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Lada Nakonechna

Lada Nakonechna
Biography
1981
Born in Dnipropetrovsk, Ukrainian SSR (now Dnipro).
1996–2020
Received a designer diploma from the Dnipropetrovsk State Art School (now — Dnipropetrovsk Professional Art and Culture College), Dnipro, Ukraine.
2000–2006
Graduated from the National Academy of Fine Arts and Architecture, Kyiv, Ukraine. Worked as a graphic artist, researcher, and lecturer (master's degree).
2003
Won the III All-Ukrainian competition of young curators and artists (Center for Contemporary Art, Kyiv, Ukraine).
2005
Became a member of the artist group R.E.P. Participated in an annual residency at the Center for Contemporary Art at NaUKMA, Kyiv, Ukraine.
2006–2009
Completed the advanced training and teaching program at the National Academy of Fine Arts and Architecture, Kyiv, Ukraine.
2008
Became a member of the curatorial and activist association "Khudrada." Participated in the Leipzig International Art Program, Leipzig, Germany.
2009
Participated in an artist residency at Villa Waldberta, Munich, Germany.
2010
Was a participant in the residency program Kulturstiftung Landis & Gyr, Zug in collaboration with BINZ39, Zurich, Switzerland.
2011–2013
Became a co-founder of ISTM — the Artists' Self-Defense Initiative.
2012
Worked as a co-curator of the educational and research program "Course of Art" (www.courseofart.com): A-I-R Laboratory, residency curatorial program, "Ujazdowski Castle", Warsaw. Future Generation Art Prize — shortlist (as part of the R.E.P. group).
2013
Received the Second Special Prize of PinchukArtCentre.
2013–2016
Became a co-founder of a series of training programs for artists from the informal educational program "Art Course", Kyiv, Ukraine.
2014
Received the Kazimir Malevich Art Award (Polish Institute), Kyiv, Ukraine.
2015
Became a co-founder of the "Method Fund" — an independent non-profit organization supporting contemporary art and culture. Worked as a co-curator of CreatingRuin.net — an online collection of artistic and research projects.
2016
Served as co-editor of the online magazine about art, literature, and politics Prostory (Prostory.net.ua). Enrolled in the postgraduate program at the National Academy of Fine Arts and Architecture, Kyiv, Ukraine (2016–2023).
2020
Received the "Women in Visual Arts" award and the "Women in Art" award (UN Women in Ukraine and Ukrainian Institute), Kyiv, Ukraine.
2022
Was invited as a guest lecturer at the University of Fine Arts Hamburg. Hamburg, Germany.
2023
Studied in the postgraduate program at the University of Kassel, Kassel, Germany.
2023–2024
Worked as a research fellow at the Documenta Institute. Researched artistic and archival materials on socialist realism art as a "method" and its contemporary representation.
2024
I attended the series of public lectures "Global Modernities?" (Kunst und Gesellschaft Fachgebiet Universität Kassel and Documenta Institut, concept and moderation: Liliana Gomez, Charlotte Bank, Lada Nakonechna).
Overview of artistic practice

2025. Researcher Yevheniya Butsykina

Education and Community Building

Lada Nakonechna grew up in the family of sculptor Volodymyr Nakonechnyi and art historian Olena Hodenko-Nakonechna, so from childhood she was close to the artistic environment, including the National Union of Artists of Ukraine, observing firsthand the functioning of the artistic production system in Ukraine. She graduated from the Dnipropetrovsk State Art School (now the Dnipropetrovsk Professional Art and Culture College) specializing in “Design” (class of Lana Korolevska, a graduate of the Kharkiv Art and Industrial Institute (now the Kharkiv State Academy of Design and Arts). Studying in this class played an important role in the artist’s formation, as the teacher introduced “early Soviet, avant-garde educational practices” into the curriculum. “We studied compositional, abstract formulas — with attention to the center of visual gravity on the paper plane, to balances and dynamics, color comparison… My interest in volumes, spaces, interactions probably originated there” [1]. Later, Nakonechna entered the National Academy of Fine Arts and Architecture in Kyiv (NAOMA), at the graphic faculty, specializing in “Print Graphics,” workshop of Andriy Chebykin, who was then the rector of the academy. The initial choice of design, and later graphics, explained a conscious refusal to study painting. Within NAOMA, the artist first discovered her inclination to use specific materials and methods: “We just sat in these workshops and experimented: with etchings, acids, printing, metal. And probably that’s where it came from — reproduction since then became my method. The material I work with is found images” [2]. 

Alongside academic education, the artist received informal education by communicating with like-minded people in artistic associations. Discussions and joint projects were a method of critiquing established institutions and creating alternative grassroots initiatives. In particular, in 2005 Nakonechna became a member of the R.E.P. group (“Revolutionary Experimental Space”), whose artistic projects aimed at undermining established political-social structures and connections in Ukraine, including in the art academy (“Correspondent. Academy”, 2006). Additionally, she was a member of Khudrada (2009–2013) — a curatorial association of artists, architects, activists, translators, etc., working on experimental and socially critical exhibitions, as well as the educational project “Method Fund” (since 2015), created together with Kateryna Badianova, Tetiana Endshpil, Olha Kubli, Ivan Melnychuk, and Denys Pankratov. They organized courses on contemporary art, alternative to official academic programs, accompanied by joint practices, discussions, and exhibitions with students. These associations influenced her individual logic of development and movement in researching the history of academic education. For example, seminars and lectures within the “Method Fund” on the analysis of socialist realism art and the artistic system built around it motivated Nakonechna to work on this topic in her exhibition projects and dissertation research. 

Media and Methods

Despite the relative closedness of Ukrainian culture and the educational system in the 2000s, Nakonechna and her colleagues sought sources of influence on their practices in the history of both Ukrainian and world art. The most significant for the artist is conceptual art due to its roots in avant-garde practices and the embodiment of language and its functioning. The goal of the avant-garde is to decompose reality into basic elements (forms, colors, lines) universal for perception. Nakonechna adopted these means and the history of 20th-century Ukrainian art to analyze contemporary discursive constructs of institutional systems by referring to real plots and events of the past. 

Lada Nakonechna’s works are characterized by reflexivity: the creation and presentation of works is preceded by extensive research. Therefore, her works are the result of meta-analysis: the artist invites viewers to pay attention and reflect on a problem that goes beyond specific space and time, although often based on current events and the immediate exhibition space. 

Drawing is a frequent medium in Nakonechna’s works. It is monotonous hatching, shading from left to right by analogy with writing in a learned handwriting formed through prolonged school educational practice. It is not a “live” drawing but “drawing in a given matrix” on a ready image projected onto paper or transferred by printing means by filling voids on the surface, light spots, and highlighted objects. Nakonechna’s drawing is multifunctional; it serves as an element of installation, a separate canvas, a “trap” in the exhibition space, or a visual deception (“Laboratory,” “Place,” “Perspective,” “Trap,” “Untitled,” “Art Institutions”). This drawing forces the viewer to question artistic reality, allows suspicion to creep into the image, and hesitation in the usual pattern of perception. 

Photography rarely appears in Nakonechna’s projects as a separate medium; instead, she uses it as a tool (“Facade Restoration,” “Merge visible,” “Almost the Same,” “David’s Nose,” etc.). The artist works with photos found on the internet, in archives, and with her own photo documentation. Photography is a basic and necessary tool for the practices Nakonechna bases her creativity on: copying, reproduction, duplication, fragmentation. It is the photograph (since light is often an active medium in her works, such as “Research of Manipulation Systems,” 2009, “While I See,” 2011) that allows the artist to work with the image as her research logic requires. 

Performance (“Another Day,” “Bad face of Ukraine,” “We Will Face the Possibility”) is another multifunctional medium as an element of Nakonechna’s complex artistic expression. It helps equalize the positions of the author and the viewer, allowing the artist to take the role of an observer, redirecting the gaze to her own work, creating a recursion effect. Nakonechna’s works are recursive as they invite the viewer to reflect on their own perception, its reflection in art, and the reasons and conditions for such a scenario of its formation. For this, the artist borrows forms and methods from the academic world but as if putting them in parentheses, undermining and decomposing them into elements, sometimes to unrecognizability, sometimes distorting and ironically commenting on them. 

The deconstructed image in Nakonechna’s works influences and changes reality. It exists so that the traditional, “correct” image ceases to function in the usual, stable, cultivated way and instead reveals its constructed nature. The artist analyzes it by identifying breaks in continuity, which appears imposed and artificial. Already in the description of her course “Imitation Practices” for “Method Fund,” she says: “How do we build the line of our own art history? Maybe it can be built on breaks? … If we see that earlier everything was built on breaks of forgetting, then this line is also built, this line is dashed. But then arises the question of reflection on these constant historical breaks, or the incoherence of actions and context.”

Over the last decade, the artist strives for complex and expressive expression in the exhibition format. The exhibition in Nakonechna’s practice appears as a polyphonic statement corresponding to prolonged research work. Its goal is joint reflection, realization through co-presence with the viewer, sharing the problem and responsibility: “I look at these works as tools that can help others look at what I have looked at together with me. If we saw it together, then we will act differently further.”

The focus on conversation with the viewer reveals Nakonechna’s struggle with the verticality inherent in the art system “author — recipient,” “artist — viewer.” Here manifests a feminist principle applied by the artist not as a problem but as an approach and mode of expression borrowed from the educational principle of “Method Fund”: “self-criticism, transparent distribution of responsibilities, mutual respect and care, collectivity that considers personal freedom.” 

Forms of Criticism and Exhibitions as Complex Statements

Nakonechna often turns to the academic genre of painting considered the least ideologically loaded — landscape. This can be a romantic landscape based on the concept of picturesqueness as a given matrix of aesthetic education of the social elite of the 18th–19th centuries. Nakonechna appeals to the most prominent painter of this era — Claude Lorrain, to the depiction of ruins in his landscape compositions. Contemplation, fascination with the ruin, the romantic subject, Nakonechna projects onto the present filled with ruins of a new type — not built for beauty but caused by severe historical transformations. This is dedicated to the project “Creating a Ruin” within the work of “Method Fund,” and a series of the artist’s own works (“Constructing a New Landscape,” “Popular View Through the Lilac in Kyiv’s Botanical Garden Toward the Dnieper River,” “From Left to Right,” “Historical Pictures of Contemporary Ruins”), where she, using the ruin as a metaphor, decomposes cultural-historical processes into elements requiring a detached view.

The artist “creates a ruin” by delving into the history of Ukrainian art, the system of artistic production and education, highlighting two key stages: the avant-garde and socialist realism. These two stages become two antagonistic principles of understanding and creating art, the struggle of which is represented by the conceptual dispute between Bertolt Brecht and Georg Lukács regarding the appropriateness of modernism in art. Nakonechna follows Brecht (Appropriated Phrases (from: Bertold Brecht, The Good Person of Szechwan), 2012), who saw emancipatory and political potential in modernism. In contrast, followers of Lukács’s position (who considered “progressive bourgeois realism” the most appropriate art) led to the replacement of modernism by socialist realism (essentially neo-academism) as the only correct direction of art under the totalitarian regime. Nakonechna seeks to find the logic of unfolding such a scenario in Ukrainian artistic institutions: how some directives were crossed out by others, and how the historical collision affects contemporary creative practices, art perception, and professional art education. 

Ultimately, Lada Nakonechna’s artistic practice is built around complex, deep, and gradual criticism. Critique of narratives: careful examination of statements, cutting them off from context, and deconstructing (“War in Ukraine” (“Hybrid War,” “Civil War,” “Russian-Ukrainian War”), “So-called”). Socio-political criticism (Unstarted Dialogue of Unnamed Characters, 2014, Negotiations Table, “Personal Shield,” Reserved): the artist’s reaction to current events and societal challenges, revealing what is not on the surface, invisible but fundamentally important. Institutional criticism is directed at institutions that form the system of contemporary art in Ukraine and influence ways of its perception by the audience. Within this approach, Nakonechna began practicing complex expression in the exhibition format, adapting it to specific institutional spaces (“Exhibition,” “Background Mode,” “Images from Abroad”). 

Later, Nakonechna focuses on thorough research and criticism of the system of academic art education in Ukraine, the concepts of “teacher,” “school,” “socialist realism,” and the phenomena behind them. A kind of result of this process were two exhibitions in 2021 — “Disciplined Vision” and “Disciplined Vision. School,” in which Nakonechna continues “working with visuality as filled with the hidden: gazes, fascinations, intentions, motivations, ideas, ideologies” and considers Soviet-period artworks as “documents capable of revealing more than their artistic qualities.” In 2022, due to the full-scale Russian invasion of Ukraine, Nakonechna temporarily leaves Ukraine and continues her research work, presenting its results at exhibitions in European institutions and reinterpreting socialist realist art in local archives and collections (“Studying the Human,” “Conditional Reflexes” and “Conditional Reflexes 2,” “Below Ground Level”). 

For Lada Nakonechna, it is important to designate her art as political, as it has a critical disposition toward power institutions (including those institutions where her exhibitions directly take place). Work with the exhibition space (experiments with lighting, decoration and wall painting, design with additional elements, etc.) is preceded by research of archives and museum collections. Nakonechna critiques stable social structures through analysis of the conditions and possibilities of vision formed by education and art of the respective era and in the respective educational, research, and exhibition institutions. In this way, the artist gradually, step by step, moves toward answering the question about the role of art in analyzing the present and relevance through historical continuity and reinterpretation of previous eras. And all this in open and direct dialogue with the viewing community.

  1. From an interview with Lada Nakonechna on 14.03.2025.
  2.  Ibid.
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Exhibitions
2024
"Underground," EIGEN+ART Gallery Leipzig / Berlin, Berlin, Germany
2024
"The Discursive Trap of Socialist Realism, or How to Look at a Confident Person from the GDR. An Intervention in the Faces of Labor Section of the 20th and 21st Century Exhibition." Art from Leipzig at the Museum of Fine Arts (MdbK), Leipzig, Germany
2024
"Watch this moment — how it convulses," Arsenal Gallery in Białystok, Poland
2024
"Height × width × depth", EIGEN+ART gallery Leipzig / Berlin, Leipzig, Germany
2024
Height x Width x Depth, Gallery EIGEN+ART Leipzig/Berlin, Leipzig, Germany
2024
Height x Width x Depth, EIGEN+ART Gallery Leipzig/Berlin, Leipzig, Germany
2024–2022
Peilung — series of meetings at daadgalerie, Berlin (2022–2024), co-curated with Bettina Klein (curatorial project)
2023
Peilung — series of meetings at daadgalerie, Berlin (2022–2024), co-curated with Bettina Klein
2023
Peilung meeting series at dadgallery, Berlin, 2022 (co-curator with Bettina Klein)
2023
Days, days. Gallery “Khlibnia”, Sofia Kyivska National Reserve, Kyiv
2022
"Kaleidoscope of (Pre)Histories: Ukrainian Art 1912–2023", Albertinum, State Art Collections Dresden, Germany, Dresden and Museum de Fundatie, Zwolle, Netherlands
2022
Days, days. Gallery “Khlibnia”, Sofia Kyivska National Reserve, Kyiv
2022
"Days, days." Gallery "Khlibnya", National Reserve "Sophia of Kyiv", Kyiv, Ukraine
2022
"Human Study," EIGEN+ART Gallery Leipzig / Berlin, Leipzig, Germany
2022
"Spots of Modernity," a performance-tour (with Kateryna Badianova), Museum of Fine Arts (MdbK), Leipzig, Germany
2022
"Traditional Reproductions" (with Zhanna Kadyrova), Warsaw Art Exhibition Office (BWA Warszawa), Poland
2022
"We no longer feel the future," MUZA — Eretz Museum, Tel Aviv, Israel, Latvian Collection. Malmö Art Museum, Sweden
2022
"Push and pull", Territories between land and sea, Plushov Castle, Germany
2022
"Letter from the Front", Munich House of Arts, Germany
2022
"Letter from the Front", Münster Art Gallery, Germany
2022
"I have no words — no title", Münster Town Hall Gallery of Art, Germany
2022
Odnowa / Renewal, Biennale Zielona Góra, Poland
2022
Distant Tolerant Murder — Polish-Ukrainian billboard exhibition in central Berlin, Germany, co-curated with Anna Lazar (curatorial project)
2021
"Keeping Shape", "Room with Light" gallery, Vienna, Austria
2021
"Radical Hope", Arsenal Gallery in Bialystok, Poland
2021
Odnowa / Renewal, Biennale Zielona Góra, Poland
2021
"Update", biennale, Zielona Góra, Poland
2021
"Remote tolerant killing" — Polish-Ukrainian exhibition on billboards in the center of Berlin, Germany (co-curator Anna Lazar) (curatorial project)
2021
"Hugs" (with Monika Drozhynska), NAMU, Kyiv, Ukraine
2020
"Disciplined Vision: School", Artsvit Gallery, Dnipro, Ukraine
2020
"Disciplined Vision," NAMU — National Art Museum of Ukraine, Kyiv
2020
"Garden after the gods", JUMP Contemporary Art Center, Poltava, Ukraine
2019
"Dedication: Traces and Tactics", Kristianstad Art Gallery (Kristianstads), Sweden
2019
"Ukraine: A Different View on Neighborhood", International Cultural Centre in Krakow, Poland
2019
"Bodies at a Distance", SKALA Gallery, Poznań, Poland
2019
"Images from abroad," EIGEN+ART gallery Leipzig / Berlin, Berlin, Germany
2019
"The economy of borders. We lost our soft soul crossing the borders," facade of the Tiergarten Town Hall, Berlin
2019
"About Independence", Kmytiv Art Museum named after Y. D. Bukhanchuk, Kmytiv, Ukraine
2019
"War in the Museum", Kmytiv Art Museum named after Y. D. Bukhanchuk, Kmytiv, Ukraine
2019
"On the Front Line: Ukrainian Art 2013–2019", National Museum of Cultures, Mexico City, Mexico
2019
"Personal Motive", Poltava Art Museum (Gallery) named after Mykola Yaroshenko, Poltava, Ukraine
2019
"The Tale of Novorossiya", Municipal Gallery "Arsenal", Poznań, Poland
2019
"Listen to us — Artistic Intelligence": Works by artists from Central and Eastern Europe from the Telekom art collection, City Art Gallery, Plovdiv, Bulgaria
2019
"In Search of Identity (in the Age of Selfies)", Tommaseo Studio, Trieste, Italy
2018
"Just don't tell Slava yet", Museum of Contemporary Art in Kherson, Ukraine
2018
"11/944" — from the collection of the "Labyrinth" gallery, "Labyrinth" gallery, Lublin, Poland
2018
"Influence Machine," Nicodim Gallery, Bucharest, Romania
2018
"The Lost Planet, Visions and Re-visions of the Soviet Era," from the Pecci Center collection and other collections, Pecci Center, Prato, Italy
2018
"Gifts for You", EIGEN + ART Gallery Berlin, Germany
2018
"Background Mode", EIGEN+ART Gallery Leipzig / Berlin, Leipzig, Germany
2018
"World on Paper", Popular Palace, Berlin, Germany
2018
"Out of the spirit of the time," curators Eszter Lázár & Edina Nagy, "Pagorb" gallery, Vienna, Austria
2017
"I am the mouth": Artists' robots from Central and Eastern Europe from the Telekom art collection, Museum of Contemporary Art Zagreb, Croatia
2017
"Follow the Line — Positions of Contemporary Drawing", art gallery "Sparkasse", Leipzig, Germany
2017
"Opposite Shore", University of Western Brittany, Brest, France
2017
"Pedagogical Actions", Art Space SKLO at NPU named after M. Dragomanov, Kyiv, Ukraine
2017
"Siege", Exhibition, Leipzig Spinning Mill
2017
"Teacher" (Intervention), NHMU, Kyiv, Ukraine
2017
"Celebrations are canceled," Kyiv International Biennale — Kyiv Biennale — 2017, curator Art Council, "UFO" at Lybidska metro (Ukrainian Institute of Scientific, Technical and Economic Information) and Pavlo Tychyna Literary Memorial Museum, Kyiv, Ukraine
2017
"Postania", EIGEN+ART Gallery Leipzig / Berlin, Berlin, Germany
2016
"Attention! Border!", Arsenal electronics gallery, Bialystok and Labyrinth gallery, Lublin, Poland
2016
"A Story About Certain Stories," Labyrinth Gallery, Lublin, Poland
2016
"Deferred Futures", GRAD gallery, London, United Kingdom
2016
"Artists' Motto", Kyiv Poetry Week, Film, Kyiv, Ukraine
2016
«À la Frontière: Old and New Borders in Europe», the art space of the Barfus Theater at Schillerpark, Berlin, Germany, and the Gallery of St. John the Baptist, Vilnius, Lithuania
2016
"Holidays are canceled!", Kyiv International Biennale — Kyiv Biennale — 2017, Pavlo Tychyna Literary Memorial Museum, Kyiv, Ukraine (curatorial project)
2016
"The music stops. Guests are confused. Pause", EIGEN+ART Leipzig / Berlin, Berlin, Germany
2016
"Experiments" (with Zhanna Kadyrova), Warsaw Art Exhibition Office (BWA Warszawa), Poland
2016
"Exhibition", PinchukArtCentre, Kyiv, Ukraine
2016
"Into the Darkness", Vozdvizhenka Arts House, Kyiv and WUK, art gallery "Exnergasse", Vienna, Austria
2016
"Kyiv School. Leipzig Class. Seminar: Politics of Form, GFZK", Gallery of Contemporary Art, Leipzig, Germany
2016
"Meanwhile, what about socialism?", 'North' gallery, Northumbria University, Newcastle, United Kingdom
2016
"Universal Hospitality", Alte Post, Vienna, Austria
2015
"After the rally," Studio Gallery, Palace of Culture and Science, Warsaw, Poland
2015
"Degree of Dependence", BWA Wrocław — Contemporary Art Gallery, Wrocław, Poland
2015
"A Story About Certain Stories," Poninkivskyi House of Culture, Poninka, Ukraine
2015
"Cheers", BWA gallery, Zielona Góra, Poland
2015
"Semantic Riots", Klingental Exhibition Hall, Basel, Switzerland
2015
"Collections", National Gallery of Art Zachęta, Warsaw, Poland
2015
"Into the darkness, VozdvizhenkaArtsHouse", Kyiv and WUK, Kunsthalle Exnergasse, Vienna, Austria (curatorial project)
2015
"Distance Deception", Mikhail Bulgakov Museum, Kyiv, Ukraine
2015
«À la Frontière: Old and New Borders in Europe», Tommaseo Studio, Trieste Contemporary, Italy
2015
"Day Nets" (Open-air Landscape School), Kyiv Biennale, Trondheim Art Hall, Norway
2015
"Despite Everything", Polish Institute, Düsseldorf, Germany
2015
"Best Evidence Rule", Leipzig Contemporary Art Association, Germany
2015
"So that two seas do not meet," Museum of Modern Art in Warsaw, Poland
2015
"Crossing the Boundary: New Ways of Drawing", Wolfsburg Art Museum, Germany
2015
"Displaying Minds: Divergences in Contemporary Art", Kiasma Museum of Contemporary Art, Helsinki, Finland
2014
"R.E.P.: 10 years. About the method", Contemporary Art Space, Batumi and Georgian State Museum of Art, Tbilisi, Georgia
2014
"Limited Liability Pavilion," an apartment exhibition during the 56th International Art Exhibition — Venice Biennale, Italy
2014
"Art has no alternative" (Archive of Artists in Action), tranzit.sk, Bratislava, Slovakia
2014
"Manifested Form of Thought," Kuad Gallery, Istanbul, Turkey
2014
"Good art? I want it!", Auf AEG, Nuremberg, Germany
2014
"Open", EIGEN+ART Gallery Leipzig / Berlin, Berlin, Germany
2014
"Paradigm Shift of Perspective", Wallpaper Factory, Leipzig, Germany
2014
"Home (Intervention)", Krakow Theatrical Reminiscences (festival), Poland
2014
"State of Affairs", Toulouse Art Festival, Croix-Baragnon Space, Toulouse, France
2014
"Mobile portable model," EIGEN+ART Gallery Leipzig / Berlin, Berlin, Germany
2014
"Referendum on Leaving the Human Race," Teatr Zwyczajny (Powszechny), Warsaw and Closer Art Center, Kyiv
2014
"Through Maidan and Beyond", Vienna Architecture Center, MuseumsQuartier, Vienna, Austria
2014
"R.E.P.: 10 years. About the method", Labyrinth Gallery, Lublin, Poland
2014
"Sister Europe", Lakeside art space, Klagenfurt, Austria
2014
"Deprivation", Arsenal Gallery, Bialystok, Poland
2014
"Disagreement", Center for Contemporary Art, Plovdiv, Bulgaria
2014
"Postcards from Maidan", "Ujazdowski Castle", Warsaw, Poland
2014
"Ukrainians", Daad Gallery, Berlin, Germany
2014
"Gender and Diplomacy: 'Women's Program'", House of World Cultures, Berlin, Germany
2014
Референдум про вихід із людської раси, Closer Art Center, Київ та Teatr Powszechny, Варшава, Польща (кураторський проєкт)
2013
"Leipzig — Heldenstadt?", Goethe-Institut in Paris, France
2013
"Imaginary Archive", Les Kurbas National Center for Theatrical Arts, Kyiv, Ukraine
2013
"Wall, Art Face to Face with Borders", under the care of DOCVA, Milan, Italy
2013
"Archive of Defiance" (Park), SALT Beyoğlu, Istanbul, Turkey
2013
"Imaginary Square," an exhibition in a public space, Prato, Italy
2013
"Misuse of premises", curator of the Art Council, Khreshchatyk 34, 2nd floor, Kyiv, Ukraine
2013
"Open City": Art Festival in Public Space, Lublin, Poland
2013
"Misuse of premises", Khreshchatyk 34, Kyiv, Ukraine (curatorial project)
2013
"Referendum on Leaving the Human Race," Closer Art Center, Kyiv, Ukraine and Powszechny Theater, Warsaw, Poland (curatorial project)
2013
"Self-Governance: Cultural Evolution vs. Revolution", Odessa Biennale of Contemporary Art, Odessa Museum of Contemporary Art, Ukraine
2013
"World Rescue Entry_Part 3, <ротор>", Center for Contemporary Art, Graz, Austria
2013
"Economy in Art", MOCAK — Museum of Contemporary Art in Krakow, Poland
2013
"Race Against Time: Art of the 1960s - Early 2000s", NHMU, Kyiv, Ukraine
2013
"Ukrainian News", "Ujazdowski Castle", Warsaw, Poland
2013
"On-site Orientation", NHMU, Kyiv, Ukraine
2013
"Archive of Defiance (Republic)", Castello di Rivoli Museum of Contemporary Art, Turin, Italy
2013
"Showing Your Colors: What Art Does", MARTa Museum, Herford, Germany
2012
"Sun of the Poor", "I am Gallery", Dnipro, Ukraine
2012
"Love for Space," 10th Krasnoyarsk Museum Biennale, Krasnoyarsk, Russia
2012
"Court experiment", SIZ gallery, Rijeka, Croatia
2012
"Shack Union", HudRada, Lido Island, Venice, Italy
2012
Future Generation Art Prize@Venezia 2013 Art Award, 55th Venice Biennale, Palazzo Contarini Polignac, Italy
2012
"Whisper down the alley," Gallery "400", Chicago, USA
2012
"Global aCtIVIsm", ZKM — Museum of Contemporary Art, Karlsruhe, Germany
2012
"On Paper", EIGEN+ART Lab, Berlin, Germany
2012
"Revisiting Footnotes", Latvian Centre for Contemporary Art, Riga, Latvia
2012
"Court experiment", SIZ gallery, Rijeka, Croatia (curatorial project)
2012
"Alienation Effect," EIGEN+ART Lab gallery, Berlin, Germany
2012
"As Long as I Can See" (performance), Arsenal Gallery, Bialystok, Poland
2012
"Weekdays", Center for Contemporary Art "Ujazdowski Castle", Warsaw, Poland
2012
"Red Carpet" (public art project in the city center), Leipzig, Germany
2012
"Project" (with Nikita Kadan), Pop-up exhibition in a pre-revolutionary building, Kyiv, Ukraine
2012
"Ukrainian Body", CEC, Kyiv, Ukraine
2012
"In the Best Shape: Selected from 14 Leipzig Galleries," Sparkasse Art Gallery, Leipzig, Germany
2012
"Cantastoria" (Cantastoria), Utah Museum of Contemporary Art, Salt Lake City, USA
2011
"It doesn't matter, it's just art...", Arsenal Gallery, Bialystok, Poland
2011
"Disputed Territory," curator of the Art Council, Sevastopol Art Museum in Crimea, Ukraine
2011
"The Best of Times, the Worst of Times: Renaissance and Apocalypse in Contemporary Art" (main project), 1st Kyiv Biennale of Contemporary Art "Arsenale-2012", "Mystetskyi Arsenal", Kyiv, Ukraine
2011
"Double Game" (special project), "Arsenal-2012", "Mystetskyi Arsenal", Kyiv
2011
"Distorting Mirrors" (parallel project), "Arsenale-2012", Tyss Gallery in collaboration with Lavra Gallery, Kyiv, Ukraine
2011
"Gender in Isolation: The Right to Self-Construction under Patriarchy", Isolation, Donetsk, Ukraine
2011
"The painting hides the view", NHMU, Kyiv, Ukraine
2011
"The Myth of Ukrainian Baroque", NHMU, Kyiv, Ukraine
2011
"Who told you?! #1Truth against power", Project space Onomatopee, Eindhoven, Netherlands
2011
"Critical Atlas", Parc Saint-Léger — Center for Contemporary Art, France
2011
"Disputed Territory", Kroshytskyi Art Museum, Sevastopol, Crimea, Ukraine (curatorial project)
2011
"Another Day" (performance), NHMU, Kyiv, Ukraine
2011
"As Long As I See" (performance in public space), Kyiv, Ukraine
2011
"Sale", Small Gallery of the Mystetskyi Arsenal, Kyiv, Ukraine
2011
"Perspective" (public art project), Albertina Library of Leipzig University (in collaboration with the Leipzig International Art Program), Germany
2011
"Students and the Illuminated Plane," Small Gallery of the "Mystetskyi Arsenal," Kyiv, Ukraine
2011
"2 stories — 3 worlds" (with Ivan Bazak), BINZ39 Foundation, Zurich, Switzerland
2011
"Fashion Ukraine", Kunstraum Reto Ganz, Zurich, Switzerland
2011
"Rewriting Worlds." The main project of the 4th Moscow Biennale of Contemporary Art, Moscow, Russia
2011
Project "October", Flutgraben e. V., Berlin, Germany
2011
Exhibition of artists nominated for the PinchukArtPrize 2011, PinchukArtCentre, Kyiv, Ukraine
2011
«Prosto». Art, NHMU, Kyiv, Ukraine
2011
"Newspeak", Small Gallery of the Mystetskyi Arsenal, Kyiv, Ukraine
2011
"Independent", "Mystetskyi Arsenal", Kyiv, Ukraine
2011
"Labour Exhibition", curator of the Art Council, CSM, Kyiv, Ukraine
2011
Labor Show, Center for Research of Visual Culture, Kyiv, Ukraine
2011
Court Experiment, non-commercial programme of VIENNAFAIR, Austria
2010
"Court Experiment," ArtVienna 2010, Vienna, Austria
2010
"Life in the Forest", Arsenal Gallery, Bialystok, Poland
2010
"Complex Relationships, Part 2", Kalmar Museum, Kalmar, Sweden
2010
"Production and Art", Stadtgalerie, Schwaz, Austria
2010
"Public Folklore", Graz Art Union, Graz, Austria
2010
"Six and Three: Artists of the SOSka and R.E.P. groups", Brown Stripe Gallery and Cheremushki Gallery, Moscow, Russia
2010
"Impossible Community", Moscow Museum of Modern Art, Moscow, Russia
2010
"Patriotism. Trick" (work in public space), Görlitz, Germany
2010
"Space Odyssey 2011", "Mystetskyi Arsenal", Kyiv, Ukraine
2010
"ATLANTIS 11", Alternative Bulgarian Pavilion, 54th Venice Biennale, Italy
2010
"Let's talk about nationalism! Between ideology and identity", Labor C3, Budapest, Hungary
2010
Draft of the judicial experiment within the framework of the non-commercial program VIENNAFAIR, Austria (curatorial project)
2010
Art-Kyiv Contemporary (Parallel program), Mystetskyi Arsenal, Kyiv
2010
Protests, Subversions, Communities, Markets: Public Space in Contemporary Ukrainian Art — screening, Flat Space, Chisinau, Republic of Moldova
2009
"Court experiment", curator of the Art Council, CEC, Kyiv, Ukraine Videozone 5, Tel Aviv, Israel
2009
Videozone 5, Tel Aviv, Israel
2009
"Those who arrived in the 2000s", M17 Contemporary Art Center, Kyiv, Ukraine
2009
Art-Kyiv Contemporary (Parallel program), Mystetskyi Arsenal, Kyiv
2009
Protests, Subversions, Communities, Markets: Public Space in Contemporary Ukrainian Art — screening, Flat Space, Chisinau, Republic of Moldova
2009
«Мінімальні відмінності», White Box, Нью-Йорк, США
2009
«IF. Українське мистецтво перехідного періоду», PERMM — Музей сучасного мистецтва, Перм, Росія
2009
«Вдома у Воллісхофені», Artfoyer Cavigelli, Цюрих, Швейцарія Спеціальний проєкт на Арт-Парижі, Grand Palais, Париж, Франція
2009
Спеціальний проєкт на Арт-Парижі, Grand Palais, Париж, Франція
2009
«За прилавком», Műcsarnok — Kunsthalle Budapest, Угорщина
2009
«Євроремонт в Європі», Kunstraum München, Мюнхен, Німеччина
2009
«Велика несподіванка», НХМУ, Київ, Україна
2009
«Крамниця «Батьківщина», Супермаркет — ярмарок мистецтва під керівництвом художників, Стокгольм, Швеція
2009
Land of Human Rights: Being Responsible for Resources, < rotor > — Centre for Contemporary Art, Graz, Austria
2009
Views, Center for Contemporary Art, Kyiv, Ukraine
2008
«Давайте поговоримо про націоналізм! Між ідеологією та ідентичністю», KUMU, Таллінн, Естонія
2008
ArtKyiv Contemporary (Паралельна програма), «Мистецький Арсенал», Київ, Україна
2008
«Протести, диверсії, спільноти, ринки: Публічний простір у сучасному українському мистецтві» — показ, Flat Space, Кишинів, Республіка Молдова
2008
«Місце», ЦСМ НаУКМА, Київ, Україна
2008
«Глядачі в лісі: Художник і маніпуляція», Weltraum, Мюнхен, Німеччина
2008
Land of Human Rights: Being Responsible for Resources, < rotor > — Centre for Contemporary Art, Graz, Austria
2008
«Свідчення речей», GEDOK Мюнхен, Німеччина
2008
«Облаштування середовища так, щоб унеможливити зайві клопоти», галерея Kyiv.FineArt, Київ, Україна
2008
«Погляди», куратор Худрада, ЦСМ НаУКМА, Київ, Україна
2008
«Революційні моменти», ЦСМ НаУКМА, Київ, Україна
2008
«Комунізму ніколи не було», галерея Feinkost, Берлін, Німеччина
2008
«Майбутнє було вчора: Самоорганізовані мистецькі практики з України», галерея PM / HDLU — Mestrovic Pavilion та Gallery SC, Загреб, Хорватія Leipzig Calling, Нью-Йоркська академія мистецтв, Нью-Йорк, США
2008
Leipzig Calling, Нью-Йоркська академія мистецтв, Нью-Йорк, США
2007
Homestories II, Arttransponder, Берлін, Німеччина
2007
«Відкрите місто: Фестиваль мистецтва в публічному просторі», Люблін, Польща
2007
2-га Катовицька бієнале, Катовиці, Польща
2007
«Більше немає реальності: Натовп і перформанс», Депо, Стамбул, Туреччина
2007
«Земля прав людини: Відповідальність за ресурси», < ротор > — Центр сучасного мистецтва, Грац, Австрія
2007
«Погляди», Центр сучасного мистецтва, Київ (кураторський проєкт)
2007
«Патріотизм. Мистецтво як подарунок», ПінчукАртЦентр, Київ, Україна
2007
«Алфавітний порядок: Джон Бальдессарі, R.E.P., Ахмет Огют, Індекс», Шведський фонд сучасного мистецтва, Стокгольм, Швеція
2007
«Інше місто. Інше життя», Національна галерея мистецтв Zachęta, Варшава, Польща
2007
«Більше немає реальності», Центр мистецтв De Appel, Амстердам, Голландія
2007
Communities Project, CCA at NaUKMA, Kyiv and Galeria Arsenał, Białystok
2006
«Qui vive?», Бієнале молодих художників, Державний центр сучасного мистецтва, Москва, Росія
2006
«Супутникові мелодії», Угорський університет мистецтв, Будапешт, Угорщина
2006
«Шенген», галерея Feinkost, Берлін, Німеччина
2006
«Світ мистецтва», галерея Feinkost, Берлін, Німеччина
2006
«Пункт пропуску», галерея F.A.I.T., Краків, Польща
2005
«Транзит», куратор R. Р.Е.П. група, «Я Галерея», Київ, Україна
2005
Communities Project, CCA at NaUKMA, Kyiv and Galeria Arsenał, Białystok
2005
5-та Міжнародна бієнале сучасного мистецтва, Гюмрі, Вірменія
2003
«Спільний простір», виставка в публічному просторі, куратор Р.Е.П. група, Київ, Україна
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