharkiv/Kyiv), Kateryna Yermolaeva (32, Donetsk/Kyiv), Anna Zvyagintseva (30, Dnipro/Kyiv) and groups: Yarema Malashchuk (24, Kolomiya/Kyiv) and Roman Himey (25, Kolomiya/Kyiv), Revkovskiy and Rachinskiy (Daniil Revkovskiy, 24, Kharkiv; Andrij Novikov, 27, Kharkiv).

Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2018 is curated by Tatiana Kochubinska. It is open until 13 May, 2018 from Tuesday through Sunday from 12 noon to 9 pm. Admission is free.

PinchukArtCentre (Kyiv, Ukraine) announces the 5^th edition of the Future Generation Art Prize. Established by the Victor Pinchuk Foundation in 2009, it is the 10th anniversary of the founding of the Prize.

The Future Generation Art Prize is a biannual global contemporary art prize to discover, recognise and give long-term support to a future generation of artists. All artists aged 35 or younger from anywhere in the world, working in any medium are invited to apply.

Awarded through a competition, a highly respected selection committee appointed by a distinguished international jury reviews every application and nominates 20 artists for the shortlist. These artists will be commissioned to create new works on view in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale, curated by Björn Geldhof (artistic director, PinchukArtCentre).

The main prize winner receives US$100,000 split between a $60,000 cash prize and a $40,000 investment in their practice. A further $20,000 is awarded as a special prize/s between up to five artists at the discretion of the jury for supporting projects that develop their artistic practice. 

A major contribution to the open participation of younger artists in the dynamic cultural development of societies in global transition, the Prize has supported the artistic development and production of new works of over 84 artists in exhibitions at the PinchukArtCentre in Kyiv and the Venice Biennale. Alongside an open call, a global network of partner platforms and special correspondents work as ambassadors to encourage artists to apply for the prize. 

Entries can be submitted online from 16 April 2018 at www.futuregenerationartprize.org

The Future Generation Art Prize is widely acknowledged as a springboard for emerging talent. Lynette Yiadom Boakye won the Prize in 2012, before going on to be shortlisted for the Turner Prize and a highly successful solo show at the Serpentine Gallery in London in 2015. The winner of the first edition of the Prize, Cinthia Marcelle, represented Brazil at the 57th International Art Exhibition in 2017. See past winners of the prize here.

Jury

A distinguished international jury determines the main prize and special prizes winners at their meeting in Kyiv during the Future Generation Art Prize exhibition at the PinchukArtCentre. They award the prizes at a ceremony on the day of the meeting, 6 March 2019.

Selection Committee

Seven outstanding experts, each one appointed by one of the jury members, will review every application and will nominate 20 artists for the short list.

Calendar

#fgap2019 #fgapopencall

Instagram: @futuregenerationartprize

Twitter: @FGAPrize

Facebook: @futuregenerationartprize

YouTube: PinchukArtCentre

Board and artist patrons

• Victor Pinchuk (Chairman), businessman and philanthropist
• Richard Armstrong, director, Solomon R. Guggenheim Foundation and Museum, USA 
• Eli Broad, founder, The Broad Foundations, USA 
• Andreas Gursky, patron artist, Germany
• Damien Hirst, patron artist, UK 
• Dakis Joannou, founder, DESTE Foundation for Contemporary Art, Greece 
• Sir Elton John, founder, Elton John AIDS Foundation and Sir Elton John Photography Collection, UK 
• Jeff Koons, patron artist, USA 
• Glenn D. Lowry, director, The Museum of Modern Art New York, USA 
• Takashi Murakami, patron artist, Japan 
• Alfred Pacquement, former director of Musée National d'Art Moderne, Centre Georges Pompidou, France 
• Miuccia Prada, founder, Fondazione Prada, Italy 

Education interns

Whom do we need: two students. 

What do we need: 

• Outgoing calls to educational institutions and organizations with a purpose to invite to attend guided tours;
• Spread promo posters within schools, universities;
• Events coordination and lectures assistance;
• Social media research and communication;
• 15 working hours per week; 

What do we offer: 

• Involvement in the process of education project building (from the idea to its realization).
• Opportunity to learn about art-centre working process from inside;
• Guidance in the working skills improvement;
• Gain practical and theoretical training in museum work;
• Work closely with a member of the education team staff;
• Attend curator talks and a weekly lecture series;
• Meeting with lecturers and artists. 

Curatorial interns

Whom do we need: two students/graduates of art or cultural science departments.

What do we need:

• Curatorial day-to-day assistance;
• Assistance to the artists during the installation period ; 
• Daily tasks for exhibition preparation (i.e. search for technical elements);
• Artists biographies research, writing and unifying according to the previous examples.
• 15 working hours per week.

What do we offer: 

• Involvement in the process of exhibition creation (from the concept to its realization);
• Meeting with artists;
• Work closely with a curator;
• Opportunity to learn about art-centre working process from inside;
• Gain practical and theoretical training in museum work.

Open Tuesday through Sunday from 12:00 until 21:00
Admission is Free

The PinchukArtCentre (Kyiv, Ukraine) presents the 1^st solo exhibition in Eastern Europe by Dineo Seshee Bopape (South Africa), the Main Prize Winner of the 4^th edition of the Future Generation Art Prize. The show includes a major soil installation specially produced for the PinchukArtCentre. 

The new monumental earth piece reminds, in form, of ancient spiritual places and draws upon traditional fertility iconography. Ukrainian soil is used in a systematic formal transformation. The earth moves from suggesting human architectural construction into the natural flow of a topographical landscape, evoking the lost presence of water, to finally glide into a quiet bed of soil. On top of that Bopape plays with herbs, crystals, clay, gold-leaf and special collected samples of earth coming from a dozen of spiritual places around the world. The Ukrainian Soil becomes a host for synergies of signs, beliefs, energies and materials for which our language lacks an essential vocabulary.

Soil is solid. It grounds and gives a sense of belonging. It is strongly political. It defines a sense of nationhood and identity. At the same time it remains seemingly still and neutral. However, in the work of Bopape, soil becomes a river. It expands from politics towards spirituality (or from spirituality through politics), reclaiming and re-discovering lost traditions and globally marginalized believe systems. 

Bjorn Geldhof, curator of the exhibition and artistic director of the PinchukArtCentre: “We continue a beautiful tradition of presenting the winner of the Future Generation Art Prize with a solo exhibition at the PinchukArtCentre. Dineo Seshee Bopape has expanded the workgroup for which she was awarded the prize in Kyiv in 2017 with a new monumental earthwork. Her use of Ukrainian soil enables the viewers to experience soil in a completely different way. Not only is it a political narrative, but it also manifests as a source of energy and feeling.” 

Dineo Seshee Bopape was awarded the Main Prize of the fourth edition of the Future Generation Art Prize for her earth sculpture made of rich black local Ukrainian soil that acts as a platform for objects, organic forms and geological fragments that represent actions and symbols. Her art works were presented as a part of “The Future Generation Art Prize @ Venice 2017” exhibition - an official Collateral Event of the 57th International Art Exhibition – la Biennale di Venezia organised by the Victor Pinchuk Foundation and the PinchukArtCentre.

The exhibition will be open from February 24 until May 13, 2018 in the PinchukArtCentre, Kyiv, Ukraine. Opening hours: from Tuesday through Sunday from 12 noon to 9 pm. Admission is free.

Future Generation Art Prize is a major international art prize for artists younger than 35. Established by the Victor Pinchuk Foundation to discover and provide long-term support for a generation of emerging artists, wherever they may live and work, this unique artist-focused prize aims to make a major contribution toward the production of new work by young artists.

Dineo Seshee Bopape was born in 1981, on a Sunday. If she were ghanain, her name would be akosua/akos for short. During the same year of her birth, the Brixton riots took place; two people were injured when a bomb exploded in a Durban shopping center; bobby sands dies; 100 were killed during riots in Cassablanca; mtv is launched; the boeing 767 makes its first airflight; umkonto we sizwe performs numerous underground assaults against the apartheid state. princess Di’ of Britain marries charles; bob Marley dies; apartheid SA invades Angola;  AIDS is identified/ created/named; salman rushdie releases his book “midnight’s children”; Winnie mandela’s banishment orders are renewed for another 5 years; in the region of her birth- her paternal grandmother dies affected by dementia; people cried and people laughed... The world’s population was at around 4.529 billion... today she(bopape) is 1 amongst 7 billion - occupying multiple intersecting adjectives.

Open Tuesday through Sunday from 12:00 until 21:00
Admission is Free

The PinchukArtCentre (Kyiv, Ukraine) presents the exhibition of 20 shortlisted artists for the fifth edition of the PinchukArtCentre Prize, a nationwide prize for Ukrainian artists younger than 35. The show focuses on the presentation of new works, produced with the support of the PinchukArtCentre. 

The exhibition brings together a group of artists from an unprecedented variety of regions, coming from all over Ukraine including artists living abroad. The range of subjects in the exhibition is wide. Some artists deal with socio-political narratives of Ukraine as a country in conflict and the impact on its people. Others draw from self-exploration through the use of material, form and media. A third common subject in some of the shortlisted positions is the search towards future and the constructions of utopias.

Bjorn Geldhof, artistic director of the PinchukArtCentre: “With the 5^th edition, we celebrate 10 years of the PinchukArtCentre Prize supporting and enabling a new generation of Ukrainian artists. After so many years, having welcomed so many artists, I can only be proud to observe a radically new generation of artists coming to the art scene. Their concerns, language, and subjects are different; they announce a new way of thinking and a new way of showing what Ukrainian art could be for the future.”

The 20 nominees for the PinchukArtCentre Prize 2018 were shortlisted by an independent Selection Committee from more than 650 applicants and include: Mykhailo Alekseienko (27, Kyiv), Iuliana Golub (27, Kharkiv), Taras Kamennoi (32, Kharkiv), Mykola Karabinovych (29, Odessa), Pavlo Khailo (29, Lugansk/Kyiv), Alina Kleitman (26, Kharkiv), Vitalii Kokhan (30, Sumy/Kharkiv), Yulia Krivich (29, Dnipro), Sasha Kurmaz (30, Kyiv), Larion Lozovyi (29, Kyiv), Roman Mikhaylov (28, Kharkiv/Kyiv), Oleg Perkowsky (33, Kamianets-Podilskyi/Lviv), Sergii Radkevych (30, Lutsk/Lviv), Yevgen Samborsky (33, Ivano-Frankivsk/Kyiv), Dmytro Starusiev (32, Makiivka), Ivan Svitlychnyi (28, Kharkiv/Kyiv), Kateryna Yermolaeva (32, Donetsk/Kyiv), Anna Zvyagintseva (30, Dnipro/Kyiv) and groups: Yarema Malashchuk (24, Kolomiya/Kyiv) and Roman Himey (25, Kolomiya/Kyiv), Revkovskiy and Rachinskiy (Daniil Revkovskiy,24, Kharkiv; Andrij Novikov, 27, Kharkiv).

The exhibition of the PinchukArtCentre Prize 2018 is curated by Tatiana Kochubinska, PinchukArtCentre’s Research Platform curator.

The winners of the Prize will be announced at the award ceremony in April, 2018. A distinguished international jury will award the Main Prize of UAH 250 000 and two Special Prizes of UAH 60 000 each. In addition, the winners will each have an internship in studios of the world’s leading artists. A Public Choice winner will be determined by votes of the visitors attending the exhibition of the shortlisted artists and will be awarded UAH 25 000.

The winner of the Main Prize will be automatically included in the shortlist of the
Future Generation Art Prize 2019 – an international art prize for young artists, established by the Victor Pinchuk Foundation in 2009.

The exhibition will be open from February 24 until May 13, 2018 in the PinchukArtCentre, Kyiv, Ukraine. Opening hours: from Tuesday through Sunday from 12 noon to 9 pm. Admission is free.

The PinchukArtCentre Prize is a biannual prize awarded to the best Ukrainian artists younger than 35, launched in 2008. Funded by the Victor Pinchuk Foundation, it is aimed at fostering, supporting and developing a new generation of young Ukrainian artists.

Winners of the previous editions of the PinchukArtCentre Prize:

Main Prize winners:

2015: Open Group (Lviv),
2013: Zhanna Kadyrova (Kyiv),
2011: Mykyta Kadan (Kyiv),
2009: Artem Volokitin (Kharkiv). 

Special Prizes winners:

2015: Anna Zvyagintseva (Kyiv), Alina Kleitman (Kharkiv),
2013: Open Group, Lada Nakonechna (Kyiv), Daniil Galkin (Dnipro),
2011: Zhanna Kadyrova (Kyiv), Serhiy Radkevych (Lutsk),
2009: Oleksii Salmanov (Kyiv), Masha Shubina (Kyiv). 

Public Choice Prize winner:

2015: Anna Zvyagintseva (Kyiv),
2013: Anatoly Belov (Kyiv),  
2011: Mykyta Shalennyi (Dnipro),
2009: BLUMOLOKO.

Anna Zvyagintseva is the young Ukrainian artist, the winner of the special prize and public choice of the nationwide PinchukArtCentre Prize in 2015. Her works presented in Ukraine House are directly connected to important topics and challenges Ukraine is facing today.

“Paths” consists of a series of drawings and a small video tracing the interrupted line of walking on different paths. The drawing suggests a pattern of searching and a movement forward. The goal of the movement remains a mystery. But very much like Ukraine today, the movement and the systematic search for a way forward (or home) is essential. The works suggests this not as a singular line or through clear directions but rather offers a multitude of ways which each in their own right, offer different possibilities and opportunities.  

In the series of “Order of Things” work Zvyagintseva has investigated Ukrainian traditions and values with a keen sense of subjects close to women. Her interest in the line of a pencil, it’s simplicity and yet its limitless capacity of suggestion has resulted in a nearly endless amount of small scale drawings depicting daily life of women in Ukraine. The series “Order of Things”, transforms some of those drawings into incomplete, monumental wall works made from bar reinforcements and metal wire. While transforming the pencil line into a hard industrial building material, Zvyagintseva accentuates the industrial transformation of Ukraine resulting in loss of its traditions but offering a capacity of change.  

Ukraine House operates January 22-26, 2018 in Davos and is organized by the Ukrainian Venture Capital and Private Equity Association (UVCA) in partnership with Victor Pinchuk Foundation and Western NIS Enterprise Fund (WNISEF).  

Official website: ukrainehousedavos.uvca.eu 

31 грудня: 12:00 – 17:00
6 січня: 12:00 – 17:00
7 січня: вихідний

В інший час арт-центр працює у звичайному режимі:

Вівторок — неділя з 12:00 до 21:00 
Понеділок — вихідний 

Вхід вільний.

Through a series of events that will vary in their format, the public programme, along with the “Anonymous Society” exhibition, will be focused on identifying personal versus collective and on adjacent issues of intimate and public. Every event is intended to put individuality on the forefront, make its voice manifest in the anonymous field of social and political reality. Lectures, meetings and debates on the work showcased in the exhibition will also touch upon personal memories and intimate sentiments of the artists.

The programme will also include a series of events dedicated to Anna Zviagintseva’s exhibition “Misplaced Touches” focused on unnoticeable, elusive facets of life, stressing on its vulnerability and documenting ephemeral and invisible moments. 

Public programme timeline:

October 28, 3:00 p.m.
Artist talk with Roman Piatkovka “Intimate as a piece of art”

November 1, 7:00 p.m.
Curator’s guided tour around the “Anonymous Society” exhibition, with Tetyana Kochubinska 

November 2, 7:00 p.m.
Artist talk with Anna Zviagintseva 

November 9, 7:00 p.m.
Work in focus: Yevheniia Bilorusets “Own Room” 

November 16, 7:00 p.m.
Artist talk with Oleksandr Chekmenkov “Documented Time” 

November 30
Workship with Yurii Kruchak: “Establishment of a perfect society: how to hear everyone” 

December 6, 7:00 p.m.
Discussion

December 7, 7:00 p.m.
Lecture by Kateryna Radcheko: “Vernacular photography: sexuality, politics, society”. 

December 14, 7:00 p.m.
Lecture by Tetyana Pavlova: “Anonymous society archive mirrored by a Ukrainian artist”

December 21, 7:00 p.m.
Artist talk with Oksana Chepelyk “Critical art and new technologies in time&space collisions” 

Film screenings will take place every Tuesday at 7:00 p.m. at the art centre’s 6^th floor, in the video lounge. Participation is free. Registration is necessary.

In soviet type societies, rules and guidelines that determine proper models of behaviour are peremptory, and are imposed through the totality of the public and private dimensions. Instead, in capitalist systems that are individualism oriented and free of clear behavioural guidelines, a man has to counter uncertainty by developing rules and routines that regulate his life. An answer to the question “How to live?” that arises in the suggested films is a dynamic struggle between collective and individual, between an ephemeral configuration of the social and political system and an endless attempt of a man to find himself in it .

The exhibition explores the period of anomie that Ukrainian society was plunged into after the collapse of the Soviet Union (1991), and that it languishes in to this day. In essence, within the context of the exhibition, “anonymous society” is a metaphor for the absence of society as such. Individuals had inherited distrust for discredited authorities, yet, driven by inertia, continue to live under the unseen gaze of the Big Brother. The exhibition seeks to discover the “I” and make it manifest. It foregrounds individuality, making its voice heard in the anonymous field of the deformed social and political reality, within the sphere of personal memories and subjective experiences.

Event calendar:

November 7 
Screening of Samariy Zenikin’s film "Shinov and others", 1967 

November 14
Screening of Marcel Lozinske’s film "How to live", 1977

November 21
Screening of Harun Farocki’s film "How to live in the FRG",1990 

November 28
Screening of Chantal Akerman’s film"D’est", 1993

Teta Tsybulnyk was born in Kyiv in 1987. She studied sociology and social anthropology at the Central European University (Budapest). Since 2015, she has been working as programme coordinator at 86 film and urbanism festival. She is the co-founder of the film alliance ruïns collective and producer of independent films.

“Anonymous Society” features works by Sergei Anufriev, Yevgenia Belorusets, Sergey Bratkov, Oleksandr Chekmenev, Oksana Chepelyk, Zhanna Kadyrova, Victor Palmov, Evgeny Pavlov, Serhiy Popov, Kirill Protsenko, Roman Pyatkovka, Larisa Rezun-Zvezdochetova, Oleksandr Roitburd, Vasyl Tsagolov, Leonid Voitsekhov.

The exhibition explores the period of anomie that Ukrainian society was plunged into after the collapse of the Soviet Union (1991), and that it languishes in to this day. The term “anomie,” coined by the French sociologist Émile Durkheim, describes a crisis-ridden transition period societies land in after political turmoil and changes in values when “the old gods are aging or are already dead, and others are not yet born.”

These situations when new behavioural paradigms are not yet formed raise the question of the role of inpiduals, their destructive potential and desire to make their voices heard, or to remain voiceless.

The performance of the Odessa-based artist Leonid Voitsekhov, entitled “They’ll Settle the Score With Us for It” (1984), marked the starting point of the exhibition. The performers carried a poster with this slogan through Odessa streets as a reaction to a disaster that left the city without power and water supply. When the police detained the performers and asked who the “they” of the poster might be, the artists replied, “The elemental forces.” Within the context of the exhibition, this gesture denotes the metaphorical pision of society into two opposite forces: us and them.

The exhibition consists of several chapters. The first addresses inpidual existence within the ideological standoff, from the emergence of heroes to their gradual devaluation; existence among double standards; and inpiduals evolving against the backdrop of changing political scenery. Chapter 2 treats self-awareness, inner struggle, collective memories and experiences. The last chapter deals with intimate physical experiences; addressing them is a manifestation of resistance against control over private lives.

In essence, within the context of the exhibition, “anonymous society” is a metaphor for the absence of society as such. Inpiduals had inherited distrust for discredited authorities, yet, driven by inertia, continue to live under the unseen gaze of the Big Brother. The exhibition seeks to discover the “I” and make it manifest. It foregrounds inpiduality, making its voice heard in the anonymous field of the deformed social and political reality, within the sphere of personal memories and subjective experiences.

РАС-UA: “Misplaced Touches”

PAC-UA presents the 6^th project - a solo exhibition by Anna Zvyagintseva. “Misplaced Touches” is based on the idea of a trail, a trace, unconsciously following somebody else’s path, and paths that emerge from our imperceptible touches. In her works, the artist often makes manifest imperceptible, impalpable facets of our lives, showcasing their fragility and documenting elusive intangible moments.

“Misplaced Touches” features sculpture, graphic art, installations and animation, as well as found photographs of imperceptible touches in public and private life, from maternal to civic, discovered on social media. These ostensibly abstract works document and highlight elusive but physically lingering touches that exist on the plain of sensuous experience. The artist transforms this experience through the lens of various art media.

The monumental installation is based on a found photograph. The artist seems to anonymize the bodies, discarding their volume. The installation’s line connects the two exhibition spaces, turning into a line of contact, a metaphor for one territory’s or one body’s infringement on the other. The artist anonymizes these territories, stripping them of physical dimensions. The line remains a visible boundary for the act of infringement/touch, leaving the possibility of memory and memory traces of physical interactions.

Anna Zviagintseva was born in 1986 in Dnipropetrovsk. She lives and works in Kyiv. She graduated from the National Academy for fine Arts and Architecture in Kyiv, Easel Painting Section. Member of the Hudrada curator group, co-editor of Prostory.net.ua online publication on art, letters and translation. Shortlisted artist of the MUHi 2010 young Ukrainian artists contest and the PinchukArtCentre Prize 2013. Winner of the special prize and of the Public Choice Prize under the PinchukArtCentre 2015 contest. In 2015, she represented the National Ukrainian Pavilion at the 56th Biennale di Venezia as part of the group exhibition “Hope”.

Curator of the both exhibitions is Tatiana Kochubinska.

Shortlist of the PinchukArtCentre Prize 2018 includes: Mykhailo Alekseienko (27, Kyiv), Iuliana Golub (27, Kharkiv), Taras Kamennoi (32, Kharkiv), Mykola Karabinovych (29, Odessa), Pavlo Khailo (29, Lugansk/Kyiv), Alina Kleitman (26, Kharkiv), Vitalii Kokhan (30, Sumy/Kharkiv), Iuliia Kryvych (29, Dnipro), Sasha Kurmaz (30, Kyiv), Larion Lozovyi (29, Kyiv), Roman Mikhaylov (28, Kharkiv/Kyiv), Oleg Perkowsky (33, Kamianets-Podilskyi/Lviv), Sergii Radkevych (30, Lutsk/Lviv), Yevgen Samborsky (33, Ivano-Frankivsk/Kyiv), Dmytro Starusiev (32, Makiivka), Ivan Svitlychnyi (28, Kharkiv/Kyiv), Ekaterina Yermolaeva (32, Donetsk/Kyiv), Anna Zvyagintseva (30, Dnipro/Kyiv) and groups: Yarema Malashchuk (24, Kolomiya/Kyiv) and Roman Himey (25, Kolomiya/Kyiv), Revkovskiy and Rachinskiy (Daniil Revkovskiy,24, Kharkiv; Andrij Novikov, 27, Kharkiv). 

After considering all the applications, the Committee, was guided both by the general practice of an artist and by the works submitted by an artist which, in her/his opinion are representative. The decision was made based on consensus only. Practices that give space for new experience and artists who deviate from the “area of common knowledge” and develop their own creative models in an unobvious field were of the biggest interest to the Committee.

The Shortlist Selection Committee members are:

• Andrij Bojarov, artist and independent curator of media art and photography projects;
• Tatiana Kochubinska, curator of the Research Platform at the PinchukArtCentre, art historian, researcher; 
• Ksenia Malykh, art historian, member of the PinchukArtCentre’s Research Platform team, co-founder of OK Projects, curator of the visual program of the Closer art center, member of the expert council for contemporary art at the Ministry of Culture of Ukraine; 
• Tiberiy Szilvashi, artist, curator, lecturer, and essayist;
• Yulia Vaganova, art manager, art historian, curator of programs and deputy director on museum and exhibition work of the Mystetskyi Arsenal.

An exhibition of the works of the twenty nominees will go on show at the PinchukArtCentre from February to May 2018.  

The winners of the Prize will be announced at the award ceremony in March 2018. A distinguished international jury will award the Main Prize of UAH 250 000 and two Special Prizes of UAH 60 000 each. In addition, the winners will each have an internship in studios of the world’s leading artists. A Public Choice winner will be determined by votes of the visitors attending the exhibition of the shortlisted artists and will be awarded UAH 25 000. 

The winner of the Main Prize will be automatically included in the shortlist of the Future Generation Art Prize 2019 – an international art prize for young artists. 

Statistic data on the PinchukArtCentre Prize 2018 application results:

Overall number of applications 

• Individual 625
• Group 46

Total: 671

Age (here and below is data based on individual applications):

• 16-20 — 19
• 21-25 — 131
• 26-30 — 207
• 31-35 — 268

Regions (Oblasts):

• Kyiv Oblast - 305
• Lviv Oblast - 57
• Kharkiv Oblast - 39
• Dnipropetrovsk Oblast - 31
• Odesa Oblast - 29
• Volyn Oblast - 15
• Kherson Oblast - 12
• Zaporizhzhia Oblast - 11
• Sumy Oblast - 11
• Ivano-Frankivsk Oblast - 9
• Donetsk Oblast - 9
• Poltava Oblast - 8
• Vinnytsia Oblast - 7
• Chernihiv Oblast - 6
• Chernivtsi Oblast - 6
• Ternopil Oblast - 6
• Zakarpatska Oblast - 5
• Khmelnytskyi Oblast - 5
• Cherkasy Oblast - 4
• Rivne Oblast - 4
• Kirovohrad Oblast - 3
• Mykolaiv Oblast – 3 
• Luhansk Oblast - 3
• Zhytomyr Oblast - 1
• AR Crimea - 1

Countries: 

• Ukraine – 590
• Germany – 5
• Austria – 4
• United States – 4  
• Poland – 3
• Italy – 3
• Australia – 2
• Spain – 2
• Lithuania – 2
• Azerbaijan – 2
• The Netherlands – 1
• Switzerland – 1
• Slovakia – 1
• Scotland – 1 
• Russia – 1
• Norway – 1
• France – 1
• Czech Republic – 1  

Media:

• Painting – 914
• Graphics – 245
• Mixed technique – 263
• Installation – 442
• Photography – 281
• Other – 369
• Sculpture – 110
• Video – 144

The lecture will take place at October Palace (Institutska St. 1). 

Since the beginning of her career in early 1970’s, Marina Abramovic has pioneered performance art, using the body and duration as her subject and medium. She founded Marina Abramovic Institute (MAI), now traveling institute for immaterial and durational work among all fields. In this public lecture, she will illustrate the development of the Abramovic Method as a collective experience designed for the public to connect with each other and themselves and will then present an emerging generation of performance artists from two recent MAI projects.

Fragility serves as the conceptual basis of the exhibition, reflecting a delicate state of vulnerability. This is the most salient characterization of today’s world. The term “Fragile State” is a reflection on the fragile state of the world order, and more abstractly, it refers to ideological, cultural and social vulnerability. At the same time, the concept of fragility relates to every individual personally, when it is about vulnerability of one’s body, state of mind and consciousness.  

The public program, along with the exhibition, will explore various interpretations and definitions of the concept in a series of events. Every event will examine various aspects of fragility: social, cultural, historical, philosophical and psychological. Indeed, according to many theories, fragility is a fundamental characterization for both people and states, profoundly private and political at the same time.

From September to October 2017, the program will feature lectures by prominent Ukrainian and international academicians, public figures, researchers and experts.  

Participation is free. Seating is limited. To take part in the lecture on September 16, please register here. Media are kindly asked to fill in the accreditation form here. 

Fragile State Public Program

• 13.09, 19:00 – Curatorial tour by Artistic Director of the PinchukArtCentre Björn Geldhof.
• 16.09, 16:00 – Lecture by Marina Abramovic.
• 20.09, 20:00 – Lecture by Pascal Gielen. Socio-cultural perspective of fragility.
• Pascal Gielen is the director of the research center Arts in Society at Groningen University where he serves as professor of sociology of art and cultural politics. 
• 28.09 – Lecture by Hrytsak Yaroslav. Historical perspective of fragility.
• Hrytsak Yaroslav is Ukrainian historian, Doctor of Historical Sciences and professor at the Ukrainian Catholic University. 
• 05.10 – Lecture on the philosophical perspective of fragility.
• 12.10 – Lecture on the psychological perspective of fragility.

About Marina Abramovic 

Since the beginning of her career in Belgrade during the early 1970s, Marina Abramovic has pioneered performance as a visual art form, creating some of the most important early works. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualize the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. Marina Abramovic has presented her work at major institutions in the US and Europe, including the Centre Georges Pompidou, Paris, 1990; Guggenheim Museum, New York, 2005; Museum of Modern Art, New York, 2010; Serpentine Gallery, London, 2014, etc. She has also participated in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel (1977, 1982 and 1992). Abramovic was awarded the Golden Lion for Best Artist at the 1997 Venice Biennale for the video installation and performance “Balkan Baroque.”