Nikita Kadan,

Lesya Khomenko
"Brighter Future. War on the Heaven"
живопись, инсталляция

8 june 2010 - 22 june 2010
Presentation - 8 june 2010, tuesday, 19.00

A collective exhibition of two artists-colleagues from group R.E.P. dedicated to the theme of incessant upgrade of living environment of post-Soviet city and hidden reality in the poor shine of variable surfaces. For artist’s point of view, "Euro renovation" deeply goes through all social processes of young post-socialist country.


"Euro renovation conciseness" always ignores “fundamental” for “simulation”. It becomes the subject of study in a picturesque series of Lesya Khomenko and installation Nikita Kadan from which consist exhibition.


Lesya Khomenko, following by her plainly strategy, takes the image beyond figurative, focusing on the infliction of acrylic paint to the surface, "blurs the limits of the image". White gentle colors closed for the new series of paintings. Such colors used in the decoration of interiors and facades of buildings in the "European-quality repair". On the canvases one shade blends in with the other, creating the illusion of unattainable paradise, total comfort. The artist finds the inerion of society the tendency to ornament (decoration), instead of major structural changes. Process of creation private comfort according to the new "Western" examples inextricably linked with escape to the private from the painful public. Washing the image refers to the erosion of narrative in general, as in culture, so in other forms of social life.


Nikita Kadan opposes space of survival to the space of representation combat of status and power. People quietly and invisible equipped in the ruins of the former Utopia, and on the heavens rattle superhuman war of Capital. The "battle" of planar geometric shapes (reminiscent of Suprematist compositions of the early 20th century) deployed under the Khrushchev quarters images in the artist installation which was drawing on the wall. But these figures are painted in the newest interior color. At the same time they look like, and urban mapping, to which the artist addressed before. Thus the "pure" geometric forms become living embodiments of the Soviet era micro districts, commercial centers, office buildings, "the elite housing complexes". The competitive environment of the today's city manifested in two incarnations: as a space of "abstract" war of forms (ownership, government and commercial functions), and space of “naked life" which all the time appeared in the forced and used to be a constant victim of the competing side’s actions.

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