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Zhanna Kadyrova

Zhanna Kadyrova
Biography
1981.07.07
Born in Brovary, Kyiv region, into a family of an artist and an engineer.
1999
Graduated from the sculpture department of the Taras Shevchenko State Art Secondary School (now the Kyiv State Art Lyceum named after T. H. Shevchenko).
2004
Won the first prize at the All-Ukrainian Biennale of Contemporary Arts in Kyiv. Became a member of the group "R.E.P." ("Revolutionary Experimental Space").
2005
Became a co-author of the first international solo exhibition "Orange Summer II" (together with Lesya Khomenko) at the "Ridzina" gallery (Moscow, Russia).
2006
Her first solo exhibition in Ukraine "Diamonds" (together with Andriy Sagaidakovsky) is being held at the Center for Contemporary Art at the National University "Kyiv-Mohyla Academy".
2011
Received the special PinchukArtCentre Prize 2011 for the work "Monumental Propaganda".
2012
She received the Kazimir Malevich Art Prize, as well as the main prize of the Kyiv Sculpture Project festival. She became a permanent participant of the BIRUCHIY contemporary art project residency on Biryuchyi Island in the Kherson region. She debuted with the project "Canned Goods" in collaboration with Denys Rubano
2013
She won the main prize of the PinchukArtCentre Prize 2013 for the work "Monumental Propaganda." She participated for the first time in the 55th Venice Biennale as part of the National Pavilion of Ukraine.
2014
Received the special Future Generation Art Prize for the work "Experiments".
2019
Received the special Future Generation Art Prize for the work "Experiments".
2022
Participated in the Bangkok Art Biennale in Thailand, as well as the Kochi–Muziris Biennale in India. Presented the project "Material Evidence" at the Stavanger Art Museum in Norway (curator: Helga Newman). Started the "Palyanytsia" project, through which more than half a million euros were raised to support the Armed Forces of Ukraine.
2023
Her first international retrospective exhibition "Daily Bread. The First Retrospective" is taking place at Kunstverein Hannover in Germany, as well as the first retrospective in Ukraine "Flight Trajectories" at PinchukArtCentre (curator: Bjorn Geldhof).
2024
Her exhibition "UNEXPECTED" is taking place at the Rudolfinum gallery in Prague, Czech Republic (curator: Bjorn Geldhof), as well as the exhibitions "Devil of Comparisons" at Palazzo Chigi Zondadari in Siena, Italy (curator: Massimiliano Bastardo).
2025
Became a laureate of the Taras Shevchenko National Prize of Ukraine for the exhibition "Flight Trajectories." Zhanna Kadyrova is the first artist in the last twenty years to be awarded this prize.
2026
Became the author of the project "Security Guarantees," presented by the National Pavilion of Ukraine at the 61st Venice Biennale. The central object of the project is the sculpture "Origami Deer" (curatorial group: Kseniya Malykh and Leonid Marushchak).
The artist is represented by the galleries GALLERIA CONTINUA (San Gimignano, Beijing, Le Moulin, Havana, Rome, São Paulo, Paris) and ZAHORIAN & VAN ESPEN (Bratislava, Prague).
The artist's works are included in world collections: National Museum of Women in the Arts (Washington, USA), Kunstmuseum Liechtenstein (Vaduz, Liechtenstein), Museum Voorlinden (Wassenaar, Netherlands), Colección SOLO (Madrid, Spain), Kunsthalle Praha, Pudil Family Collection (Prague, Czech Republic), Kontakt. The Art Collection of Erste Group and ERSTE Foundation (Vienna, Austria), Museum of Modern Art of Warsaw (Warsaw, Poland), Arsenal Gallery (Bialystok, Poland), Centre Georges Pompidou (Paris, France), Marval Collection and Collezione Genesi (Milan, Italy), Rigo-Saitta Collection (Geneva, Switzerland), Museum Ludwig (Cologne, Germany), Tyrolean State Museum (Innsbruck, Austria), Helsinki Art Museum (Helsinki, Finland), Castello di Rivoli Museo d’Arte Contemporanea (Turin, Italy), SCHUNCK museum (Geleen, Netherlands), Stavanger Art Museum (Stavanger, Norway), Albertinum Museum (Dresden, Germany), Art Collection of the German Bundestag (Berlin, Germany).
The artist's works are also kept in Ukrainian collections: IZOLYATSIA. Platform of Cultural Initiatives (Kyiv — Donetsk), National Cultural and Art Museum Complex "Mystetskyi Arsenal" (Kyiv), Odesa National Art Museum (Odesa), Zaporizhzhia Regional Art Museum (Zaporizhzhia).
Overview of artistic practice

2026. Researcher Milena Khomchenko

Zhanna Kadyrova was born in Brovary, Kyiv region, in the family of artist Elfat Kadyrov from Bashkortostan and an engineer from the village of Zabarivka, Chernihiv region. From the 6th grade, she studied at the Taras Shevchenko State Art Secondary School (now the Kyiv State Art Lyceum named after T. G. Shevchenko) in the sculpture department, where her main teachers were Lyudmyla Petrovska and Hryhoriy Khusid. After graduating from art school in 1999, which became her primary education, Kadyrova immediately began actively engaging in artistic practice. Already in the early 2000s, she had her first solo exhibitions in Ukraine and abroad.

In the early 2000s, during the formation of her artistic practice, Zhanna Kadyrova experimented with various media. Initially, she worked with graphics, creating sketches of everyday scenes and portraits of people from her surroundings in the color series Flomorealism. Although this series rarely caught the attention of critics and art historians, the artist consistently organized the image archive over several years. Appealing to realism, the author did not seek to imitate the pictorial techniques of this style but rather documented the rapidly changing surrounding reality. The series also marked a departure from the usual monochrome setups prescribed by the curriculum. In 2005, the artist exhibited these works alongside the sculpture Plumber Tolya (2005) at her first solo exhibition Orange Summer II at the “Regina” gallery in Moscow, which she presented jointly with Lesya Khomenko.

Quite quickly, one of the important thematic lines in the artist’s practice became a critical rethinking of the Soviet legacy. Since the early 2000s, Kadyrova has focused on working with the image of the worker in Soviet propaganda. In the project Honor Board (2003), the artist transforms into workers from the fields of education, public service, industrial enterprises, and others. In the sculpture Plumber Tolya, she depicts a sullen technical specialist, who could hardly be seen on an exemplary honor board or in monumental monuments, as such an image did not fit into the Soviet canon. In my opinion, this sculpture marks the beginning of the artist’s postcolonial method. Since then, she analyzes the ideological legacy and its visual means, focusing on both the conceptual and visual components of the politics of this repressive apparatus of power and control. Regarding the mentioned photographic series (Honor Board), the artist also challenges the visual culture of the USSR but uses different tools. She develops the method of staged photographs of American conceptualist Cindy Sherman, who criticized society-imposed, mass culture, and media representations of identity and gender. Sherman challenged the patriarchal view of women, the grandeur of historical figures, and the sacredness of classical art images by applying makeup and exaggerating images through dressing up. Kadyrova creates similar caricatured characters in her own Honor Board.

During the Orange Revolution of 2004, Kadyrova became a member of the group “R.E.P.”, which then included more than twenty people [1]. However, since 2006, the association has narrowed to six participants, among whom, besides her, are Nikita Kadan, Lada Nakonechna, Lesya Khomenko, Volodymyr Kuznetsov, and Kseniya Hnylytska. Since then, the artist combines collective work with individual practice or situational collaborations within separate exhibition projects. While in the group she focused on performative expressions in public space on the edge of activist gestures aimed at criticizing the present, in her solo practice she mostly worked with the medium of sculpture, often rethinking the Soviet past and outdated methods of art education in Ukraine.

Returning to her solo practice, following the ceramic sculpture of the plumber, Kadyrova focused on testing tile material in various forms. Then appeared both exhibition and public space series of works: Monuments to Garbage (2005–2010), Diamonds (2006–2011), Calculation (2008–2009), Bench-Graphics (2008), Fruit (2008–2021), Apple (2010), Shells (2009–2012), and others. They mimicked household objects, food products, or garbage or reproduced certain processes or computational operations. In this way, the artist not only transferred concrete and abstract forms into sculptural objects but often challenged grand and monumental scenes or images of contemporary and past ideologies, paying attention to unnoticed and everyday things.

The artist also resorted to such mimicry in later projects, including Second Hand (2014–2020) and Market (2017–2018), where she cut out tile shapes of dresses and other clothing items or reproduced food products. In these series, Kadyrova debates the theme of the market—both consumer and artistic. In the first, through reproducing vintage clothing from similarly secondary building materials, and in the second, by turning food into art objects and the art fair into a food market. The culminating work within the study of the market and ideology theme (though not chronologically, but methodologically and in terms of critical expression), in my opinion, is Monumental Propaganda (2013). With this project, Kadyrova won the main prize of the PinchukArtCentre Prize 2013. Then she created a large-scale panel from colored ceramic tiles and smalt, juxtaposing Soviet monumental artistic means and capitalist trophies of entertainment and wealth—artifacts of ideologies of the past and present.

At the same time, continuing to use similar material, the artist critically deepens the line of understanding the Soviet legacy in working with public space. Back in 2009, during the “Sharhorod Rafinad” residency (Sharhorod city, Vinnytsia region), Kadyrova actualized the issue of monumentalization of historical figures and unclear policies regarding their preservation or demolition in independent Ukraine. In the project Monument to the New Monument, she not only rethinks the way of heroization or documents service workers instead of the ruling elite, as in the work Plumber Tolya, but completely removes the personalized image, leaving an unrecognizable silhouette. Later, she addresses the policy of decommunization in the work Recanonization (2017, 2021), where she adds golden halos to Soviet panels with figures of a shepherd or a milkmaid. In this way, the author canonizes household workers and juxtaposes the then fear of religious images and their destruction with the modern dismantling of the USSR legacy. Often in her works, the artist emphasizes the rapid processes of destruction and partly the insufficient analysis of the history behind each individual pedestal.

In the early 2010s, a new line can be noticed in the artist’s practice, which developed through alternative media and new themes. She begins to rethink the image of the contemporary community, collective, and the concept of collectivity as such. The artist works with installation, often complemented by a performative component. In 2012, she created the first iteration of the work Crowd: a glass labyrinth of collages made from newspaper clippings with figures and portraits of people. In this way, she places the person under the spotlight—as a heroine of the news within the collage itself and as a viewer in the exhibition space, reproducing modern mechanisms of ubiquitous surveillance in public space and media. In the installation Performance (2015), Kadyrova creates another crowd—here heroes of different times, geographies, strata, or even artistic styles from paintings of local regional collections meet in the audience hall of cultural centers. And a year later, already without explicit faces, the artist juxtaposes dozens or even hundreds of windows of private apartments or houses in the series Residential Area (2016). Works of this period resonate with Foucauldian criticism of the influence of power structures on human freedoms and the erasure of privacy boundaries.

Although these works record a noticeable shift in the artist’s perspective, they generally concern the theme of ideological influence on society—one of the first and main questions of her practice. To some extent, she also actualizes her interest in the theme of constructing public images, which is traced in the work Honor Board. In this way, the artist combines the interests of her formative period related to the Soviet past with subsequent stages of significant artistic expressions appealing to contemporary media capitalist culture.

Kadyrova’s practice over these twenty years emerges as a consistent and coherent line of development of criticism of ideologies of different periods and geographies, as well as reflecting their influence on visual culture. An important feature of her approach remains the ability to create a critical gesture through a straightforward and simple image. During this period, she created a complex network of works, in which individual pieces often transformed into entire series, which the artist continued to reproduce or rethink in new contexts and locations. Sometimes visual images of individual works traveled through different series. For example, ceramic sculptures of apples, which first appeared as part of the Monuments to Garbage series, later appeared in the Calculation project (2008–2009) and later in the Fruit series (2008–2021). Ideas that arose at the beginning of the artist’s formation often continue to develop to this day.

Also, after 2014, isolated works appeared concerning the war in eastern Ukraine and the annexation of Crimea. Among them is the series Experiments / Experiments (2014), which contained photographs of Kyiv damaged by nitric acid: the places of image damage visually resembled explosions similar to those that were then occurring in Donetsk and Luhansk regions. For this project, the artist won the main prize of the Future Generation Art Prize 2014. This line also includes the aforementioned work Crowd in its new 2015 iteration, where Ukrainian newspapers emphasized the events of the annexation of Crimea. After 2013, Kadyrova often returned to her previous works and created new versions of them, expanding the context and appealing to war events.

After the start of the full-scale invasion, the artist focused all her attention on working with artifacts, images, and landscapes of war. Similar to Russian attacks, she invades peaceful landscapes and idyllic scenes by embroidering the inscriptions Air Raid in the Alarm series (2022). Stones found in the village of Berezovo in Zakarpattia (and later in other places), which resemble traditional Ukrainian bread in shape, she presented as palianytsia in the eponymous series of sculptures (2022). In the Refugees series (2023), the artist evacuates houseplants from frontline regions, and in the installation House of Culture (2023)—household items and an entire room, bringing damaged flora back to life or documenting the consequences of attacks on residential and cultural infrastructure. Her practice often shifts into the format of documentation and large-scale volunteering. Only from the sale of the Palianytsia works, she donated over half a million euros to support the Armed Forces of Ukraine (from the beginning of 2022 to the end of 2025).

In the 2020s, the artist presented a number of large solo and retrospective exhibitions in Ukraine and European countries, as well as participated in group projects and biennales on most continents. In 2026, Zhanna Kadyrova’s project Security Guarantees will be exhibited at the National Pavilion of Ukraine at the Venice Biennale. Its central object is Origami Deer, evacuated from Pokrovsk, Donetsk region, where fierce fighting is currently ongoing. The project appeals to the events of 1994, when Ukraine handed over its nuclear potential in exchange for security guarantees that proved worthless in the conditions of the current war.

Kadyrova actively implements projects worldwide but continues to live and work in Kyiv.

  1. Full group composition: Anatoliy Belyov, Artur Belozorov, Dmytro Bugaychuk, Kseniya Hnylytska, Kyrylo Hrynyev, Nikita Kadan, Zhanna Kadyrova, Borys Kashapov, Yaroslav Kolomiichuk, Volodymyr Kuznetsov, Sasha Makarska, Lada Nakonechna, Oleksandr Semenov, Oleksandra Sulymenko, Serhiy Siryi, Viktor Kharkevych, Lesya Khomenko, Olesya Trofymenko (Tselovanska), Volodymyr Shcherbak, Alina Yakubenko.
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Art works & Documents
Zhanna Kadyrova. Instrument. 2024. Organ, fragments of fired Russian shells, performance
Zhanna Kadyrova. Instrument. 2024. Organ, fragments of fired Russian shells, performance
Zhanna Kadyrova

Zhanna Kadyrova. Refugees. 2022–2025. Photo, installation, plants in pots
Zhanna Kadyrova. Refugees. 2022–2025. Photo, installation, plants in pots
Zhanna Kadyrova

Zhanna Kadyrova. House of Culture. 2023. Server booth, chandelier, soil
Zhanna Kadyrova

Zhanna Kadyrova. Russian Rocket. 2022–ongoing. Sticker
Zhanna Kadyrova. Russian Rocket. 2022–ongoing. Sticker
Zhanna Kadyrova

Zhanna Kadyrova. Palianytsia. 2022–ongoing. Found river stones, table, tablecloth
Zhanna Kadyrova. Palianytsia. 2022–ongoing. Found river stones, table, tablecloth
Zhanna Kadyrova

Zhanna Kadyrova. From the Travel Diary series. 2022. Marker, paper
Zhanna Kadyrova. From Travel Diary series. 2022. Marker, paper
Zhanna Kadyrova

Zhanna Kadyrova. Travel Diary series. 2022. Marker, paper
Zhanna Kadyrova. Travel Diary series. 2022. Marker, paper
Zhanna Kadyrova

Zhanna Kadyrova. From Anxiety series. 2022. Hand embroidery by anonymous Ukrainian authors, machine embroidered text, textile
Zhanna Kadyrova. From Anxiety series. 2022. Hand embroidery by anonymous Ukrainian authors, machine embroidered text, textile
Zhanna Kadyrova

Exhibitions
2026
Security Guarantees, Ukrainian Pavilion at the 61st Venice Biennale (Italy) INSTRUMENT, Galleria Continua / San Gimignano (Italy)
2026
INSTRUMENT, Galleria Continua / San Gimignano (Italy)
2026
Sliced Realities, Thomas Mann House, Los Angeles (USA)
2026
Looking into the Ruptures (укр. Дивлячись у розриви), Jam Factory Art Center, Lviv (Ukraine)
2026
ECHOES OF TUMULT, CTM Festival 2026, Berlin (Germany)
2025
Strategic Locations, GALLERIA CONTINUA / Paris (France)
2025
Instrument, organized by RIBBON International and Ukrainian Railways, Lviv train station (Ukraine)
2025
IHME Helsinki Commission, 2025, The Forest, Power Station Museum, Helsinki (Finland)
2025
Awulsja, curated by Monika Szewczyk, ARSENAL GALLERY POWER STATION, Białystok (Poland)
2025
Bread (укр. Хліб), National Center Ukrainian House, Kyiv (Ukraine)
2025
Different Places (укр. Різні місця), National Art Museum of Ukraine, Kyiv (Ukraine)
2025
Berättelser från Skogen, Sikås Art Center, Hammerdal (Sweden)
2025
Bi_AM — International Art Biennial of Antioquia and Medellín, Medellín (Colombia)
2025
ArtVilnius’25, Lithuanian Exhibition and Congress Centre LITEXPO, Vilnius (Lithuania)
2025
Realities Building, Messe Wien, Vienna (Austria)
2025
Radical Hope, Golden Thread Gallery, Belfast, Northern Ireland (United Kingdom)
2025
Looking into the Gaps II, Artsvit Gallery & Center for Contemporary Culture in Dnipro, Dnipro (Ukraine)
2025
Voices from Ukraine. Borderlands, BWA Gallery, Zielona Góra (Poland)
2025
Voices from Ukraine. Borderlands, Labirynt Gallery, Lublin (Poland)
2025
Voices from Ukraine. Borderlands, BWA Gallery, Wrocław (Poland)
2025
The Forest, IHME Helsinki Commission 2025, Power Station Museum, Helsinki (Finland)
2025
Home Beyond the Dawn / 夜明けの向こうの故郷, Expo 2025, Osaka (Japan)
2025
material messenger, RAUM SCHROTH at the Museum Wilhelm Morgner, Soest (Germany)
2025
Art after 2000. Glossary, Ukrainian House, Kyiv (Ukraine)
2025
At the Table. Eating and Drinking in Contemporary Art, Museum Ostwall, Dortmund (Germany)
2025
And The Wind Will Carry Us Away, Stasys Museum, Panevėžys (Lithuania)
2025
WIECZNE TRWANIE, Galeria Domu Norymberskiego, Kraków (Poland)
2025
Women at War, North Dakota Museum of Art, North Dakota (USA)
2025
Burning, k41community.fund, Kyiv (Ukraine)
2024
Border Memory, Uppsala Art Museum, Uppsala (Sweden)
2024
Anxiety, Czech Centre, Sofia (Bulgaria)
2024
Unexpected, Galerie Rudolfinum, Prague, (Czech Republic)
2024
Anxiety, Galleria Continua, San Gimignano (Italy)
2024
DEVIL OF COMPARISONS, Palazzo Chigi Zondadari, Siena (Italy)
2024
Anxiety, Tourist Information Center, Zaporizhzhia (Ukraine)
2024
Іmagine Home, Het Noordbrabants Museum (The Netherlands)
2024
Art from the Romantic Period to the Present Day, Albertinum Museum, Dresden (Germany)
2024
Food in Art, the Museum of Contemporary Art in Krakow MOCAK, Krakow (Poland)
2024
Chez Paint it Black, A temporary restaurant entirely imagined by artists, Torino (Italy)
2024
GOGOLFEST Pokrova!, international festival of contemporary art, Zaporizhzhia (Ukraine)
2024
Women at War, University of Manitoba School of Art Gallery, Winnipeg (Canada)
2024
Women at War, Chicago Cultural Center, Chicago (USA)
2024
Ouverture 2024, Piazza Mafalda di Savoia, Rivoli — Torino (Italy)
2023
Flying Trajectories, PinchukArtCentre, Kyiv (Ukraine)
2023
Out of Home, Munich Documentation Center for the History of National Socialism, Munich (Germany)
2023
Daily Bread, A first Retrospective, Kunstverein, Hannover (Germany)
2023
Palianytsia, TAM, Veliko Tarnovo (Bulgaria)
2023
Grain: Burning issue, Volkskundemuseum, Vienna (Austria)
2023
Futuromarennia: Ukraine and Avant-Garde KUMU, Tallinn (Estonia)
2023
After the war, Contemporary Art Week, Plovdiv (Bulgaria)
2023
Art and Life in Times of War, Württembergischer Kunstverein, Stuttgart (Germany)
2023
Romantic Route 3 Arts Festival (Taiwan)
2023
Couvent Levat, Marseille (France)
2023
Kaleidoscope of (Hi)stories. Ukrainian Art 1912–2023, Albertinum, Dresden (Germany)
2023
Kaleidoscope of (Hi)stories. Ukrainian Art 1912–2023, Museum de Fundatie, Zwolle (The Netherlands)
2023
Chronic Hunger — Chronic Desire, Timișoara 2023 European Capital of Culture, Timisoara (Romania)
2023
Food Age. Food as Influencer, Galleria Nazionale di Arte Moderna, Rome (Italy)
2023
Women at War, Stanford in Washington (USA)
2023
Women at War, Florida State University Museum of Fine Arts, Tallahassee (USA)
2023
8th Biennial of Contemporary Mosaic of Ravenna, Biblioteca Classense, Sala del Mosaico, Ravenna (Italy)
2022
Palianytsia, the Theater of Hopes and Expectations, Düsseldorf (Germany)
2022
Palianytsia, Galleria Continua Marais, Paris (France)
2022
Material Evidence, Stavanger Kunstmuseum, Stavanger (Norway)
2022
Palianytsia, Konig Gallery, Berlin (Germany)
2022
Palianytsia, Echigo-Tsumari Art Field Triennale, Niigata Prefecture (Japan)
2022
Palianytsia, Riva San Biasio, Venezia (Italy)
2022
Palianytsia, Berezovo Village, Transcarpathia (Ukraine)
2022
Kochi — Muziris Biennale 2022, Kochi (India)
2022
Fire and Hope, Gallery NTK, Prague (Czech Republic)
2022
Heart of Earth, Mystetskyi Arsenal, Kyiv (Ukraine)
2022
The Muses are not silent, Center of Architecture, Design and Urbanism Gunpowder TOWER, Lviv (Ukraine)
2022
Triennale Ukrainian Cross-Section 2022. UKRAINE! UNMUTED, Kaunas Central Post Office, Kaunas (Lithuania)
2022
Tod und das Mädchen / Death and the Maiden, Kunstforum Wien (tresor space), Vienna (Austria)
2022
We No Longer Feel the Future, MUZA — Eretz Israel Museum, Tel Aviv (Israel)
2022
Working Room, Artsvit Gallery, Dnipro (Ukraine)
2022
Bangkok Art Biennale 2022. Chaos : Calm, Bangkok (Thailand)
2022
Renewal [Odnowa] Biennale Zielona Góra 2022, Zielona Góra (Poland)
2022
Working Room, A:D: Curatorial, Berlin (Germany)
2022
What is depicted here? Working room residency, Folkwang Museum, Essen (Germany)
2022
Working room, Residence exhibition, Ivano-Frankivsk (Ukraine)
2022
Stolen sun, Miguel Abreu Gallery, New York (USA)
2022
Traditional Replays, Zhanna Kadyrova and Lada Nakonechna, Druh Druha, BWA, Warsaw (Poland)
2022
UKRAINA, Rikstolvan, Simrishamn (Sweden)
2022
Women at War, Fridman Gallery, New York (USA)
2022
Women at War, Eastern Connecticut State University, Willimantic (USA)
2022
Women at War, Wesleyan University, Middletown (USA)
2022
XII ED. DEMANIO MARITTIMO.KM-278, Marzocca di Senigallia (Italy)
2022
The Muses are not silent, the Center of Architecture, Design and Urbanism «Gunpowder Tower», Lviv (Ukraine)
2022
War diaries, Contemporary Art Space, Batumi (Georgia)
2022
War diaries, gallery Artbeat, Tbilisi (Georgia)
2022
The Artist as a Witness, Parlamentarium of the European Parliament, Brussels (Belgium)
2022
State of emergency, Catinca Tabacaru gallery, Bucharest (Romania)
2022
Unfolding Landscapes, Landscapes and Pooetics in Contemporary Ukrainian Art, KunstCentret Silkeborg Bad, Silkeborg (Denmark)
2021
Market- Extra Dolce, Rhinoceros Gallery, Fondazione Alda Fendi Esperimenti, Rome (Italy)
2021
Landmarks, Una Boccata d’Arte, Fondazione Elpis and Galleria Continua, Tolfa, Lazio (Italy)
2021
Swimming Wasn't Allowed in the Plant's Aquatorium, M17 Contemporary Art Center, Kyiv (Ukraine)
2021
Ichihara-Puscha Voditsya, Ichihara Art & Mix Festival, Goi Station, Ichihara (Japan)
2021
Look! Exposing Art and Fashion, Marta Herford Museum, Herford (Germany)
2021
Land, Property and Commons, Semmering Mountains (Austria)
2021
Truc a’ faire curated by JR, Galleria Continua, Paris (France)
2020
(Almost) Involuntary Sculptures, with Jiří Kovanda, Zahorian & Van Espen Gallery, Bratislava (Slovakia)
2020
It was forbidden to swim in the water area of the plant, Invogue gallery, Odessa (Ukraine)
2020
Market, site specific performance and installation, Ukrainian Institute, New York (USA)
2020
Market, site-specific performance, Armory Show, New York (USA)
2020
WHY THERE WILL BE WOMEN ARTISTS IN LVIV, Lviv Municipal Art Center, Lviv (Ukraine)
2020
WBS70 — 50 years later: Reception of the prefabricated building in contemporary art, Raskolnikow Kunsthaus, Dresden (Germany)
2020
The monument, the toil and the hippocampus, La Kunsthalle Mulhouse, Mulhouse (France)
2020
JISP Shanghai, Shanghai (China)
2020
Fear, Galeria Arsenał elektrownia, Białystok (Poland)
2020
Crack up crack down, Uyazdovski castle, Warsaw (Poland)
2020
Still Still Life, Sara Hilden Museum, Tampere (Finland)
2020
Fantastic Utopias, Rocca di Angera (Italy)
2019
Animalier, Villa Pacchiani Centro Espositivo, Santa Croce sull'Arno, Pisa (Italy)
2019
Extra Dolce, Fondazione MACC, Sardinia (Italy)
2019
Resistance of Matter, Galleria Continua, Les Moulins (France)
2019
Permiso para el coctel, Galleria Continua, Havana (Cuba)
2019
Resistance of Matter, Zahorian & Van Espen Gallery, FOAF Prague, Prague (Czech Republic)
2019
Entropia, MetaCulture, Kyiv (Ukraine)
2019
Fantazery festival, Dragobrat (Ukraine)
2019
Opening, Museum of Contemporary Art, Kherson (Ukraine)
2019
HOTEL EUROPA: Their Past, Your Present, Our Future, Open Space of Experimental Art, Tbilisi (Georgia)
2019
CrackUpCrackDown, THE 33RD BIENNAL OF GRAPHIC ARTS, Ljubljana (Slovenia)
2019
May you live in interesting times, 58th International Art Exhibition, Venice Biennale, Venice (Italy)
2018
Market, site specific performance, Pulse Miami, Florida, (USA)
2018
Market, site specific performance, Kyiv Art Week, Kyiv, (Ukraine)
2018
A Space of One's Own, PinchukArtCentre, Kyiv (Ukraine)
2018
The Fabric of Felicity, Garage Gallery, Moscow (Russia)
2018
Neoshamanism. Ritual Power, Biruchiy peninsula, Melitopol Museum of Local Lore (Ukraine)
2018
Fantazery festival, Dragobrat (Ukraine)
2018
Werkschau, Spinnerei Leipzig, Leipzig (Germany)
2018
Permanent revolution, Ludwig Museum, Budapest (Hungary)
2017
Market, site specific performance, Art Monte Carlo fair, Monte Carlo, (Monaco)
2017
Zhilmassiv, Apartment 14, Kyiv, (Ukraine)
2017
The Invisible Cities, UNAICC = National Union of Cuban Architects and Construction Engineers, Havana (Cuba)
2017
The Festivities Are Cancelled!, Kyiv Biennial 2017,Ukrainian Institute of Scientific, Technical and Economic Information, Kyiv (Ukraine)
2017
Anonymous Society, PinchukArtCentre, Kyiv (Ukraine)
2017
Montezuma, Fontana, Mirko La scultura in mosaico dalle origini a oggi, MAR - Museo d’Arte della città, Ravenna (Italy)
2017
Public Art Festival “ART PROSPECT-BISHKEK: GREEN ZONES — NEW BREATH", Bishkek (Kyrgyz Republic)
2017
Reconstruction of memory, DOX Centre for Contemporary Art, Prague (Czech Republic)
2017
Continua Spheres ENSEMBLE, Cent quarter 104, Paris (France)
2017
House of Culture, coworking 4 City, Odessa (Ukraine)
2017
Stan zagrozenia, Pracownia duzy pokoj, Warsaw (Poland)
2017
Urbs sacra, Mains d’Œuvres Paris (France)
2017
Second Hand. Kiev Cinema Copy Factory, Gogolfest 2017, Kyiv (Ukraine)
2017
Attention border, Arsenal gallery, Belostok / Labyrint gallery, Lublin (Poland)
2017
Spaces, Galerie La Cave, Geneva (Switzerland)
2017
Nad bogom 2017, Vinnitsa (Ukraine)
2017
“Sci-Fi!” International Kansk Festival, Forest behind the Kansk Drama Theatre, Kansk (Russia)
2017
Biruchiy 2017, International symposium of contemporary art Ukraine, Biruchiy (Ukraine)
2017
House of Culture, Izolyatsia. Platform for Cultural Initiatives, Kyiv (Ukraine)
2017
The story about certain histories, Galeria labirynt, Lublin (Poland)
2017
Museum of the city of Svetlograd, Lisichansk Local History Museum, Lisichansk (Ukraine)
2016
Mia casa, mia fortezza, galleria Continua, San Gimignano (Italy)
2016
Perfomance V, Kulturni Centar Nikola Đurković, Kotor (Montenegro)
2016
Hohulyа with Denys Ruban, Detenpula gallery, Lviv, (Ukraine)
2016
Crypsis with Alice Nikitinova, PLATO — platform (for contemporary art) Ostrava City Gallery, Ostrava (Czech Republic)
2016
Yours/Mine, Бükü — Bureau for Cultural Translations, Leipzig (Germany)
2016
NaViyane, Shishaki Fest, Cinema O. Dovzhenko, Shishaky (Ukraine)
2016
Social-contract, Izolyatsia. Platform for Cultural Initiatives, Кyiv (Ukraine)
2016
Bud’mo!, BWA Zielona gora, Zielona gora (Poland)
2016
Museum on/off / Museum (science) fictions, Centre Pompidou, Paris (France)
2016
The School of Prosperity. A Class of the School of Kyiv, Kyiv Biennial 2015, MUSA, Vienna (Austria)
2016
De ne De, Institute of Scientific-Technical and Economic Information, Kyiv (Ukraine)
2015
Yours/Mine, Small Gallery Art Arsenal, Kyiv (Ukraine)
2015
Experiments with Lada Nakonechna, BWA gallery, Warsaw (Poland)
2015
Perfomance IV, Old cinema, Voss (Norway)
2015
Performance III, The School of Kyiv — Kyiv Biennial 2015 National Pedagogical Dragomanov University, Kyiv (Ukraine)
2015
Perfomance II, Cinema “Russia”, Vinnytsia (Ukraine)
2015
Perfomance I, Cinema O. Dovzhenko, Shishaky (Ukraine)
2015
Alteration, kunstraum Innsbruk (Austria)
2015
Second hand, Art Zavod Platforma, Kyiv (Ukraine)
2015
The School of Kyiv — Kyiv Biennial 2015 — Leipzig class. Seminar: Politics of Form, Galerie für Zeitgenössiche Kunst, Leipzig (Germany)
2015
The School of Kyiv. Karlsruhe Class, Lecturer: Alexandra Exter, Badischer Kunstverein, Karlsruhe (Germany)
2015
Follia Continua!, Cent quatre, Paris (France)
2015
Biruchiy 10 × 15, 10th International symposium of contemporary art Ukraine, Biruchiy (Ukraine)
2015
Nad bogom 2015, Vinnytsia (Ukraine)
2015
Zone of peace and freedom, Shishaki Fest, cinema O.P.Dovzhenko, Shishaki (Ukraine)
2015
Recreation, Symposium of Contemporary Art, Irshansk (Ukraine)
2015
Master Art, Vozdvizhenka Art House, Kyiv (Ukraine)
2015
Hope, Ukraine pavilion, the 56th Venice Biennale (Italy)
2015
Trotz allem, Polish institut. Dusseldorf (Germany)
2015
Borderlands, Grad gallery, London (England)
2014
Street collection, Baro galeria, Sao Paolo (Brazil)
2014
Post Pop. East meets West, Saatchi Gallery, London (Great Britain)
2014
R.E.P. 10 lat . O metodzie, Galeria Labirynt, Lublin (Poland)
2014
Through Maidan and Beyond, Architekturzentrum, Vienna (Austria)
2014
21 Artists Shortlisted for the Future Generation Art Prize 2014, PinchukArtCentre, Kyiv (Ukraine)
2014
Biruchiy 014, International symposium of contemporary art, Biruchiy (Ukraine)
2014
Sister europe, Kunstraum Lakeside, Klagenfurt (Austria)
2014
Everything and Nothing, Skuc Gallery, Lubljana (Slovenia)
2014
Open City, Art Festival in Public Spaces, Lublin (Poland)
2014
The Ukrainians*, DAAD, Zimmerstrabe, Berlin (Germany)
2014
Occupation art, Artists Union, Ternopil (Ukraine)
2014
Places, National Art Museum of Ukraine, Kyiv (Ukraine)
2014
Fear and Hope, PinchukArtCentre, Kyiv (Ukraine)
2014
Upstairs, Museum of Moscow, Moscow (Russia)
2013
Data Extraction, Galleria Continua/San Gimignano (Italy)
2013
20 Artists Shortlisted for the PinchukArtCentre Prize 2013, PinchukArtCentre, Kyiv (Ukraine)
2013
Sphères 6, GALLERIA CONTINUA / Les Moulins, Boissy-le-Châtel (France)
2013
Miejsca. Laureaci Nagorody im. K. Malewicza, Arsenal Gallery, Bellostok (Poland)
2013
Lenin: icebreaker, special project of the 5th Moscow Biennale, Lenin Icebreaker, Murmansk (Russia)
2013
Biruchiy 013, Biruchiy Island (Ukraine)
2013
Nouvelles Vagues, Palais de Tokyo, Paris (France)
2013
Monument to the Monument, Ukrainian Pavilion, 55th Venice Biennale (Italy)
2013
Sopromat [strength of materials], ArtPlay, Moscow (Russia)
2013
In the Heart of the Country, Museum of Modern Art of Warsaw (Poland)
2013
Ukrainian News, Centre for Contemporary Art Ujazdowski Castle, Warsaw (Poland)
2013
Coordinate System, Yermilov Centre, Kharkov (Ukraine)
2012
Crowd, PinchukArtCentre, Kyiv (Ukraine)
2012
Asphalt, Centre for Contemporary Art Ujazdowski Castle, Warsaw (Poland)
2012
Practice, Lavra gallery, Kyiv (Ukraine)
2012
Spheres 5, Galleria Continua/Le Moulin (France)
2012
Biryuchi012, Biryuchi Island (Ukraine)
2012
Kyiv Sculpture Project, Grishko Central Botanical Garden, Kyiv (Ukraine)
2012
Contemporary Art Storage, courtyard of Lavra Gallery, Kyiv (Ukraine)
2012
Double Game, Special Project, First Kyiv International Biennale ARSENALE 2012, Kyiv (Ukraine)
2012
False Mirrors, Lavra Gallery, Kyiv, (Ukraine)
2012
Myth: Ukrainian Baroque, National Art Museum of Ukraine, Kyiv (Ukraine)
2012
GENDER–the Right to Self-construction in Patriarchy, Izolyatsia. Platform for Cultural Initiatives, Donetsk (Ukraine)
2012
Apartment Exhibition Days “Zero Budget”, Kharkiv (Ukraine)
2012
Angry birds, Museum of Modern Art, Warsaw (Poland)
2012
Women’s Guild, Visual Culture Research Center, Kyiv (Ukraine)
2011
City Project, Black Square Gallery, Miami (USA)
2011
Invisible Forms, Mala Halereya Mystetsʹkoho Arsenalu, Kyiv (Ukraine)
2011
Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2011, PinchukArtCentre, Kyiv (Ukraine)
2011
On/Off, Art House, Moscow (Russia)
2011
Art Training: join the urban game!, Wroclaw, Poland and Kyiv (Ukraine)
2011
(REP) Impossible Community, Moscow Museum of Modern Art, Moscow (Russia)
2011
3+6, apartment exhibition, Moscow (Russia)
2011
Independent, Mystetskyi Arsenal, Kyiv (Ukraine)
2011
Phantom Monuments, Garage Center for Contemporary Culture, Moscow (Russia)
2010
The Guide, Lavra Gallery, Kyiv (Ukraine)
2010
Ukrainian Art Platform, ART Paris, Grand Palais, Paris (France)
2010
(REP) Great Surprise, National Art Museum of Ukraine, Kyiv (Ukraine)
2010
(REP) Eurorenovation in Europe, Kunstraum, Munich (Germany)
2010
From City to City, Musical Theatre, Kyiv (Ukraine)
2010
ЯКЩО / ЕСЛИ / IF, Museum of Contemporary Art PERMM, Perm (Russia)
2010
Tape it, Оui Gallery, Grenoble (France)
2010
Abstract Vision Test, Ya Gallery, Kyiv (Ukraine)
2010
Those who came in 2000's, CCA М17, Kyiv (Ukraine)
2009
Calculation, Regina Gallery, Moscow (Russia)
2009
Calculation, Рор-up project, Kyiv (Ukraine)
2009
The Conquered City, Regina Gallery, Moscow (Russia)
2009
New History, Kharkiv Art Museum, Kharkiv (Ukraine)
2009
Views, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2009
On the Wall, LABgarage Gallery, Kyiv (Ukraine)
2009
MoskwApolice, Museum of Contemporary Art PERMM, Perm (Russia)
2009
(REP) No More Reality: Crowd and Performance, Depo Gallery, Istanbul (Turkey)
2008
(REP) Art as a Gift, PinchukArtCentre, Kyiv (Ukraine)
2008
Transit, Ya Gallery, Kyiv (Ukraine)
2008
(REP) Another city. Another life, Zacheta Gallery, Warsaw (Poland)
2008
(REP) No more reality, De Appel Art Centre, Amsterdam (Netherlands)
2008
(REP) Satellite Tunes, National University of Fine Arts, Budapest (Hungary)
2008
(REP) Alphabetical Order, Index Gallery, Stockholm (Sweden)
2008
The Invisible Difference, Art Strelka Projects Gallery, Moscow (Russia)
2007
Prace, with Alice Nikitinova, Nod Gallery, Prague (Czech Republic)
2007
Work, with Alice Nikitinova, Mala Halereya Mystetsʹkoho Arsenalu, Kyiv (Ukraine)
2007
Fillings, Gallery L-Art, Kyiv (Ukrainе)
2007
ArchShargorod Festival, Shargorod (Ukraine)
2007
XV years, Vinzavod, Moscow (Russia)
2007
(REP) Witnesses to the Impossible, 2nd Moscow Biennale of Contemporary Art, Moscow Center of Art, Moscow (Russia)
2007
(REP) Communities Project, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2007
Generation UsA, PinchukArtCentre, Kyiv (Ukraine)
2006
Diamonds, Regina Gallery, Moscow (Russia)
2006
Diamonds, with Andriy Sagaidakovsky, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2006
Report Project, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2006
Modus R: Russian Formalism Today, The Newton Building, Miami Design District, Miami (USA)
2006
Testing station, Skulpture Hus, Stockholm (Sweden)
2006
(REP) Postorange, Kunsthalle, Vienna (Austria)
2006
(REP) You?!,TSEKH Gallery, Kyiv (Ukraine)
2006
8=8, L-Gallery, Moscow (Russia)
2006
(REP) Intervention, part of the project “24 Hours. Ukraine”, Centre for Contemporary Art Ujazdowski Castle, Warsaw (Poland)
2006
Contested Spaces in Post-Soviet Art, Sidney Mishkin Gallery, New York (USA) Hot Ukraine cool Ukraine, Moscow Center of Art, Moscow (Russia)
2005
ORANGE SUMMER II, with Lesia Khomenko, Regina Gallery, Moscow (Russia)
2005
Ukrainian Art and the Orange Revolution, Ukrainian Institute of Modern Art, Chicago (USA)
2005
(REP) Intervention, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2005
Control, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2005
Do It Yourself, Art Strelka, David Ter-Oganyan’s showcase, Moscow (Russia)
2005
Do It Yourself, Tomacz Vanek showcase, Prague (Czech Republic)
2005
(REP) Ukrainian Hermitage, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2005
Lost, Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2004
R.E.P. (Revolutionary Experimental Space), Center for Contemporary Art, National University of Kyiv-Mohyla Academy, Kyiv (Ukraine)
2004
Epoch of romanticism, Ukrainian-Polish project, Ukrainian Artists Union, Kyiv (Ukraine)
2004
Playing with archetypes, National Center of Folk Culture Ivan Honchar Museum, Kyiv (Ukraine)
2003
21 Views, Soviart Gallery, Kyiv (Ukraine)
2003
Art-Klyazma, International Art Festival, Moscow (Russia)
2002
Blue Mud, Guelman Gallery, Kyiv (Ukraine)
2002
BiBikov Boulevard, Soviart Gallery, Kyiv (Ukraine)
Bibliography
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