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Daniil Galkin was born in 1985 in Dnipropetrovsk and belongs to the young generation of Ukrainian artists shaping the understanding of the role and importance of contemporary art in Ukraine and abroad. He studied at the Theater and Art College and the Academy of Construction and Architecture in Dnipropetrovsk, where he lives and works. In his art he investigates life of an individual within the system entailing all-round control and oppression. In 2009 he created a one-man group under the name 2222 where each digit means one ministry, all together constituting a fictional “Lower State”. The “Lower State” reflects a set of situations in the socio-political system which constitute a pillar of the existing social order and shape the public opinion, thus questioning the moral, political, legal and ethical standards. The “Lower State” project has a second title – “Dissociative Resocialization” – a term whose definition helps delve into the field of artistic research: it is a repeated socialization, which occurs throughout the individual’s life and changes his/her attitude, goals, norms and values. It is a psychological defense mechanism. With this mechanism in operation, a person begins to perceive what is happening as if it were occurring to someone else. This kind of situation is analyzed in each new project as a symptom of the contemporary society state.


A multi-layered project by Daniil Galkin “The Lower State” which comprises a number of exhibitions in different spaces and different countries evidently hits the intellectual trend of studying the seamy side of social phenomena. The paradoxical reverse of the officially acceptable viewpoint explicitly turns out to be more attractive. First and foremost this concerns the underside of the seemingly basic humanist value as “love for one’s neighbors”. It successfully disguises the mechanisms of relationship with the Other (not just another subject but the Other, as some symbolic instance) – the mechanisms of power, domination, submission. And also the principles of social co-existence – respect, sympathy, empathy. Dissection of fine nuances of turning them the seamy side without does not bring us particular pleasure due to the strange metamorphosis of subject-object relations analyzed by S. Zizek in his work “Interpassivity”. The Other person, the one nearby – the subject – turns into the object with whom we share the relations of transference of the whole range of feels. He loves and suffers for us becoming the substitution of ourselves. In the same way each of us, the citizens, becomes a passive object in relation to the State. And the discomfort brought upon us by this feeling of being the "object" of transference and of all kinds of manipulations is the least of possible evils. The State always dictates the rules and we are compelled to abide by them; what we feel in the process is our personal concern. It is on these problems, the problems of the sense of self that the artist is concentrated. “The Lower State” sounds like “undergarment” – underwear. The lower case of meaning. The unconscious of the “object of power”. That which is usually concealed, the intimate constituent of relations with authorities, psychological traumas, major and minor ones caused thereby. They are generally not displayed publicly and sometimes not even realized but still hang heavy and hide deep down. At times they are more eloquent of a personality than the “ceremonial attire” of our official political convictions. Galkin attempts to break free of the passive role of a zombie


citizen, to recognize all these ideological anchors of our conscience and to demount them. By analogy the “Lower State” can be discovered not only without but also within ourselves. Galkin’s project, notwithstanding its intellectual rigidity and clarity (the ultimately clear articulation is the artist’s “kicker”), mesmerizes with its extensive associative area – it is not all that simple and plain in our relations with the authorities. They are an unconditional evil but we do not realize entirely the scale of their influence on ourselves. The artist works with the innuendo of those dim feelings which emerge when coming into contact with the power – at first it is quite pleasant to immerse into the cool semidarkness of the social unconscious. As for the “genre”, this is not the trendy “critical” or “political" art. There is no protest message (which are usually extremely monotonous) or statement of the fact of social stigmas; however, there is a lot of self-reflection, search for succinct personal metaphors representative of Galkin. It is this moment of self-reflection, "heart-searching" that forms the border between politics and simply art. The standard name of an approach like this is external reflection. But that is not precisely “the” definition. The artist is no longer interested in the internal content, e.g. provoking perversions or infantile sexuality. He brings to light the deformations of conscious supposedly caused by external factors – by the subject’s inclusion in the social relations matrix. By feeling as an “object” of power. Protesting against this is useless and even funny. The system of power, or the political system, is founded upon total imperative control. The artist relays his comprehension of the system's inviolability into the space, hence he does not offer any political criticism per se. But there is the diagnosis, revision of inner sensations and conditions associated with external factors. The artist stresses in his interview on the project that these images reflect the exterior. Not exactly: the reflection of the exterior reflects the interior. And only a reflexive loop of this kind could provoke genuine interest.


2013 – Group exhibition PinchukArtCentre Prize, Kiev Project “Tourniquet”. Photographs provided by the PinchukArtCentre Photographed by Sergey Illin Project was realized at PinchukArtCentre – the Tourniquet installation. It stands for forced restriction of movement: the artist completely blocked a passageway at PAC with his installation, thus compelling visitors to wade through the solid rotating line of obstacles. Warily passing one tourniquet after another we register and fix in our minds the feeling of discomfort and danger - its source is unidentifiable, it is everywhere and nowhere. We are afraid of the mechanism's "tantrums" – it may fail and block motion, and in this event the wayfarer will be trapped, as movement is possible only in one direction; we are afraid of the strict limitation of celled space. It seems as though we find ourselves in symbolic “power claws” which control our movement along a specific perimeter. This is regulation of the whole life space at large – a step to the left or to the right is no longer possible. Apart from structural contrivances, the plastic solution of this “proliferous” mechanism provides us with revelations on the subject’s relations with authorities. Visualization of a well-defined structure of power as if grows into the space, filling it edgeways and from top to bottom. Strictly horizontal and vertical partitions remind us of a forest, a thicket where one may easily get lost. We come across this ban of free movement, an obstacle putting us into one-second trance virtually every day – in the underground, supermarkets, airports. But the artist strings up the slight discomfort we feel in this case to the state of despair and complete confusion, i.e. an actual traumatic experience. We are not capable of controlling the situation and are bound to become an absolutely passive part of the "human flow”. It is curious that all modern architecture and urban construction firstly consider the optimization of its movement.


* The long-term project “The Lower State” opens with the transmutation “Tourniquet – Overturn – Baton”, demonstrating its central element’s disintegration into pieces. The whole process is supported by a secondary linking member - a gypsum bandage which not only discloses the etymology of the word “tourniquet” but transforms black into white. Thus, both color and transcription of the form are subject to achromatic inversion. This resembles political psychology experiments conducted in the USSR where children were persuaded to say black is white and vice versa, in order to manipulate people‘s consciousness in the interests of the state. “Tourniquet” (French) originates from medical terminology and means the tool designed to compress soft tissues of extremities in order to stop the bleeding. The movement of a crowd is thus compared to a bleeding which is directed, blocked. The installation “Upsurge with Overturn” is barricades of tourniquets representing coup d’etat and changeover of policy makers. It is remarkable that the process of tourniquet’s decomposition has actually occurred in real life. Initially there was a labyrinth of functioning tourniquets was presented in Kiev in October 2013, and then the Ukrainian revolution followed one month later, and then the President’s impeachment. Now the tourniquet has disintegrated and turned into a large number of nightsticks, which will be later assembled into new tourniquets.


2015 – Group exhibition “Fire and Forget. On violence” KW Institute for Contemporary Art, Berlin. Project “Tourniquet” Photographed by Timo Ohler


2015 – Group exhibition “Brno Art Open” Project “Upsurge with Overturn”, The Liberty Square and New Town Hall, Brno Photographed by Michaela Dvorakova


2015 – Project “Tourniquet-Overseer” Exhibited within the framework of the FeldmanArtPark, Kharkov Photographed by Maxim Belousov


2014 – Personal exhibition “Proof” (Evidence) Shcherbenko Art Centre, Kiev Photographed by Alexey Potemkin The next step in the project implementation is the installation “Proof” at Shcherbenko Art Centre. It deals with the proof of crimes committed by the power. Here a few other succinct and eloquent metaphors are born. Post factum they prove to be quite relevant, striking home with regard to the current political situation. This symbolic resonance is hard to explain as a mere coincidence – prophetic metaphors are being brought to life. The gallery’s floor, i.e. the crime scene, reveals the map of Ukraine created with a “bushel of salt” resembling the white outline of a lying corpse generally drawn by the police. A strong but quite risky comparison; even if the country is alive now, it surely suffers from a severe power collapse. The old power was declared criminal, but it is unclear yet what is to be made of the new one which did not manage to prevent the humanitarian catastrophe in the east. The idiom itself, “to eat a bushel of salt with someone” sounds ominous. The common experience is painted black. Today, after the Crimea’s annexation, the country’s body looks different, while Russia, acting as an aggressor, yet again offers Ukraine to eat the "bushel of salt" in the form of strange humanitarian aid. And there is another side of the authorities – its actual tools of influence which seem quite repulsive. The walls are decorated with evidence of crimes against humanity, art horror-style objects – “brooches of fear” made of sharp crow’s feet put together in a bunch which trigger associations with swastika. Yet again, in this sadistic symbolism the intellectual background is not so important as the focus on sensations, the explicit sensation of repulsion felt by the onlookers. Cellophane bags contain tools “adorned” with crow’s feet - dividers, scissors, brush, sewing awl etc., which is an allusion to freemasonic symbols of tools, to the air-tightness of power and secret methods of ruling the world with a swish of the divider – they are associated with myth of Solomon’s Temple Architect, or on a larger scale - with the Grand Architect or Master of the Universe.


2014 – Personal exhibition “Dash-and-Dot Line” Bottega Gallery, Kiev Photographed by Alexey Potemkin Concomitant with this event the project “Dash and Dot Line” was exhibited in Bottega Gallery nearby. Universal symbols tend to become topical easily in the relevant "fresh" context, although the topical never rises to the level of universal. As in the case of “Proof” of authorities’ crimes, this is an immediate reflection upon Maidan events – a peculiar “punishment” imposed on people for the mediocrity of "political elite" shooting its own people. Here we observe fixed components of a tourniquet dressed in bandages. In some weird way this structure rhymes with the carcass of the main New Year tree; in fact, the “urgent need” to install it and the harsh crackdown of a peaceful student demonstration triggered everything. Bands signifying the trajectory of bullets stretch from the branches of the "shooting" tourniquet. In this case the "tourniquet state" embodies an immediate life threat, it executes and pardons citizens based on the interests of wannabes in power. This installation is probably the most scenographic (a crime scene is good when it is not a scene in the literal sense), literal and wordy – Galkin’s strength lies in simple. One symbol “hits the target” more surely. This is the case with “tumbleweeds”, balls of barbed wire in the next hall. They allude to indiscretion and lack of integrity of the proverbial “elite”. Power changes but its representatives do not, rolling from one party to another.


2014 - Group exibition “Give Me Tomorrow” Project "Tourniquet No.", Modern Art Research Institute, Kiev Photographed by Alexey Potemkin


* Transmutation “Bushel of Salt – Double Solid Line – Proof” is associated with a multitude of superstitions. There is a proverbial phrase “To eat a bushel of salt” which is used to underscore that it will take a lot of time to mend a relationship or that difficulties have to be faced and overcome. This phrase was adopted as a metaphor for the uneasy times experienced by the Ukrainian state and for the tragic history generating salty tears. Having bottled the resulting solution and labelled it as therapeutic mineral water, it is offered for sale to the ones responsible for shooting people at Maidan where mass protest actions were held on February 18-20; according to the Ministry of Health of Ukraine 75 people were killed. The design of the next exposition forced every visitor cross a double solid line made of salt in order to reach the next room, as if in real life when people find themselves in a dead-end situation making them accomplices in the universal crime organized by authorities. Throughout the exhibition the public is observed brush unintentionally over the double solid line dissolving in the befogged gallery space, thus unconsciously erasing boundaries, in the same way they are erased by those who having crossed the double solid line draw it out again without topographic congruity. Thus, we are saying that not external but internal boundaries should be extended by those who are stepping too far at the cost of human resources and justify their intrusion by peace-making ambitions. The installation titled “Proof” comprised two parts: the map of Ukraine made of salt and representing a scene of crime, both of private and mass nature, and a series of real evidence pointing to the committed crimes and speculations on the tragedies in different social domains, not only in the artistic space. The project was shown in a cold empty room drowned in silence. The outlines of the Ukrainian map, with the Crimea still not annexed, was viewed as an open wound powdered with salt. The exhibition space was located in central Kiev, literally bordering on the barricades erected by the protesters. On the exhibition’s opening day the Crimean Council was occupied by militants, and the new Crimean government declared nonrecognition of the new Ukrainian leadership and appealed to Russia for “help in assuring peace and order in the territory of the Autonomous Republic of Crimea.”


2014 – Personal exhibition “Rock Paper Scissors” Karas Gallery, Kiev Photographed by Maxim Belousov The next step is the exhibition “Rock Paper Scissors” at Karas Gallery. The title, seemingly a children’s counting rhyme, incorporates domination codes. Rock beats scissors, scissors beat paper, paper beats rock. The question is who will prevail – the bureaucratic system over the artist, or the opposite? How viable is a creative impulse in a bureaucratized environment? It would be naïve to suppose that one can mess with the system, at most there is a chance to find reason for ironic statement. Which is reasonable in view of the new mission of an artist living in “project times”: everyone works on one's project attempting to minimize immersion in the associated paper chase. And trying not to kill within oneself the desire to do at least something. Fundamentally the artist wants to tell us that a human life’s value now is substantially lower that the value of paperwork. His definitive conclusion is distressing – documenting the process of living is more important for the state than the process itself. Having received a grant from Rinat Akhmetov’s Foundation for Development of Ukraine (as a matter of fact, the Lower State project was realized with these funds) Galkin experienced all the delights of a “grant-eater” who meticulously collects reports of moneys spent. “Slice the Artist” is large canvases depicting clippings of documents related to the project. The situation is ambiguous: while providing resources for creativity the system gently compels the artist to extinguish the impulse for it. The installation "Bureaucracy from A to O" is even more expressive in its relation to man as the object of power. This is the subject’s life journey from the government’s viewpoint. Two certificates authenticating a personality’s existence - certificate of birth and certificate of death – and a series of gaps between them, the empty canvasses. This hollow construction is inadvertently associated with the criticism of “biopolitics”. A human life is the basic resource for the political system; pursuing its interests the system “devours” it.


* When the left hand is broken, do not scorn the right one


* Thank God both of my hands are left


2014 – Personal exhibition “Demounting program” Mala Galereya at Mystetskyi Arsenal. Photographed by Maxim Belousov Similar to PAC’s Tourniquet, this part of the project seems the most successful one in terms of correspondence to its grand task – “dissociative resocialization”. In psychology dissociative resocialization means “repeated socialization which occurs throughout life with changes in the individual’s attitudes, goals, norms and values, which is a psychological defense mechanism. As a result of this mechanism, a person begins to perceive what is happening as if it were happening to someone else” I.e. distancing oneself and shaping his or her own opinion of the goings-on in the surrounding environment. The idea of demounting symbols of the malign past (perceived as such at least nowadays) that occurred to Daniil Galkin has fitted remarkably into the present period of change – it tuned in to the space vibrating with the same frequencies. On December 8, 2013 “Svoboda” party members dismantled the Lenin monument in Bessarabsky square in Kiev, toppling it and, quite symbolically, breaking it with a hammer. He who comes with a hammer shall die from it – the historical justice will triumph sooner or later. The farther in, the deeper: the wave of impromptu “Leninfalls” echoed throughout the country, signifying the final and flaunty goodbye. And the red Soviet star was demounted from the spire of Verkhovna Rada this February – the reality outpaced the art by half a step only, proving the artistic concept to be prophetic. On the visual level, however, the artist’s idea as ever achieves maximum crystallization. The symbols – five-pointed star, swastika cross, “alpha and omega”, fire balls and parallel lines – are turned into clear and distinct metal structures-objects giving off the light of meanings of sorts into the space. They are subject to deconstruction from the mental viewpoint, as occult convictions are founded on the connectivity of the three planes of existence; the spiritual and the material are always welded with astral projections. So what do we do with this negative past baggage? Should we “knock to smash” the old world in order to build the new one from scratch? It is hard to give an unambiguous answer, everyone must decide for themselves.


2014 – Sketch for the exhibition “Shooting Stars” (or Mimicry of National Symbols) The project “Shooting Stars (or Mimicry of National Symbols)” is part of the Demounting Program. On 9 April 2015, the Supreme Council of Ukraine adopted Law No.2558 on the Prohibition of Communism and Nazism Propaganda. And on May 14 the Community Property Department at Kiev Council Executive Authority (KMDA) gave the order: “to make a list of buildings and structures bearing the communist symbols and draw up schedules for demounting the same before June 28, 2015”. Property holders of these buildings and structures, in their turn, were instructed to take action to demount the communist symbols and to install the national symbols of Ukraine instead of the demounted communist insignia before March 31, 2016. This process is one step forward and two steps back, not what we strove and still strive for at all. When we physically took down artifacts of the past before, with prior approval of the city authorities, we inferred self-development, thus offering a demounting from the inside and not from the outside. Furthermore, these objects are in need of museumification, but the Ministry of Culture of Ukraine is not currently interested in this, so we intend to continue our undertaking, thus conserving elements of history. Thus, exposition within will be concurrent with the replacement of totalitarian symbols of the past with the state symbols of Ukraine, and the Shooting Stars installation will give a clear demonstration of this process, making one stop and think how easily one thing is substituted by another, or disguised as another thing. This process reminds of the defense mechanism used by certain animals or plants which make themselves similar in color and shape to other animals and plants or to ambient objects. It is remarkable that the animals and plants disguise themselves not only for protection but for attacking as well. With that in mind, one can suppose that public authorities manipulate people with this kind of experience or “political mimicry”, using national symbols to demonstrate changes for the better in the country, which are just an illusion. Also people are easier to manage by raising the spirits of patriotism while continuing the political pandemonium which is lucrative only for those in power.


2014 – Personal exhibition “Double Solid Line” Moscow Museum of Modern Art, Moscow Photographed by Evgeniya Tokareva The “Double Solid Line” project in the Moscow Museum of Modern Art draws a peculiar conclusion – it unites reflected aspects of relations between the subject and authorities with adjustment for Russian realities. Neighboring the “double solid line" on the floor, the symbolic line with which Russia fenced itself off from the remaining world and which stands for the authoritarian policy of unconditional prohibition, is a column with the rigidly fixed static tourniquet. No movement whatsoever is observed, it is fundamentally impossible. Nearby hollow objects made of gypsum bandages are strewn. For the author, these are “stumpies”, capsules containing phantom limb pain which is known to be the false sensation, illusion of an amputated limb. One must recognize this as one of the most successful and concise metaphors of the whole project – Ukraine once detached in the course of Soviet Union disintegration as Russia’s phantom limb pain. Possibly, this sensation of phantom presence is the unconscious problem, the reason and prehistory of the current conflict between Russia and Ukraine. Yet again it should be stressed that these symbols of the political unconscious are good because they can be universal and relevant at the same time. Speaking more abstractly, phantom limb pain is our dream of a utopian just state. It never was and never will be, as there is always the reverse of the coin, the lower case of the lofty meaning of love for one’s neighbors and respect for the rights and freedoms of man or country.


2014 – Group exhibition “Dialogue” Project “Dialogue”, Mystetskyi Arsenal, Kiev Photographed by Alexey Potemkin The “Dialogue” project consists of two mailing boxes. One is filled with paper “snowballs”, and the other with barbed wire objects. The conflict of two opponents unequal in terms of form and content transmits a dialogue which does not exist. The exposition continues with a video displaying the “loves me, loves me not” fortunetelling using matches, showing the nearest future of those who are no capable of hearing each other or making concessions for the sake of peaceful coexistence.


2014 – Group exhibition "And Now? The Power of Art" Project "Sunflower Country", Lavra City Gallery, Kiev Photographed by Alexey Potemkinn Sunflower is the symbol of fertility, unity, sunlight and prosperity, as a metaphor for sowing false promises in pre-election campaigns etc.; like sunflower crops exhausting the soil for the next four years, politicians are elected to harvest the common sunflower crops, thus disfiguring the Ukrainian landscapes.


2014 – Projects “The World Picture”, Borispol Airport, Borispol Photographed by Alexey Potemkin From playing with “messages” in the “artwork body” which require extraction and deciphering, Daniil Galkin moves on to “messages” in pure form – i.e. text. These messages are an artwork in their own right – birth of an unexpected turn of meaning out of the fabric of words, retrieval of deeper layers of sense, unknown implication; it had always been there implicitly, and all it took to uncover is to eliminate the old skin. Perception is prone to numbing but language is amazingly flexible, words can regain the initial purity of meaning, purity of sound. The project “World Picture” is a pessimistic maxim divided into semantic blocks: “God knows that the world is Devil knows what”. There are just three basic constituents: “God knows that”, “Devil knows what” and the linking “world”. Both idioms express indignation and mean approximately the same, something far from the expected perfection, and the only difference in the nuances of negative undertones. A seemingly accidental juxtaposition of idioms, like a toss of dice, brings to life a completely unexpected meaning. The artist reveals new “receptors” of sense in old worn phrases, thus changing the meaning of fundamental truths. At first he decomposes them by analyzing the space of variants and opportunities, and then joins them in a new way, according to his own picture of the world. That’s what we all do – adapt the language for our personal use. It appears that the artist has clarified for himself the balance of the good and the evil in the Universe. God knows that the world is far from being perfect but this imperfection is included in his plans. This vision of the world order is legitimate since it reflects a subjective reality. Things are not good or bad, they are how we see them ourselves and their meaning is defined by us. The same goes for words: everyone creates their own reality with them, and Galkin’s project is an excellent illustration of this currently popular statement. What is also true, is that all revelations of this kind are uncovered accidentally, on a hunch – the artist took interest in the experiments of Oberiuty who also unearthed unrealized opportunities of a spontaneously unfolding language. Chance rules the world, conferring sense to nonsense.


2014 – Personal exhibition “Waiting Room” Exhibited within the framework of the Construction Festival Yuzhny Railway Station, Dnipropetrovsk Photographed by Alexey Potemkin The project is displayed in the waiting room of the operating railway station which is showed by the artist to be a finished work of art in itself – a ready-made object, with its space only slightly dimmed by the fog machine. The exposition “Storage Rooms” numbered just as the stumpies contained therein. The installation evokes the image of freezer chambers used for storing human bodies; the artist stresses this image by placing a pair of shoes with reflecting soles in one of the rooms, as if giving each viewer a reminder that he or she might be next. Daniil Galkin: “Life as a waiting room. This territory causes nostalgia for oneself, as many of us spend a lifetime waiting for everything to be in its proper place. The exposition includes a video broadcast displaying all that happens in the waiting room online. Thus a countdown takes place making it possible to look at one’s life attitude from the sidelines and to reinvent it. And similar to a family member praying for the patient undergoing surgery, Ukraine is currently in the waiting room while its environment is searching for the cause and effect relations.”


2014 – Project “Trap” Exhibited within the framework of the Construction Festival Maidan Heroes Place, Dnipropetrovsk Photographed by Alexey Potemkin The square previously dominated by the Lenin monument was used by the artist to install a man-sized mouse trap. Regardless of the fact that city authorities granted an official permission for the installation to be presented in urban space, unknown activist later damaged the work by ripping off the red carpet and breaking the mouse trap, which was previously surrounded with election campaign booths.


2014 – Red Carpet, Lavra City Gallery, Kiev Photographed by Alexey Potemkin The research of the “lower register of meaning” continues with the transmutation “Red Carpet – Stretchers – Banners” where the Red Carpet is a central element which is traditionally employed to mark the itinerary for the heads of state during ceremonial and formal events and stands for the crimes of politicians against its own people and the global order at large. Next on the scene are medical stretchers produced from the red carpet instead of traditional fabric which in their turn are transformed into rally banners, with slogans always at hand, disguised as interests of an already recruited society. Thus the circle closes and all attempts to break it are in vain. Rainald Schumacher (curator, art advisor): “Daniil Galkin's complex installations, objects, sculptures and spatial interventions are based on a indepth critical analysis of the social and political structure. In many of his works he creates a situation, which confronts the spectator with basic questions about legal ethical and moral standards. He places contemporary art at a crossroad between public and private to generate a dialogue and discourse about the settings, which define our actual political and social order. In such a way his works are pleading for an open and democratic civic community, which freely discusses and defines its own value system. The Red Carpet installation reflects in many regards the menacing mental sensitivities of a real or deep-rooted loss. Loss, in general as a human experience, but also related to the actual situation in the Ukraine, to the injury and the deaths of war, the loss of unity, the loss of a common goal and understanding, the loss of the empire USSR and the loss of a dream for democracy and liberty”.


2015 – Personal project “The Overseer” Exhibited within the framework of the Construction Festival Maidan Heroes Place, Dnipropetrovsk Photographed by Lera Malchenko

Tracking spotlights were installed in various parts of the city, to direct beams of light on random passers-by and examine their reactions. This suggested that “insurance” shots with light cannons might become a norm tomorrow if we do not pause to think now about how to prevent this. Also as part of this program, strobe lights with movement sensors were placed in the most problematic public areas of the city crowded with troubled individuals (such as homeless people, alcoholics, drug addicts etc.). At night, when they came back to their customary places, the light would turn on, making the area unfit for their intentions. Thus, the first part of the program is about observation in the form of government intrusion into people’s privacy, while the second part, on the opposite, deals with the city’s issue of intruding into the “personal space” of people who do not own this space. The outcomes of work in the public space which was conducted at night only were broadcast during the day at the art center on several screens.


2015 – Group exhibition PinchukArtCentre Prize, Kiev Project “Remote Administration Tool” Photographs provided by the PinchukArtCentre Photographed by Sergey Illin The project comprises a web of overhead wiring for electric transport mounted upon the ceiling of the exposition space, concrete blocks and website. The title "RAT" means "Remote Administration Tool", most frequently used by hackers to signify the utility for unauthorized access to the remote user’s system for their own profit. Thus, this work makes one think of the modern society’s dependency upon puppeteers who anonymously manage it. The visible part of the installation is presented as a cutoff of electronic crossings in a two-dimensional surface which has emerged as a system error intentionally allowed from above. The remaining part of the exposition is an invisible being reminding the worldwide web used to store and transfer information. Previously a control system was displayed in the form of physical obstacles – tourniquets, while here it is about contactless management of people and all sorts of manipulations involving them. Concrete blocks may also be viewed as an obstacle but of another kind. Obstacle as a user agreement that needs signing before software can be accessed. It also concerns blocks erected between people comprising individually blocked users who are capable of assuming any required shape and converging into new blocks and blockhouses. The installation was intended to affect viewers in an oppressive way, exactly how the political system affects the society; to convey the depressed state experienced by the society due to information overloads, overreliance on electronic technologies, the state of total control and insecurity.


2016 – Personal exhibition “Dream Paralysis” CCA Kronika, Bytom. Project “Trampoline or Social Critical Voyeurism” Photographed by Agata Cukierska Government officials often abuse the power entrusted to them by using state property for their own benefit. Such behavior cannot fail to outrage people and incite interest in the things covered up by the “high fences” of these officials. Thus, the project “A Trampoline or Social Critical Voyeurism” offers its viewers to indicate whose fences they would like to peep in with the aid of a trampoline, thus taking the opportunity to examine the territory concerned without trespassing. As a consequence, the trampoline displayed in the gallery space symbolizes the encounter of people with the ruling machine and the subsequent traumatic experience, similar to blows on the head caused by trampoline jumping in lowceiling premises. The exposition also incorporates “soft fences” – an imitation of concrete fencing slabs (PO-2) which were used in the USSR (and still used in the post-Soviet states). And since any fence performs a protective function, we have produced it from “PO-2 Pillows” to underscore the aesthetics of the soft walls in psychiatric institutions. Thus a method is proposed to describe how people are manipulated and confine themselves to the comfort zone, not seeing the concrete foundation behind the soft facing which also has a protective function but in keeping with the traditions of a penitentiary state.


2016 – Group exhibition “Now in Poland” Galeria Labirynt, Lublin Photographed by Daniil Galkin


2016 – Personal exhibition “When They Came” Pracownia R5, Bialystok Photographed by Mirek Wasilewski The exhibition consists of a great number of stretchers dispersed in the premises and placed vertically, in a way that complicates passage of the audience. At this time, getting through the objects, people will have the opportunity to determine their standing in the society and their degree of self-sufficiency. The work also reveals the theme of panic-driven fear of the assent to power of national-conservative and Catholic political forces, the theme of failure to act in relation thereto, as well as the theme of losing perception of “phantom limb pain” of history and repeated acquisition of this perception. The exhibition's title refers to the well-known quote of the German pastor Martin Niemoller who attempted to explain inaction of German intellectuals and their failure to resist the Nazi. The second part of the title, Pandemonium, literally means in Russian a crowd made of pillars. It is notable that the roots of this term stretch back to the biblical myth in which citizens of the Ancient Babylon decided to build a tower tall enough to reach heaven. According to the Bible, all people had one language and a common speech. God got angered and confounded their speech, preventing them from understanding each other, and chaos followed. The expression “pandemonium of Babylon” is used to mean “commotion, disorder, muddle” – everything that has been lately observed in Ukraine.


2016 – Personal exhibition “When They Came”, Pracownia R5, Bialystok Photographed by Mirek Wasilewski


2016 – Personal exhibition “Nothing Common, Nothing Personal” Wschód Kultury Festival, org. Arsenal Gallery, Bialystok Photographed by Mariusz Szewczyk


2016 – Festival of Young Contemporary Artists Project “Chain letters”, Museum of Ukrainian Painting, Dnipropetrovsk Photographed by “Chain letters” is a term describing messages sent via electronic and regular mail to several addressees with the request that the recipient forward on the message copies. The text contained in chain letters is often of a persistent nature and exploits the superstitions associated with getting luck through further distribution of such letters, and also threatens the recipients with the opposite implications of the magical letter. A mass psychosis of this kind is currently observed in Ukraine where “chain letters” are often the reason for immigration of Ukrainian citizens, and the political propaganda is attempting to make people hate each other. Speaking metaphorically, we imply that “chain letters” are sent by the government daily to each home via mass media and social networks, thus suppressing the Ukrainian community both in the magical and practical sense: from letters about increased utility rates to draft notices and death notifications.


2016 – Group exibition “The Artists” Project “Boys”, org. Zacheta – National Gallery of Art, Warszawa Photographed by Stanislaw Welbel Today, in the light of certain media attempting to mislead the international community, I have used the video by Joseph Beuys – Sonne statt Reaga (1982), replacing the audio track with Sabrina’s song Boys (1988).The audio and video are intentionally out of sync, the only match is the likeness of the word Boys and the artist's name – Beuys. Thus, the doublespeak turns Beuys’s political song, conceived as a pop music work (to up the chances of inspiring larger audiences with his ideas), into a pop hit in which Joseph Beuys now sings not about the war, weapons and the peaceful skies but about himself, the sun and guys in a swimming pool. We have used rough editing here deliberately, to demonstrate the absurdity of the current political situation, for example, the one between Russia and Ukraine, and the unwillingness of international leaders to resolve conflicts of this kind.


2016 – Group exibition “GogolFest” Project “Liberation”, Art-zavod Platforma, Kiev Photographed by Alexey Potemkin The video “Liberation” touches upon several issues of relevance to Ukraine by driving them to the pain threshold of tolerance. This work is a clipping from a 1992 film picturing events in the near future. Either by mistake or intentionally*, Ukraine is shown to be part of Russia which is liberated by black-skinned aliens from the women’s oppression of men. While most Ukrainians perceive the idea of Ukraine becoming part of Russia poignant and distressing, the issue of legalization of same-sex marriage in Ukraine also remains painful for them. In other words, the fear of accepting queer communities felt by Ukrainians is comparable to genocide in the form of annihilation of all women in the country. This video justifies its eccentric statement by the unfortunate reality itself. And to avoid resemblance to countries which prosecute “propaganda of homosexuality”, most Ukrainian will have to decide of which mentality they want to be a part and what objectives to pursue. *The film might have been edited and produced before the independence of Ukraine from the USSR was declared.


2016 – Personal exibition “Before and After” org. Bogliasco Foundation, Villa Orbiana, Bogliasco, Genoa Photographed by Ivana Folle The exhibition “Before and After” displays documents of works realized from 2014 to 2016, all of them being part of the long-term project “The Lower State”, as well as sketches and drawings for projects planned for the next two years. Besides, visitors are offered a cryptographic code, with the deciphering key retrievable with the use of flashlight on the “desktop”.


2016 – Personal exibition “Active Countermeasures Station” 1st Worldwide Apartment and Studio Biennale, Apartment 14, Kiev Photographed by Mykhailo Alekseenko Over several months the artist jammed radio frequency signals, wherever he was, without obtaining the consent of third parties who were affected by his blocker. The happening was about attempting to wreak havoc in people’s lives by disabling their mobile communications, wi-fi etc. in order to analyze the rush of indignation stirred by this gesture, and to show how vulnerable the contemporary society might be to anyone trying to repeat this experiment. Afterwards, the author took this experience from the public space to a private area, thus creating a stationary jamming station which, when operated in a closed environment, raises the issues of safety in a personal space, protection of private data and selfdefense. Furthermore, enslaved by electronic technologies, people voluntarily enter a trap where they feel safe but not conscious of the level of their own vulnerability. Then the art exhibition space transforms into an arrangement of numerous wall holes closed with wooden plugs symbolizing either bullets or earplugs which in their turn make up a cryptographic code offered to the spectators to decipher. At the same time, a TV set broadcasts a meaningless video not accidentally reminding of signal disturbance or damaged frames of empty motion picture film. The video is a montage of pictures created with the use of paper pieces from sticky rollers removing lint from fabric which the author collects as artifacts of the past, comparing them to formatted memory or remnant reminiscences thereof.


2017 – Personal exibition “Observation Platform” Mala Galereya at Mystetskyi Arsenal, Kiev Photographed by Natalia Dyachenko With this exhibition the artist seeks to learn to distance himself now and then from the usual method of work by taking several steps away in order to reconsider the outcomes, which is only possible by means of a deliberate stop. Such stops are often called “observation platforms”, and in the figurative sense we are concerned about are known by the name “portfolio” which emerged in 1970s in the world of artists, architects, designers and in the modelling and advertising business, meaning a collection of the author’s photo materials, resume and the best results. The portfolio aimed at advertising its owner’s achievements, thus enabling an estimate of his or her capacities and level of mastery. Therefore, the exhibition’s idea is hinged upon issues connected with the portfolio, especially in situations when it is impossible to document the artistic experience or present it in a customary form. This is a statement of self-expression and methods of portfolio presentation through the cultural luminary’s personality, as if an observation platform were erected in advance, offering the most convenient viewing angle for those directly influencing his development. Thus, it is about the artist’s death caused by professional trauma – dependence on exhibition spaces, compromises with representatives of cultural institutions, obsessive fantasies about the death in Venice or Kassel, and it is about the illusory beneficial effects of artistic residencies, competitions and the utopia of becoming a popular artist thanks to the signature style and brand marketing.


2017 – Group exibition “Stipendiaten generation” Project “Selective breeding”, Künstlerhaus, Lauenburg/Elbe Photographed by Ulrike Mechau-Krasemann The work on the exposition began with digging up the cellar in Künstlerhaus’s basement, revealing a nest of recently deceased rats withtheir tails tied together. In nature this rare phenomenon is called a “rat king”. Considering that the artist had been working on rat selection in 2013, which is registered in the video displayed, it is virtually impossible to believe in this. The discovered mythological creature is supplemented with a series of items called “brooches of fear” (Angstbrosche) which is an epithet used by German citizens dissatisfied with the Nazi regime to describe the Nazi party badge. These items are made of crows’ feet represented through intimidating symbols of the “lower state” power originating from Freemasonry and being the result of investigation of birds used in the heraldry of different countries. “Selective breeding” – video in which a certain architect sedates rats in order to tie their tails while they are asleep, thus creating a rat king whose livelihood will be supported by other rats. Thus, this is an entry ticket for the privileged society of “the squeezed but pleased” granting a life of ease but within a golden cage. Also, it is about the contradictory method of dividing people into groups in order to tie them to each other more closely.


2017 – Personal exibition “Wavy Underscore” Künstlerhaus Lauenburg/Elbe Photographed by Marita Landgraf The exposition begins with a series of graffiti stencils depicting a styled disintegration of the tourniquet and its transformation into weapons, tridents, hay forks, police batons, handkerchiefs, anti-tank hedgehogs, stars of life and so on. This is a process of adaptation of an inanimate element in a live organism and its conversion into an essential organ which parasitizes on the environment, successfully disguising itself as one. Therefore, it is no accident that the graphic pictures appear as if they were silhouettes of elements borrowed from the wildlife. The exposition continues with an installation consisting of medical stretchers – the outcome of several transmutations of the red carpet. Therefore, in one of the key exhibition works, the exclamation “óðà” and its English transcription is an ambivalent slogan which is used not as a jubilant exclamation expressing delight, joy and general enthusiasm but as a battle cry inciting panic fear of unification and empowerment of ultra-right ideologies (FN, AFD, PIS etc.), of inaction regarding them, and loss of feeling of the phantom limb pains of history and high risk of repeated acquisition thereof. Thus the project draws a red wave line under the destructive development vector through assemblies of political personal and social turning-points, in one case as a statement, in another as a warning.


2017 – Personal exibition “CAMRips. Prologue” Apartment 14, Kiev Photographed by Mykhailo Alekseenko Guided by the experience of USSR where the authorities censored the content and distribution of information, the artist is interested, in the context of modern times when the Internet has virtually no limits for searching new information, to provoke nostalgia in consumers for information hunger which at that time could be satiated by illegal means only. For several years he has been recording copies of video works with a phone and other devices while they were on display at exhibitions. Thus a collection of illegally recorded material has been formed which now needs structuring. After that, the intention is to demonstrate or distribute this collection without requesting the permission of authors who often turn into the ones whom their work initially criticized. Therefore, the illegal distribution of privileged art becomes elegant the moment a piece of art breaks free not only of parental supervision but of institutional custody. The first collection of CAMRips should be viewed as a prologue, an introduction to a long-term art project and not a curator’s statement; a project dedicated to issues of individual national and cultural identity where the gesture demonstrating copyright infringement for educational purposes makes the collection legitimate in a sense. And since the presentation is deliberately organized in a private space, it is requested that no photos or videos be made for the sake of project confidentiality and integrity.


2017 – Personal exibition “Video” Ñollection of video works from 2006 to 2016, Shcherbenko Art Centre, Kiev Photographed by Volodymyr Denysenkov Galkin is known for his social critical projects focusing on installations with ready-made elements. However, the video represents a separate integral aspect of his creativity expressed on the meta level – we can thus perceive the artist as a subject of creative process, of experience transformed throughout projects. Further, we observe in this video consistent documentation of the artist's experiments with methods and techniques, building his own artistic style reliant on homages and allusions. This medium with its transparent montage patterns and means of combining the incompatible, bearing the author's clear logic but evoking absurdist anxiety in spectators, provides space for direct referral to current social and political issues which we encounter and whose reality accompanies us every day.


2017 – Festival of Young Ukrainian Artists Project“Handrails”, National Art Museum of Ukraine, Kiev Photographed by Yevgen Nikiforov Galkin’s work prompts the viewer to reflect on a rather uncomfortable topic: creating a barrier-free environment for the disabled. Metal handrails – everyday objects designed to make public institutions more accessible to people with disabilities – become subject to dual manipulation. When placed inside the National Art Museum, they acquire the status of a work of art; but when fitted in places where they can’t perform their intended function, they become useless. Galkin seeks to discuss the dysfunctional and purely decorative function of many government initiatives by pointing out the paradoxical situation where more money is being spent renaming streets under decommunization than making the city accessible to people with disabilities. According to the artist, each handrail in the museum space is a whole street of lost opportunities for the disabled. The artist has included a donation box to raise funds for a wheelchair ramp to be installed at the main entrance to the Verkhovna Rada.


2017 – Festival of Young Ukrainian Artists Project“Handrails”, National Art Museum of Ukraine, Kiev Photographed by Mykhailo Alekseenko


Awards: 2015 – Shortlisted for PinchukArtCentre Prize; 2014 – Finalist of the Malevich Award; 2013 – Winner of the Third Special PinchukArtCentre Prize; 2013 – Shortlisted for Henkel Art Award; 2012 – Longtlisted for Kuryokhin Prize; 2012 – Longtlisted for Kandinsky Prize; 2011 – Shortlisted for PinchukArtCentre Prize; 2011 – Winner of the Grand Prix MUXI. Residencies: 2018 – Beirut Art Residency; 2017 – Künstlerhaus Lauenburg; 2016 – Bogliasco Foundation; 2016 – Gaude Polonia Personal Exhibition: 2018 – “Peephole” (or Reinsurance Program), BAR, Beirut; 2017 – “CAMRips. Prologue”, Apartment 14, Kiev; 2017 – “Video” (Ñollection of video works from 2006 to 2016), ShcherbenkoArtCentre, Kiev; 2017 – “Wavy Underscore”, Künstlerhaus Lauenburg; 2017 – Observation Platform, Mala Galereya at Mystetskyi Arsenal, Kiev; 2016 – “Active Countermeasures Station”, 1st Worldwide Apartment and Studio Biennale, Apartment 14, Kiev; 2016 – “Before and After”, org. Bogliasco Foundation, Villa Orbiana, Bogliasco, Genoa; 2016 – “Nothing Common, Nothing Personal”, Wschód Kultury Festival, org. Arsenal Gallery, Bialystok; 2016 – “When They Came”, Pracownia R5, Bialystok; 2016 – “Dream Paralysis”, CA Kronika, Bytom; 2014 – “Red Carpet”, Lavra City Gallery, Kiev; 2014 – “Waiting Room”, Construction Festival, Yuzhny Railway Station, Dnipropetrovsk; 2014 - “Double Solid Line”, 4th Moscow International Biennale for Young Art, MMOMA, Moscow; 2014 - “Demounting Program”, Mala Galereya at Mystetskyi Arsenal, Kiev; 2014 – Proof, Shcherbenko Art Centre, Kiev; 2014 – “Dash-and-Dot Line”, Bottega Gallery, Kiev; 2014 – “Rock Paper Scissors”, KARAS Gallery, Kiev; 2013 – “BDSM”, Shcherbenko Art Centre, Kiev; 2012 – “Nexus”, Bottega Gallery, Kiev; 2012 – “QueeR Time”, Karas Gallery, Kiev; 2012 – “Absolutely Fabulous”, parallel program of the Biennale Arsenale, Bottega Gallery, Kiev Group Exhibition (Selected): 2018 – Gangwon International Biennale, project “Tourniquet”, Gangwon (South Korea); 2017 – Festival of Young Ukrainian Artists, project “Handrails”, National Art Museum of Ukraine, Kiev; 2017 – 5th Odessa Biennale of Contemporary Art, project “When they came (Pandemonium)”, Museum of Western and Eastern Art, Odessa; 2017 – Stipendiaten generation,


project “Selective breeding”, Künstlerhaus, Lauenburg/Elbe; 2016 – The Artists, project “Boys”, org. Zacheta – National Gallery of Art, Warszawa; 2016 – GogolFest, project “Liberation”, Art-zavod Platforma, Kiev; 2016 – Art Under Fire, project “Brooch of Fear”, Silent Barn Gallery, New York; 2016 – Now in Poland, project “Trampoline or Social Critical Voyeurism”, Galeria Labirynt, Lublin; 2015 – PinchukArtCentre Prize, project “Remote Administration Tool”, PinchukArtCentre, Kiev; 2015 – Feldman Art Park, project “Upsurge with Overturn”, Kharkov; 2015 – Õ Art-Kyiv Contemporary, project “Red Carpet – Stretchers – Banners”, Mystetskyi Arsenal, Kiev; 2015 – Special Project “Museum Collection. Ukrainian Contemporary Art 1985-2015. From Private Collections”, Õ Art-Kyiv Contemporary, project “Malyavy”, Mystetskyi Arsenal, Kiev; 2015 – GogolFest, project “Alpha and Omega”, Pavilion No.13, VDNKh (Expocenter), Kiev; 2015 – Construction Festival, project “The Overseer”, Maidan Heroes Place, Dnipropetrovsk; 2015 – Art Safari 30, project “Upsurge with Overturn”, Studio Bubec, Praguev; 2015 – Contemporary Icons (The Art of Spectacle), 3RD Danube Biennale, project “Coercive Persuasion”, Danubiana Meulensteen Art Museum, Bratislava; 2015 – ArtVilnius’15, project “Two-Way Mirror”, Shcherbenko Art Centre, Vilnius; 2015 - Brno Art Open, project “Upsurge with Overturn”, The Liberty Square and New Town Hall, Brno; 2015 – Fire and Forget. On Violence, project “Tourniquet”, Kunst-Werke Institute for Contemporary Art, Berlin; 2015 – Arsenal Book Festival, project “Nexus-2222”, Mystetskyi Arsenal, Kiev; 2015 – Ressentiment, project “National Anthem”, Shcherbenko Art Centre, Kiev; 2014 – Happiness is Peace, projects “The World Picture” and “Absolutely Fabulous”, Borispol Airport, Borispol; 2014 – Construction Festival, project “Trap”, Maidan Heroes Place, Dnipropetrovsk; 2014 – Give Me Tomorrow, project “Tourniquet No.”, Modern Art Research Institute, Kiev; 2014 – Premonition, project “Tumbleweed”, Saatchi Gallery, London; 2014 – ViennaFair, project “Phantom Limb Pain”, Mironova Gallery, Vienna; 2014 – Ukrainian Landscape, project “Sunflower Country”, Mystetskyi Arsenal, Kiev; 2014 - A New Ukrainian Dream, project “Closed-Loop Obstruction”, Mystetskyi Arsenal, Kiev; 2014 – ArtVilnius’14, project “Evidence of Proof”, Bottega Gallery, Vilnius; 2014 – The Show Within The Show, project “Alpha and Omega”, Mystetskyi Arsenal, Kiev; 2014 – Book Festival, project “Dialogue”, Mystetskyi Arsenal;


2014 – And Now? The Power of Art, project “Sunflower Country”, Lavra City Gallery, Kiev; 2014 – Dashed by beauty, project “Black Friday”, Modern Art Research Institute, Kiev; 2013 – Affordable Art, project “Puzzle Death's Head”, Shcherbenko Art Centre, Kiev; 2013 ñ The Art of Seeing, Art-Kyiv Ñontemporary, Mystetskyi Arsenal, Kiev; 2013 – Industrial Eden, project “Nexus-2222", Modern Art Research Institute, Kiev; 2013 – PinchukArtCentre Prize, project “Tourniquet”, PinchukArtCentre, Kiev; 2013 – Henkel Art Award nominees, project “Phototaxis”, MyGallery, Kiev; 2013 – Free Workshops, project “Nexus-2222", MMOMA, Moscow; 2013 – Art Design Photography, project “Corsetting”, Shcherbenko Art Centre, Kiev; 2013 – Habitat, project “Two-Way Mirror”, Shcherbenko Art Centre, Kiev; 2013 – Ukraine Today, project “Unnamed”, Czech Centre, Prague; 2013 – Arsenal Book Festival, project “The Red Book”, Mystetskyi Arsenal, Kiev; 2013 – One of N*, Detenpyla Gallery, Lvov; 2013 – Kuryokhin Award 2012, project “Unnamed”, Kuryokhin Center, St. Petersburg; 2012 - Gesamt (Lars von Trier Program), project “Wigwag”, Copenhagen, Denmark; 2012 – Contemporary Art Week, project "Greying", Lvov; 2012 – Art Heat (Art Zhara), project “A Corset for the President”, Karas Gallery, Kiev; 2012 – ILK’12, project “Mouse Trap”, Lavra Gallery, Kiev; 2012 – Double Games (Biennale Arsenale), project “The World Picture”, Mystetskiy Arsenal, Kiev; 2012 – False Mirrors (parallel program of Biennale Arsenale), project “Stendhal's Mirror”, Lavra Gallery, Kiev; 2012 – The Price of Art, project “Mona's Size Tariffs”, Gallery in Korolenko Street, Dnipropetrovsk; 2012 – Non-Stop Media VI, project “The Red Book”, Ermilov Center, Kharkov; 2011 – Art-Kyiv Contemporary, project “Mousetrap”, Mystetskyi Arsenal, Kiev; 2011 – PinchukArtCentre Prize, project “Touching moments”, PinchukArtCentre, Kiev; 2011 – Living Environment, project “Brooch of Fear”, Bottega Gallery, Kiev; 2011 – The Independent, project “Vivisection of Personality”, Mystetskyi Arsenal, Kiev; 2011 – MUXi-2011, project "Malyavy", Modern Art Research Institute, Kiev; 2010 – Contemporary Art Week, projects “Encounter of a Fire Extinguisher and a Grinder at the SLR”, Lvov ; 2010 – Khortitsa – Vyrva, project “Ring”, is. Khortitsa, Zaporozhye; 2009 – Black and White Space, Diorama, Dnipropetrovsk; 2008 – Three Masts, project “Hydroelectrodream”, is. Khortitsa, Zaporozhye; 2007 – Immersion into Summer, project “Face-control”, Diorama, Dnipropetrovsk


Publications (Selected): 2016 – SZUM №13, 202 pages, pp. 177-180, ISSN 2300-3391, Magazine; 2015 - ERA21 №6, 88 pages, pp. 54-55, ISSN 1801-089Õ, Magazine; 2015 – Brno Art Open 2015 – Center, Beyond Kharkov; 2011 - Art-Kyiv project "Mousetrap", Mystetskyi Arsenal, Kiev;Fire 2011 Architecture, pp. Contemporary, 39-49, ISBN 978-80-7009-166-1, Catalogue; 2015 – Friendly & Forget, - PinchukArtCentre Prize, project "BDSM-2222", PinchukArtCentre, Kiev; 2011 Living Environment, 240 pages, pp. 236, ISBN 978-3-95757-169-4, Book; 2015 – 3rd Danube Biennale, Barcode 38project 02007-86133-5, "Brooch of Fear", Bottega Gallery, Kiev; 2011 - The of 978Catalogue; 2015 – Paper. World. Art., Independent, 90 pages, 122project pages,"Vivisection pp. 28-36, ISBN Personality", Mystetskyi Arsenal, Kiev; 2011 MUXi-2011, project "Malyavy", Modern Art Research 617-7110-19-3, Catalogue; 2015 – Fokus Ukraine №34, 68 pages, pp. 63, ISSN 2075-7093, Institute,Magazine; Kiev; 2010 - Contemporary Art Week, projectspp. "Encounter of a 2345-0142, Fire Extinguisher and a 2014 – 2015 -– Art Vilnus'15, 210 pages, 44-45, ISSN Catalogue; GrinderPremonition: at the SLR", Lvov; 2010Art - Khortitsa "Ring", is.9781861543691, Khortitsa, Zaporozhye; 20092014 Ukrainian Now, 148- Vyrva, pages, project pp. 32-33, ISBN Catalogue; –A Immersion into Black 218 andpages, White Space, Dnipropetrovsk; 2008 - Three2014 Masts, projectUkraine, Time forthe Dreams, pp. 209,Diorama, ISBN 978-5-94620-093-6, Catalogue; – Forbes "Hydroelectrodream", is. Dream, Khortitsa, Zaporozhye; 2007 - Immersion into Summer, Diorama, The New Ukrainian 90 pages, pp.16, Magazine; 2014 – Festival Construction, 42 pages, pp. Dnipropetrovsk. Publications - SZUM №13, 202 pages, pp. ISSN 177-180, ISSN 230022-23, Catalogue; 2014(Selected): – Dialogue2016 of Arts №5, 148 pages, pp. 28-31, 1812-304X, Magazine; 3391, Magazine; 2015 - ERA21 №6, 104 88 pages, ISSN 1801-089Õ, Magazine; - Brno pp. 40, 2014 – Ukrainian Landscape, pages,pp. pp.54-55, 30, Catalogue; 2014 – Art Vilnus'14,2015 210 pages, Art Open 2015 – BeyondCatalogue; Architecture, pp. –39-49, ISBNKultura 978-80-7009-166-1, Catalogue; 2015 ISSN 2345-0142, 2013 Ukrainian №3, 98 pages, pp. 77-80, Barcode 4Friendly820157-940037-03, Fire & Forget, 240 Magazine; pages, pp.2013 236,–ISBN 978-3-95757-169-4, Book; 2015 Danube 2012 – PinchukArtCentre Prize, 40 pages, pp. -7,3rd Catalogue; Biennale, Barcode 38-02007-86133-5, 2015 -ISSN Paper. World. Art., 90 pages,2012 122 –pages, ART Ukraine №5-6, 146 pages,Catalogue; pp. 76-77 (141), 1996-7071, Magazine; Artists Draw, pp. 28-36, ISBN 978-617-7110-19-3, Catalogue; - Fokus Ukraine №34, 68 pages, pp. 63,pages, ISSN pp. 34Voronov Art Foundation, Catalogue; 20122015 – Double Game (Biennale Arsenale), 298 2075-7093, Magazine; 2015 Vilnus'15, 210 pages, pp. 44-45, ISSN 2345-0142, Catalogue; 2014 2011 35, Catalogue; 2011-–Art Independent, Mystetskyi Arsenal, 258 pages, pp. 52-53, Catalogue; - Premonition: Art Now, 148 pages, pp. 32-33, ISBN 9781861543691, Catalogue; 2014 A ISSN GoldenUkrainian Section №19, lot 81-82, Catalogue; 2011 – ART Ukraine №6-1, 214 pages, pp.- 41, Time for1996-7071, Dreams, 218 pages, pp. 209, 978-5-94620-093-6, - Forbes Ukraine, Magazine; 2011 – ISBN PinchukArtCentre Prize, 40Catalogue; pages, pp.2014 5, Catalogue; 1999 – Always The New Ukrainian Dream, 90 pages, pp.16, Magazine; 2014 - Festival Construction, 42 pages, pp. green, Always Blue, ISBN: 83-911353-1-4, Catalogue 22-23, Catalogue; 2014 - Dialogue of Arts №5, 148 pages, pp. 28-31, ISSN 1812-304X, Magazine; 2014 - Ukrainian Landscape, 104 pages, pp. 30, Catalogue; 2014 - Art Vilnus'14, 210 pages, pp. 40,


2010 – Group exibition “Khortitsa - Vyrva” Performans “Ring”, is. Khortitsa, Zaporozhye

2010 – Group exibition “Contemporary Art Week” Happening “First Steps”, Lvov

2011 – Group exibition “MUXi-2011” Project “Malyavy”, Modern Art Research Institute, Kiev

2011 – Group exibition “The Independent” Project "Vivisection of Personality", Mystetskyi Arsenal, Kiev

2011 – Group exibition “Art-Kyiv Contemporary” Project "Mousetrap", Mystetskyi Arsenal, Kiev

2011 – Group exibition “PinchukArtCentre Prize” Project "Touching moments", PinchukArtCentre, Kiev


2012 – Group exibition “False Mirrors” (parallel program of Biennale Arsenale) Project “Stendhal's Mirror”, Lavra Gallery, Kiev

2012 – Group exibition “Gesamt” (Lars von Trier Program) Project “Wigwag”, Copenhagen, Denmark

2012 – Personal exibition “Absolutely Fabulous” Parallel program of the Biennale Arsenale, Bottega Gallery, Kiev

2012 – Personal exibition “QueeR Time” Karas Gallery, Kiev

2012 – Group exibition “Cristmas Art Fair” Project “Sertificate IUI” (Intrauterine Investment), Ya Gallery, Dnipropetrovsk

2013 – Group exibition “Kuryokhin Award” Project “Untitled”, Kuryokhin Center, St. Petersburg


2013 – Group exibition “Arsenal Book Festival” Project “The Red Book”, Mystetskyi Arsenal, Kiev

2013 – Personal exibition “BDSM” Shcherbenko Art Centre, Kiev

2013 – Group exibition “Habitat” Project “Two-Way Mirror”, Shcherbenko Art Centre, Kiev

2014 – Group exibition “Premonition” Happening “False Auctioneer”, Saatchi Gallery, London

2014 – Group exibition “Dashed by beauty” Project “Black Friday”, Modern Art Research Institute, Kiev

2015 – Happening “CV one stretcher” Wandering work


Profile for daniil galkin

Daniil Galkin - Portfolio  

Daniil Galkin - Portfolio  

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