2018

"Couplings" - a mirroring of the EuroMaidan archive Kyiv, Ukraine

Works

This year I had the privilege of working in Kyiv, Ukraine. This was a reflection on the occasion of the 5 year anniversary of the Euromaidan protests, which preceded the annexing of Crimea. The project is incorporating actual objects of the resistance, in collaboration with the “Museum of the Revolution of Dignity”, on invitation of curators Nathanja Van Dijk and Kateryna Filyuk.

This project is primarily a reflection on the nature of objects found at Maidan square. The urgency with which the events unfolded meant many daily objects were appropriated for defensive purposes, such as sporting goods used as weaponry or domestic and construction goods used for armour. In addition, due to the duration of the occupancy of Maidan, more sentimental functions became part of the culture on the square, which involved the fashioning of personalised items, such a decorations for Christmas, or shield painting as a medium for memorial purposes.

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

My project is tracing backwards towards the origins of some of these sources – to look for objects which have an uncanny resemblance to the artefacts of the museum collection. Both in Kyiv, as well as shops abroad and online, such sources have included party shops, toy shops, office supplies and cosmetics. The display then exploits the format of still life, using inanimate objects, often for allegorical purposes. By repeating the displays – one assembled of the original museum objects, and the second a copy in consumer goods – a play of memory is enacted, almost a game to recall the actual, the traumatic. This could also be read as a sanitisation, an effect occurring through time, but also a potential socio-political amnesia – a censored form of recollection.

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

By extension, the display stands are playing on the functions of the museum and those of window displays for commercial purposes, which further seeks to highlight the commercial or consumerist nature of the objects appropriated during the revolution. This perspective should shine light on the seriousness and self-sacrifice required in order for true revolution to take place. The availability and commonality of the objects also makes clear the spontaneous and civilian demographic of the resistance.

In addition, the exhibition develops a deeper thematic of revolution vs. recreation, and shows an overcoming by the Ukrainian population, of an apathy typical of a fledgling westernised consumerist societies, as told through the “props” or objects enabling an independence.

The display in this sense seeks to contrast the casual with the essential, the flimsy with the truly transformative.

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - Installation view

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

'Couplings' - a mirroring of the Euromaidan archive, 2018 - installation detail

Mystetskyi Arsenal,

Revolution of Dignity Museum,

A Tale of a Tub Foundation (Netherlands)

The project is implemented with support of the Ukrainian Cultural Foundation