Practices of Recognition. Another Viewing Attempt
The Laboratory of Contemporary Art Mala Gallery of the Mystetskyi Arsenal announces the third and final exhibition of the long-term project Practices of Recognition which is dedicated to rethinking the key exhibitions of the 90s — Practices of Recognition. Another Viewing Attempt. The exhibition will open at 5:00 p.m. on November 21 and last until December 22, 2024.
The exhibition Practices of Recognition. Another Viewing Attempt is focused on the project Alchemic Surrender, which took place on July 20–21, 1994, aboard the warship Slavutych in Sevastopol. Exhibition curator Marta Kuzma developed the concept around the notion of isolating the ship — a prominent symbol of power and military authority — from its original context and reintroducing it into the realm of art. Analogous to alchemy, art here is seen as capable of transforming the environment. Thus, in the curator’s vision, the military and political spheres surrender to art.
Revisiting this exhibition now brings even more questions and confusion, with attempts at answers rarely yielding success. Was the exhibition truly a deliberate cultural and political gesture, or was it rather shaped by a combination of various factors? How can we interpret Alchemic Surrender today, in light of a full-scale war with Russia? How realistic is it for war and politics to surrender to art, especially when in the Western consciousness the invading country is often associated with the grandeur of its cultural and artistic achievements?
Artists whose practices align with the themes explored in Marta Kuzma’s exhibition were invited to examine and reinterpret Alchemic Surrender at the Mala Gallery.
Exhibition participants: Yuriy Bolsa, Krystyna Melnyk, Sevilâ Nariman-qizi, Olesia Saienko, and Maksym Khodak
Curator: Anastasia Garazd
Mentoring: Natasha Chychasova and Oleksandr Soloviov
Text editing: Oleksandr Stukalo
Translation: Burshtyna Tereshchenko
The exhibition poster features a photo provided by the archive of the Center for Contemporary Art.
The exhibition will open at 5:00 p.m. on November 21 and last until December 22, 2024, in the Mala Gallery (Lavrska St., 10).
Working hours:
Wednesday to Sunday, from 12:00 to 19:00
Free admission.
The Laboratory of Contemporary Art “Mala Gallery of Mystetskyi Arsenal” extends its gratitude to the Research Platform of PinchukArtCentre, Oleksandr Soloviov, Oleksandr Ivashyna, and Lizaveta German for their support and participation in the project. Archival materials for the exhibition were provided by the Research Platform of PinchukArtCentre and the archive of the Center for Contemporary Art.
The project is being realized in cooperation with the Goethe-Institut in Ukraine.
❗ We care about everyone’s safety, so in case of an air raid alert, the exhibition will be closed. At this time, you can go to the nearest shelter. The exhibition will start working after the end of an air raid alert.
CURATORIAL TEXT
The exhibition Practices of Recognition. Another Viewing Attempt is focused on the project Alchemic Surrender, which took place on July 20–21, 1994, aboard the warship Slavutych in Sevastopol. Exhibition curator Marta Kuzma developed the concept around the notion of isolating the ship — a prominent symbol of power and military authority — from its original context and reintroducing it into the realm of art. Analogous to alchemy, art here is seen as capable of transforming the environment. Thus, in the curator’s vision, the military and political spheres surrender to art.
When discussing Alchemic Surrender, it’s impossible not to mention that it’s one of the earliest and most significant political exhibitions in contemporary Ukrainian art. Though at times it seems shrouded in more speculations than actual facts. Verifying stories about this exhibition isn’t easy: seen by few, it remains mysterious and enthralling, since in 1994 Sevastopol was a closed city. There was also intense political tension present. While Ukraine’s ground troops swore allegiance following the USSR’s collapse, Russia was reluctant to cede control of the strategically important port. Said reluctance later led to an inequitable division of the Black Sea Fleet, as well as political pressure and manipulation.
Revisiting this exhibition now brings even more questions and confusion, with attempts at answers rarely yielding success. Was the exhibition truly a deliberate cultural and political gesture, or was it rather shaped by a combination of various factors? How can we interpret Alchemic Surrender today, in light of a full-scale war with Russia? How realistic is it for war and politics to surrender to art, especially when in the Western consciousness the invading country is often associated with the grandeur of its cultural and artistic achievements? Reflections are polarized by both these speculations and by various academic perspectives and interpretations, as interest in Alchemic Surrender has persisted for over 20 years since its unveiling. Marta Kuzma herself sometimes finds it difficult to capture the essence of this project, as for her, it is tied to a complex mix of emotions. One thing is clear: Alchemic Surrender arose at a unique historical moment, and in its form it is remarkable. Perhaps these questions should remain open-ended, inviting us to simply surrender to them.
Artists whose practices align with the themes explored in Marta Kuzma’s exhibition were invited to examine and reinterpret Alchemic Surrender at the Mala Gallery. Together with Yuriy Bolsa, Krystyna Melnyk, Sevilâ Nariman-qizi, Olesia Saienko, and Maksym Khodak, the curatorial team makes another attempt to revisit the exhibition and, through this lens, engages in discussions on contemporary views of revenge and weapons, the redefinition of masculine and feminine roles in the context of war, perceptions of Crimea, the importance of a non-colonialist perspective on political and cultural processes, and the need for consistent, ongoing reflection on our past.