Issuu

Serhiy Savchenko and the enduring resistance of vision

Serhiy Savchenko and the enduring resistance of vision These fragments I shored against my ruins T.S. Eliot

I be colombus of my ships And sail the garden round the tears that fell into my hand. Kamau Brathwaite

From the outset, I feel obliged to confront the reader with three warnings: I am not a professional art critic; I have somehow b e com e a co ll e ctor of quite a l arg e numb er of Serhiy Savchenko’s works; and I remain, above all, a devoted friend of his.These warnings should not be interpreted as some sort of d eterrence against further reading, but simply as an uinhibited confession: when it comes to S avchenko’s works, my judgment is utterly partial. What I propose the reader, therefore, is to embark with me on a little journey in order to explain myself and expose in all confidence my reasons for such partiality. I met Serhiy a long ago in Lviv – those were other times, surely merrier; Ukraine was a country quite different from what it is today, less infused perhaps with enthusiasm, but possessed of a candor which seems to us today irretrievably lost. My wife and I were in that beautiful city for the second time. Serhiy picked us up from our hotel and took us on foot to his atelier: I remember it now – ideally – as a ramshackle lodgment full of canvas, personal bagatelles, and flying sparrows; those birds, he said, helped him concentrate. His initial reserve gave swiftly way to an explosion of gaiety, not solely, I hope, because of the prospect of having encountered a possible buyer. He was like an open, used book, full of disparate and colorful sketches. One could almost instantaneously realize that most of his observations came from direct experience rather than from erudition; his trail of thought –just as his working space- was not exactly original in the current meaning of the term, but it was resolutely personal. Many artists aspire to create voluntarily or involuntarily an “artistic” mold for themselves as well as for the unadvised viewer: behold the great sanctuary of Bacon at Reece Mews in London, conveniently turned into a museum, or Picasso’s at Rue des Grands Agustins in Paris, where centuries before the plot of Balzac’s Le Chef D’Oeuvre Inconnu had taken place… In the case of Serhiy, his “mold”, his den, was, and is, transparent and irreverently natural… Its “organic design” demands sine qua non the presence of sparrows… Which, by the way, sporadically contribute to his work, in quite an astonishing proof of uninterested collaboration (or even critical appraisal?).

Antonio Luis Ramos Membrive

Savchenko’s unswervingly personal approach to almost everything intermingles with a very uncommon feature: his honesty. Even his bourgeois side pops up as if it could not be otherwise. Some critics, Ukrainian and non-Ukrainian, have compared him to a grown-up, playful child, I think, because of that combination of traits. And though in my view the comparison, or rather the cliché, is not entirely correct –he is. after all, one of the most mature and even serious human beings I have met in my lifetime - it strikes a chord. One of the reasons he works and re-works a single canvas over a period of years, with the orderly patience of the experienced craftsman, might lie precisely in that fact. Savchenko needs the painting to finally show itself, and will not tire until the true colors of it, so to speak, d e c i d e to c o m e to d a y l i g h t . B u t s u c h h a rd–h e a d e d n e s happens to be a byproduct of sincerit y, not obsession. Along with these attributes comes a ravaging and humbling curiosity, which derives, I suspect, from an unquenchable thirst for life, especially inner life. And I say this because this outgoing and notably sociable man is also one of the most introverted people I have ever known. He does not understand life (who does?), but wrestles with it in a very particular way, like some sort of furious, lustful monk, attacking it from all flanks, offering his visual e loquence as a tribute to the great silence that encircles him (and all of us). Devoid of any complexes, eager to interact, Serhiy works in a variety of different methods, styles, materials, and sizes; he is a part-time photographer; a part-time video artist, an engraver of talent, but above all, he remains at heart a painter. On account of everything said thus far, it comes as no surprise that his work is prolific to the extreme, in what regards not just the numbers but more critically the many paths he has undertaken. Savchenko’s oeuvres do not just range easily from the abstract to the figurative and all the way back, but rejoice in the many possibilities offered in-between; and yet, in spite of it, there seems to exist a basic need to leave an “expressionist ” trace of himself at the core of all of his paintings, like a reactionary cry of allegiance to his own self

S.Savchenko Hard work 2016 S.Savchenko Hurghada 2016

In Brassaï ’s Conversations with Picasso, the master remarked casually to the Hungarian photographer: one does not delimit nature, one does not copy it either; one allows imagined objects to take on real appearances. Or, as Klee put it: art does not reproduce the visible; rather it makes visible. Similarly, the landscapes, the free compositions or the “eruptions” of Savchenko are not bound by nature or try to emulate it to the letter, but originate in a seemingly constant process of internalization and “ownership”, a flow of thoughts, emotions and intuitions which are then poured onto the canvas, once and again, day after day. Unlike many of his Ukrainian contemporaries, there is no trace of “moralism” or “folklore” in Serhiy’s painting. The power of hisvision replaces the hope of a self-sufficient system or the denouncing pamphlet; and, through vision, the artist imprints a shape of himself on the thick, blasted surface of the canvas, wrought and re-wrought, ceaseless tortured along successive incarnations, which ultimately aim at finding its impossible soul. Forget the visceral attributes, the desire to cause “shock and awe” of an Arsen Savadov – praiseworthy of course; you will not find it in here. No savvy staging of any kind of social protest, no aim at caricature for the sheer sake of it either. When working, Savchenko is very much political, of course, but in the contradictory manner of a Walter Benjamin, incapable of separating his innermost beliefs of transcendence from public and sometimes more down-to-earth ideas. For this reason, even Savchenko’s attempts at depicting cannibalism as a tenet of our consumerist world simply remain within his “personal” orbit and therefore do not attain, strictly speaking, the political sphere.

S.Savchenko Public relations 2016

In a way, Serhiy Savchenko is an old artist who gets carried away by his admiration for XXth century icons. He is especially attached to a certain tradition, which paradoxically was boosted by the dissolution of an earlier tradition, and which preached the intransmissibility of culture. Observe, for instance, the following “parallel lives”:

Alberto Giacometti, Bildnis von Annette 1964 S.Savchenko Magda Uchman 2016

Paul Klee, Separation in the Evening, 1922 S.Savchenko Vibrations, sunset 2016

Such admiration, at any rate, is highly critical, highly intuitive, and carefully sifted by his own insight. Surely, many a canvas from Serhiy’s new series “Nothingnesses” will remind the reader of other well-known “abstract” painters, from Kandinsky or Mirò onwards. Now, these rich influences are just a means. What really matters in these paintings is the drive behind. Let us take this one piece of work showed above. In Savchenko’s head, nothingness is not an absolute absence. His mind cannot let it be so. And so nothingness becomes a collection of strings of objects, suggested by a deep layer of his imagination, constantly moved by an invisible whirlwind arousing from a thinly colored abyss.

S.Savchenko Nothingness’s 2016

His landscapes, his cities, his roads, might make us think of Nicolas de Staël or of Van Gogh, or of Dubuffet. There are all nevertheless only Savchenko. I am particularly attracted to his nightscapes: their uncanniness, their anticipation of fear in a suspended state of joy, their wise reliance on color, make them unique. These illuminated nights release demons at a distance, which might decide to come towards us, or not. In a similarly counterbalancing way, Serhiy’s almost Picassian obsession with women brims with pure, strong, carnal violence, which is mixed at different intensities with tenderness and a distant reflection of both the other and the self.

S.Savchenko Autumn 2016 S.Savchenko Way 3 2016

Savchenko’s individual attachments complicate things, though, with regard to his own relation to the post-modern. The late Zygmunt Bauman wrote: art is like a window over the chaos: it shows the chaos at the same time that it tries to frame its enormous flowing (…) Great art can, behind each one of the forms it makes appear, make us see the unlimited chaos of being. Somehow I feel these thoughts are alien to Serhiy Savchenko. I suspect that he is not a religious man, at least not as we currently understand someone to be religious. But then, his paintings are so full of a sense of mortality and a sense of hope that sometimes he seems pre-modern or modern in his conceptions and his quest for beauty. His work is not based on the celebration of the ephemeral or the accidental; it is not based either on an aestheticism that glorifies emptiness. He relies on the power of myth, he is permeated by it, but not in the intricate and yet suavely ironic manner of a “Cy Twombly, for instance. Sergei does not seem to believe that human frailty happens to be a technical challenge, or that the purpose of every artistic activity ultimately consists of making the spectator feel and experience a specific yet fleeting sensation.Aesthetics without art means the triumph of kitsch; art without aesthetics rarely takes place in a world saturated with readymades, underperforming performances, and easy reproductions, and very often devaluates into something else, like the depiction of an ideology or a solitary statement of political or metapolitical nature. A gap, apparently unbridgeable, is open before the artist, who does not count on tradition to surpass it. He can only count on himself, and on his own ability to put everything under scrutiny. Let me recall at some length an excerpt from Italian philosopher Giorgio Agamben that attempts to shed some light on this. According to him, irony meant that art had to become its own object, and, no longer finding real seriousness in any content, could from now on only represent the negative potentiality of the poetic I, which, denying, continues to elevate itself beyond itself in an infinite doubling.(…) At the extreme limit of art’s destiny, Agamben continues, when all the gods fade in the twilight of art’s laughter, art is like a negation that negates itself, a self-annihilating nothing. Art becomes the annihilating entity that traverses all its contents (…) because it cannot identify with any content. And since art has become the pure potentiality of negation, nihilism reigns in its essence. Contrary to this Zeitgeist and notwithstanding his variety of styles, Savchenko does not seem to be an “elector of identities”: his works seem to be consubstantial to his own conscience; he believes in the possibility of conscience, and therefore he has not been devoured by it.

S.Savchenko Morning nude, 2016

By the same token, he possesses the power to keep irony under control. In this respect, he reminds me of another emerging artist, the Scottish Gayle Chong Kwan, who achieves similar results through a conscious balancing of elements and trends. Remember how, in her case, dim blue illumination and several plastic white bottles, correctly arranged, display before the camera the submerged island of Atlantis. Every new project of Savchenko is closely related to the rest, and, quite often, different images from the past resurface in the present: the figurative landscapes and the abstract paintings speak a common language. The stripped lines of his “Vibration” series and of his “Dispersion” series point to a common goal. Furthermore, Savchenko constantly recycles his previous findings in subsequent works. This recourse to inter-textuality can achieve sometimes a notable degree of intricacy. Take this homage to Goya’s “Saturn devouring one of his sons”, one of the most symbolic of the Black Paintings of the Spanish master. In the original, a gigantic elder is caught eating alive the body of a younger man. The eyes of the cannibal are wide-open and wild: it is difficult for him to believe what he is doing. The mutilated and bleeding corpse occupies the center of the painting, where its light becomes more intense. The primordial parent –Saturn, Cronus, time- who engendered that human-like god brings him back to his belly in the most awful fashion. Both time and god are represented as men and yet, the canvas tells us that time consumes his conscious child, that that is the highlight of life, and that it is a bloody business. To never have been born, said Sophocles. Now, in the case of Savchenko’s rendering of the painting, the whole concept is substantially changed. First of all, man is not devoured by man, but rather by the monstrous caricature of a man; more precisely one of the bizarre, round, histrionic faces that first appeared on the “Chorus” series, and which reappears here in an entirely different context. It is as if the old works devoured the new ones. It is as if time were not was it used to be, both to art and to man. In fact, time wears a crueler and less comprehensible face, bereft of feeling. Then, there is no trace of blood, though an illuminated corpse remains at the center of the canvas. The whole setting is aseptic and black, clean in its own way. Therefore, one could argue that Savchenko aims at delivering a poignant critique, using for that purpose a well-known and popularly recognizable piece of work of a master who is at the same time of the pillars of tradition and one of the precursors of modernity. Time is no longer modeled on the shape of man- albeit on a grotesque scale; nothing is modeled on man anymore; man has gone astray, while time silently and efficiently disposes of him. There is no need for things to look messy or mortal. Soul and blood have no role to play in this ongoing processing of ghostly biological existence.

S.Savchenko Saturn devoting his children (by the motives of F. Goya) 2013

As I said at the outset of this brief essay, I met Serhiy quite some years ago. Because of our lasting friendship, I have observed how he has evolved artistically, and I am particularly impressed with his increasing mastery of portrait, something that maybe has to do with his own maturity as an artist. His latest works in this genre allow him to reconcile figure and color in a way that he had not essayed before. The countenances of his portrayed subjects used to be very schematic. Lots of characters in Serhiy’s previous works did not even have faces, or their eye sockets were empty. Complexity of composition and the gradual apparition of facial complexity go hand in hand and serve the same purpose: exploring the subject’s psyche as a way to explore the inner self of the artist. Serhiy is –seemingly painfully- learning how to turn others’ faces into a mirror and how to draw some solid conclusions out of it. It is no coincidence then that the eyes in those portraits have become so piercing. Take this last piece of work. A girl, almost a child, resolutely and even insolently looks at us. She is in complete control of herself; that self-control, that fixedness, might make us feel unsure. The looker is being looked at. Her regard is calm, but intense, and slightly melancholic. One ought to wonder if she is on the brink of crying, maybe out of despondency. She is looking at us so hard after all. Deep down in the eyes of that girl, too, lies the center of the struggle of Serhiy Savchenko. The enduring resistance of his own vision. Certainties – so we are told – are gone. Nihilism reigns. However, from an imaginary threshold, Serhiy keeps on staring at the ruins, as if there was some real meaning in them. And he keeps on leaving traces behind –drawings, sketches, installations or paintings- in order for us to recollect that his urge to stare, to see, is ours as well. The results are fragmentary, contradictory, they revolve around themselves, but they matter Madrid 2017

S.Savchenko Portrait X, 2016

content Serhiy Savchenko............................. and the enduring resistance of vision Paintings............................................. Paintings, selected series....... Dispersion.......................................... Eruptions............................................. Nothingnessâ€™s.................................. Colorful Wars................................... Graphic, selected series......... Humanzoomatica.......................... Body...................................................... Intimacy............................................. Public relations............................... Interwiew............................................ Selected Projects......................... Wedding, The garden of divine songs.............................. F. Kafka, Fraze #75......................... Letters toâ€Ś ........................................ Author project................................. COproduction.................................. Other....................................................... Threangel............................................. Biography......................................... List of reproductions....................

1 5 - 4 9 5 1 - 9 1 5 2 - 5 9 6 0 - 7 1 7 2 - 8 3 8 4 - 9 1 9 3 - 1 1 9 9 4 - 1 0 1 102-107 108-113 114-119 120-125 129-179 130-141 142-145 146-155 156-159 160-163 164-171 172-179 178-183 176-177

The art work is a birth of mysteries but not a statement of truth. S.S.

paintings

Portrait “M.Uchman” 100x80cm

Portrait “X” 100x80cm

Portrait “X2” 150x100cm

Boyâ€™s portrait 90x90cm

Unknown Holy 50x35cm

Unknown Holy 190x135cm

Demiurge of copy 150x110cm

Dream 100x150cm

Avatar 150x100cm

Portrait “DX” 100x150cm

Hard work 150x100cm

Evolution girl 150x100cm

Hospital on the orange hill 100x120cm

Baby summer 60x50cm

Landscape With The Yellow Rabbit, 60x90cm

Autumn 90x110cm

On the Top 100x70cm

Absence 95x105cm

Absence 100x70cm

Religious Still-life 80x100cm

Treasure 70x100cm

selected series

paintings

dispersion Several figures drawn one on top of another can be seen simultaneously. Through the crevices of other figures. There is nothing more senseless than to persuade someone of your own necessity.There is no senseless persuasion in your own necessity. When nothing is needed your own persuasion is senseless. Your own senselessness is more necessary than another`s persuasion in absence. There is no senselessness when actually there is nothing. An absent need for self doesn`t persuade anyone anything.It is more senseless to persuade another of your own necessity than of absence.There is nothing more necessary than to persuade another of your own senselessness.Your own senselessness of necessity doesn`t persuade anyone anything.

Slave 1 200x130cm 55

Slave 2 200x130cm 59

Slave 3, 200x130cm 60

Slave 4, 200x130cm 61

eruptions Process and matter, rationalisation and intuition, plan and actuality - lead to an understanding of the fields of author and viewer. Eruptions are meditative layers, catharsis of matter. The ratio of the artificial and spontaneous is a controlled process of natural inevitability Iconographic images that reveal themselves under the influence of gravit y planet , a color flow of information compressed into a single stream. The reconciliation process and the matter..

Nowica 200x40cm

Hurghada 200x130cm

Berlin 1 200x150cm

Berlin 2 200x145cm

Nothingness’s

Something is more than nothing...The human– sum of desires. Humanity – the total amount of information that it can comprehend. Consciousness, which, not party to all information converts into images that which exist i ndependently elsewhere. These images spontaneously form the “unnecessary”, “undesirable” statements and forms. Viewers are “extra” visual signs or maxims. In the limited space of the picture or the screen in free flight is a chance for reconciliation of reality and the need for fantastical imagination.

Haomsos 200x150cm

Masacra in Aleppo 200x135cm

Cold minerals 150x100cm

Warm minerals 150x100cm

Wind Under Water 80x120cm

Treasures 80x120cm

colorful wars All wars are marked by the colours of bellicose flags, but in monochrome they are all, always, the same.. War is a state of armed conflict between societies. It is generally characterized by extreme aggression, destruction, and mortality, using regular or irregular military forces. An absence of war is usually called â€œpeaceâ€?. Warfare refers to the common activities and characteristics of types of war, or of wars in general.Total war is warfare that is not restricted to purely legitimate military targets, and can result in massive civilian or other non-combatant suffering and casualties. Wikiipedia

Green-Red War 100x135cm

Blue-Red War 120x270cm

Blue-Yellow War , 120x200cm

selected series

graphic

humanzoomatica Everybody

knows, that

every human has animal inside. Does every animal has human inside as well?

Humanzoomatica 14.5x22cm

14.5x22cm

80x50cm

100

14.5x22cm

101

80x50cm

102

22x14,5cm

103

body Medicine investigate death to save life. Art explores life to defeat death.

104

32x21cm

105

21x32cm

106

32x21cm

107

32x21cm

108

21x32cm

109

intimacy The distance between us - the size of one burnt match .

110

80x50cm

111

80x50cm

112

80x50cm

113

public relations PR is the practice of managing the spread of information between an individual and public.. Wikipedia.

116

80x50cm

117

50x80cm

120

50x80cm

121

Interview with Serhiy Savchenko What brought you to painting? It’s a difficult question. It just happened, well, perhaps it’s more of a question for the psychoanalysts. But before I decided to go into painting, there were challenges. To my mind, most artists come into this world because they are not really similar other people. They are not “normal”, they other from the begin. I will say that is that my intention was not to be an artists, I didn’t want to be an artist I had no desire to be an artist. But what I remember very clearly from my thoughts in my diaries—I still have some of my childhood diaries— I see that I was really feeling a dramatic tragedy of my existence. I would look around at people at school, at my parents, and at my friends, and I didn’t see freedom in this life (it was during the Soviet Union). And I thought to myself I am so young, and I have to live such a long life in this condition, and this was one of the big struggles of my childhood. I was looking for answers and stability. How can I live my life in a way that would be free? And I still think about this. But art is something that gives me the chance. Now that I am older, I think that objectively we cannot be free. We have bodies, we have our lives and obligations to communicate with other people… and often we can’t be free in our professions. But the profession of the artist, it gave me the possibility to be much more free as a human. That’s why I choose to be an artist. My first impressions at seeing your work was the feeling of an effusion and a free and joyful dialogue with matter, colors, and forms, as when a child plays. I think most people when they are young, they want to be an adult, and many adults want to be young. As a child, when I would see adults who say that they would like to be a kid again, I think to myself, “how terrible it is to be a kid. You have no rights, you are not free and you are obliged to do this or that…” I was really always waiting to be an adult. Now that I’m grown, I don’t really miss my childhood at all. But my way of life is my art, and through that I try to maintain the view of a child. There is a big difference between wanting to be a child and maintaining the view of a child. My friend and fellow artist Myroslav Yahoda , who lives and works in L’viv, said that when he looks at my art he says that this is the imagination of a child, which is bigger than the experience of adulthood. I think that it’s something that I choose in my creations. I want to have my eyes open, and I think that this is a very serious way for an artist to keep his soul open and free. It’s something like this, even if you go through a forest, and forests are not always very clean, they can be very dirty, its like a kind of magic.

123

Aude Gullet

Art can give you a chance to see this magic, when you go into the deep and into the dir tiness , and then you come out and it is clear and beautiful… it’s like fairy tales. How do you plan your work? Oh, its difficult. You know, I try to plan to do something, and I’m very happy if I can do 20% of what I actually plan. Sometimes I come to work and want to do something with the paintings, but occasionally I direct my attention to the cartoons and I can spend hours and hours with the cartoons. I also try to hear what is happening around me and if I hear something telling me to do something different, I try to do that. But very important to have a “skeleton” plan, because you will never arrive to where you have without it. This “mane plan” is invisible but very real thing you must realize during your active life. So my days are simple. I come into the studio, I give food to my birds, and then I try to do something. And then the story starts. And then in the evening I go home and the story is finished! Time goes fast. My creation is a collaboration with time, because for me time and art are two things which complement one another. For me time and art is a product of illusion, because time does not exist, and at the same time art does not actually exist… they live only in our imagination. In my studio, I manipulate this relationship of time and art. In the studio I can do whatever I want. What do you mean by telling: “art is a product of illusion…” When I say illusion, I say that everything is created in our phantasy. For example, for my birds and for my dog here, art and time do not exist. But when artists create from this kind of illusion, it becomes something very material that can truly influence our lives in reality. I can compare this with mathematics. Numbers are abstract ideas, but without them we cannot live. Like love… Yeah, and love is something that changes our life. People without love just die, it seems like they become empty and it’s a very fast road to catastrophe from there. And if you feel love and if your heart is full, it is really a chance to live a more interesting life than you would have without it. A poet wrote this verse: “What do you know about beauty? … it is the form of love. ” What do you know about beauty? Beauty and love are something that is really connected. Because if you don’t have love in your heart and in your life you really can’t absorb and feel beauty, you just go away. You won’t feel beauty if you don’t have love in your life. If you come away from love and beauty, you can also go into the deep problems. We are made like this. Love and beauty, and the categories that are found underneath them give people a chance to really live. We represent this chance with our human bodies and our consciences. This gift of conscience gives us the gift of choice. We always have choice…

126

What do you think of the Catena Artistorum project? Communication among artists is very important. You know, I say that artists are kind of “sick” people… and these people generally are of a high sensitivity. Our profession is to feel. Therefore, you feel maximum sensitivity. For me it’s different to go with this compromise, but in case I feel ok, I’m fine, easy and open, and interaction is not selfish. For me its very important to have good connections which are creative. It has to bring something. It’s not only an exchange, we always exchange information, knowledge products, etc. but for me that exchange must also have a creative outcome. That is the kind of appreciated communication. Life is too short to have unfruitful relationships. And in the case that we have an organization that supports these fruitful relationships, it’s something I can really appreciate as an artist. One last word ? I know that I can’t plan anything, my life can be stopped any second. But I hope that this work that I’m doing now is not the last. I’m not ready for my last work, I need a little bit more time. Lviv, December 15, 2016

127

selected

projects

“Wedding”

the garden of divine songs

Scenography

p r o j e c t «THE GARDEN OF DIVINE SONGS» is a theatrical project in progress, its basis and purpose is a human’s testimony in time – the acto r` s p e rso n a l m o n o l o g u e t h ro u g h t h e s o n g – d a n c e – t e x t Lviv Municipal Theater, Artistic Research and Educational Center “WORD AND VOICE” A c t o r s : N a t a l i y a O l e k s i v Y u l i y a T a r a s o v y c h S o l o m i y a K y r y l o v a O l y a P r e o b r a z h e n s k a N a t a l i y a P o t o v y n k a Project author, director - Nataliya Potovynka Theatre designer - Serhiy Savchenko Assistant director - Yuliya Tarasovych Light designer - Bohdan Dvornyk Design of costume - Oksana Karavanska Artistic director laureate of T. Shevchenko National Prize - Nataliya Polovynka L v i v 2 0 1 7

132

133

134

135

136

This is the form of a single m o n o l o g u e of single human a testimony of timea personal effort for p e a c e This is the act of lowliness to enable the native land to sound, to reveal though the performer the quality that heals the earth at all times, wins the w a r ; and which is the spouting in contemporaneity of the eternally young garden of the S p i r i t

137

138

139

140

« W E D D I N G » is the first performance of the project, it is built on the material of traditional wedding songs of Ukraine. W E D D I N G is the oldest living ritual that holds in itself change, the secret of the transition to another quality - crossing“Sea of Reeds” and it is a sign of time in which we live W E D D I N G is theeternal blooming of the E a r t h

141

142

143

Franz Kafka

phrase #75 Humanity is that which experiences you. If you doubt, it gives you more doubt; If you believe, it confirms you in faith. F. Kafka Video, 1920x1080, duration: 2.21

144

145

146

147

letters to...

148

149

150

151

152

153

154

155

156

157

author project

S e r h i y S a v c h e n ko w i t h V l o d Ka u f m a n . In the frame of “Leminarium”, Lviv Week Of Actual Art, Lviv Palace of Art, 2016.

158

...just when a measure of success had been achieved in unravelling this problem, it turned out, as often happened subsequently in the field of Solarist studies, that the explanation replaced one enigma by another, perhaps even more baffling. These hypotheses, according to some people, underestimated the resources of the human mind; they bowed to the unknown, proclaiming the ancient doctrine, arrogantly resurrected, of _ignoramus et ignorabimus_. Others regarded the mathematiciansâ€™ hypotheses as sterile and dangerous nonsense, contributing towards the creation of a modern mythology based on the notion of this giant brain â€” whether plasmic or electronic was immaterial â€” as the ultimate objective of existence, the very synthesis of life. Stanislav Lem

159

“...just when a measure of success had been achieved in unravelling this problem, it turned out, as often happened subsequently in the field of Solarist studies, that the explanation replaced one enigma by another, perhaps even more baffling.These hypotheses, according to some people, underestimated the resources of the human mind; they bowed to the unknown, proclaiming the ancient doctrine, arrogantly resurrected, of ignoramus et ignorabimus. Others regarded the mathematicians’ hypotheses as sterile and dangerous nonsense, contributing towards the creation of a modern mythology based on the notion of this giant brain — whether plasmic or electronic was immaterial — as the ultimate objective of existence, the very synthesis of life.” Stanislav Lem

“...ju st w h e n a m e asu re of su ccess h a d b e e n a ch i eve d i n u n ra ve l l i n g th i s p ro b l e m , it turned out, as often happened subsequently in the field of Solarist studies, that the explanation replaced one enigma by another, perhaps even more baffling. These hyp otheses , according to some p e ople, underestimated the resources of the human mind; they bowed to the unknown, proclaiming the ancient doctrine, arrogantly resurrected, of ignoramus et ignorabimus. Others regarded the mathematicians’ hypotheses as sterile and dangerous nonsense, contributing towards the creation of a modern mythology based on the notion of this giant brain — whether plasmic or electronic was immaterial — as the ultimate objective of existence, the very synthesis of life.” Stanislav Lem

160

161

Seria on the Bus stop

briething

dog

milk

war

hit

exchange

origami

COproduction-independent video, and animation studio. Co (So) is mean what (Scho?( ukr.)) said in child pronunciation . This is a neverending strim of questions, based on a special subjective realism. It moves us to the side of some type of surrealism . Than new reality gets the great chance to grow with new upcoming fantasies. The studio is real and virtual at the same time.

162

163

Yych 1.0

Yych 2.0

evening of poetry

random systems II

sh-sh-sh

unwanted signals

veryfunnyfilm

Cat

other The coexistence of paint, screens and mirror surface media, is an invitation for the destruction of a sustainable physical understanding of existing space - to identify the circumstances balancing contemplation and observation of Myself and Others. Imagining OTHER inside myself, part of myself .“I” - Myself ; “I” - You. “Subject subjective dialogue”. The variability of “I” in reflections and screens lead toward a deconstruction of singing - “I” identified at the end of OTHER. Serhiy Savchenko (painting). Olexiy Khoroshko (media object). Media object: 8metal prisms 200×80×56 cm, 4 mirrors, 4 plasma screens, 4 web cameras, 4 computers. Painting: 12 Paintings, oil on canvas 200/200cm .Sound: Polyphonic singing of Sardinia cantu a concordu..

166

167

168

169

170

171

172

Gogol Fest 2009

173

threeangel A plunging, monumental triangle that resembles an upside-down origami plane reveals the fresh vision of the plasticity of the folded triangle. It uplifts, and brings into focus the ominous silhouette of a sharp wing; it fixes the engraving on oneâ€™s memory as a steel incision would, razor-sharp. An unforgettable sign of powerful artistic vision intensified by the controversy and paradox of the image. A dream turned inside-out, split and devoid of content, a fatal triangle presaging catastrophe. A condition on the edge, where there is still a chance to surviveâ€Ś

174

2009

â€œThreeangelâ€? Street plastic-instalation. 1200x800x350cm Created and made by support of Museum of Ideas in Lviv. Author of idea: Serhiy Savchenko in collaboration with Oles Dzyndra ,who made the installation. Material Steel. The installation works as platform for realization ideas different artists as: Serhiy Savchenko, Serhiy Petlyuk, Olexiy Khoroshko, Ivan Borysyak, Denys Struk, Vasyl Savchenko and others.

175

2010

176

Author of idea: Serhiy Savchenko. Created by: Oles Dzyndra. â€œThree-angelâ€? becomes a platform for free expression of different artists. During 2009-2017 the number of artists realized theirs ideas on the installation: Serhiy Savchenko, Olexiy Khoroshko, Vasyl Savchenko (Scotch), Sehiy Petlyuk, Oles Dzundra and others... Created by support Museum of Ideas. Instalation situated on Valova str.18, Lviv,Ukraine.

177

2011

178

2012

179

2015

180

2016

181

Biography Serhiy Savchenko

savchenkoart.com

1972 Born in Lviv, Ukraine. 1993 graduated from the Lviv College of Decorative and Applied Arts named by I. Trush. 1998 graduated from the Lviv Academy of Arts. Works in the field of painting, drawing, stenography, photography, video, animation, street sculpture, object. Founder of independent video production studio COproduction (coproduction.co) Curator of residencies program in Museum of Ideas in Lviv, Ukraine. Participates in international residencies, workshops and art events in Ukraine and worldwide. Lives and works in Lviv, Ukraine.

182

Selected solo exhibitions 1994 Museum of Ethnography, Lviv, Ukraine; 1996 Lviv Historical Museum, Ukraine; Gallery «Sparkasse», Bad Leonfelden, Austria; Lviv Palace of Art, Lviv, Ukraine; Gallery «RDCV», Prague, Czech Republic; 1997

Gallery «Laurier», Toronto, Canada; «Pavlovsky Arts and Crafts» Gallery, Utrecht, Netherlands;

1998 «Gallery-36», Kyiv, Ukraine; 1999 «Gallery-36», Kyiv, Ukraine; 2000 “Black-transparent”, «Gallery–36», Kyiv, Ukraine; Gallery «Appia», Grenoble, France; 2001

«Gallery-36», Kyiv, Ukraine; Gallery «Galia» Bordeaux, France;

2002 Gallery «Dzyga» Lviv, Ukraine; Gallery «Galia» Bordeaux, France; Gallery «Appia», Grenoble, France; «Gallery-36», Kyiv, Ukraine; «Gallery-68», Copenhagen, Denmark; 2003 «The Laurier» Gallery, Toronto, Canada; «Maritime» Gallery, Odessa, Ukraine; 2004 “Photo-paintings”, Gallery «Dzyga», Lviv, Ukraine; Gallery «Appia», Grenoble, France; Gallery «Quedar», Strasbourg, France; Gallery «Maritime», Odessa, Ukraine; «Gallery-36», Kyiv, Ukraine; «Gallery-68», Copenhagen, Denmark; «Peace and color art Gallery», London, United Kingdom. 2005 Gallery «Dzyga» Lviv, Ukraine; Gallery «A-House», Kyiv, Ukraine; “Drawings from the land”, Gallery «Maritime», Odessa, Ukraine; «Gallery-68», Copenhagen, Denmark; 2006 Gallery «Appia», Grenoble , France; «Peace and color art Gallery», London, United Kingdom; «Gallery-68», Copenhagen, Denmark; 2007 Gallery «E.M.», Kollum, Netherlands; Gallery «Tryptych», Kyiv, Ukraine; Gallery «Dzyga», Lviv, Ukraine; «Peace and color art Gallery», London, United Kingdom; Gallery «Maritime», Odessa, Ukraine;

183

Gallery «Arte plurali», Audincourt, France; «Gallery-68», Copenhagen, Denmark; 2008 “Big Red Mama”, Gallery «Volga», Moscow, Russia; “New Works”, Gallery «Kunst-und Kulturraum» , Zürich, Switzerland; Gallery «A-House», Kyiv, Ukraine; “Chorus”, Gallery «Bottega», Kyiv, Ukraine; «Peace and color art Gallery», London, United Kingdom; “Chorus”, Gallery «Volga», Moscow, Russia; “Prints”, Gallery «Maritime», Odessa, Ukraine; Gallery «Appia», Grenoble, France; «Gallery–68», Copenhagen, Denmark; 2009 “Lisova-44”, Gallery «Tryptych», Kyiv, Ukraine; “Graphick works”, Gallery «Nine by Five», Fremantle, Australia; “Zviri Zvychayni”, Gallery «Bottega», Kyiv, Ukraine; “Landscapes”, «Gallery -68», Copenhagen, Denmark; “New works”, «Peace and Color Gallery», London, United Kingdom; “Singing heads”, Gallery «In art», Berlin, Germany; “Zviri Zvychayni”, Gallery «Volga», Moscow, Russia; 2010

Day of Knowledge», Gallery «Green Sofa», Lviv, Ukraine; “Ethno”, Gallery “Tryptych”, Kyiv, Ukraine;

2011

“Paintings”, Gallery «Uzhgorod», Uzhgorod, Ukraine; “School fiction”, Gallery «Detenpula», Lviv, Ukraine; “Back to color”, Gallery «Tryptych-art», Kyiv, Ukraine;

2012

Solo exhibition with Ustym Fedko in Casa de Teatro, Santa Domingo, Dominican Republic; “Paintings of Serhiy Savchenko”, Regional Art Museum in Khmelnyckyy, Ukraine;

2013

“Process and Matter”, «Scherbenko art center», Kyiv, Ukraine;

2014

“Intimacy”, Gallery «Tryptych-Art», Kyiv, Ukraine; “Intimacy”, Museum of Ideas, Lviv, Ukraine; “Intimacy”, Gallery «Red Black», Kaniv, Ukraine;

2015

“Erotica in landscapes” by Serhiy Savchenko &“From pragmatism of Malevich to Godless case” by Alyaksandr Zabavchik. Gallery «Anarkhia», Kopavogi, Iceland; “Earth” – Graphic, Paintings. Gallery «Tryptych Art», Kyiv, Ukraine; “Not My Shadow, Not my Body?”, Gallery «Ye», Ivano-Frankivsk, Ukraine; “Le Gens”, Gallery «Hebert», Grenoble, France;

2016

“Dispersion”, Gallery «Tryptych Art», Kyiv, Ukraine; “Public Relations” Serhiy Savchenko & Coproduction, Gallery «MEF», Izola, Slovenia; Author Project”. VlodKaufman & Serhiy Savchenko. In frame of Week of Actual Art in Lviv, pilot project of ”Leminarium, Lviv Art Palace, Lviv, Ukraine

2017

“That will never come..” , Kamila Bednarska & Serhiy Savchenko, Gallery Tryptych Art, Kyiv, Ukraine, “Returning with the arrow”, Plac Izolanov, Izola, Slovenia

184

Selected group exhibitions 1992

Lviv National Picture Gallery, Lviv, Ukraine;

1993

Art Gallery named after A. Sheptitskiy, Lviv, Ukraine; Gallery «Sparkasse», Rohrbach, Austria; “Spring 93”, National Museum in Lviv, Ukraine;

1995 “Club of Ukrainian Artists”, Prague, Czech Republic; “Lviv’s Signatures” «OR-Gallery», Kyiv, Ukraine; “3-d International Symposium of Art Glass”, Lviv, Ukraine;+ 1996 “Artclub”, Khmelnytsky Art Museum, Ukraine; “Hutir-II”, Khmelnytsky-Lviv, Ukraine; “Art-Fair”, Kyiv, Ukraine; 1997

Gallery «UCAF», Toronto, Canada; First International Gallery , Charlotte, USA; “Proposition”, Museum of Ethnography, Lviv, Ukraine; “Autumn Salon”, Lviv National Palace of Art, Lviv, Ukraine;

1998 “Robinzonada”, Khmelnytsky Art Museum, Ukraine; “Europe’Art”, Geneva, Switzerland; Triennial of painting, Kyiv, Ukraine; “Vysokyy Zamok”, Lviv, Ukraine; “Art Fair”, Rotterdam, Netherlands; 1999 International Art Festival”, Kyiv, Ukraine; 2000 Paintings of Ukrainian artists, Kunsthalle, Austria Bank, Vienna, Austria; Gallery «Persona», Kyiv, Ukraine; “East-West”, Gallery «City-N», Kyiv, Ukraine; 2001

“Line of force”, Gallery «City-N», Dnipropetrovsk, Ukraine;

2002 “International exhibition”, «Todayji» Temple, Nara, Japan; 2003 “Silver square”, Przsemysl, Poland; “Bacchanal of painting”, Gallery «Marina», Odessa, Ukraine; 2004 “Marina-2004”, Gallery «Maritime», Odessa, Ukraine; 2005 “International Salon of Independent Artists”, Paris, France; “Art Ireland” ,Dublin, Ireland ,(by Gallery «Art Master»); 2006 “Art Karlsruhe, International Art Fair”, Karlsruhe, Germany,(by Gallery «Tryptych-Art»); “Art Ireland”, Dublin, Ireland, (by Gallery «Art Master»); “Art International Zurich”, Zurich, Switzerland; “Art Kyiv” , Kyiv, Ukraine;

185

“The International Art Fair”, Puro Arte-vigo 2006 ,By Gallery “In art”. 2007 “Chelsea Art Fair”, London, United Kingdom, by «Art Master» Gallery; “Art Ireland, Spring Collection”, Dublin, Ireland, by «Art Master» Gallery; “Art Gratz, Akzenta Gratz”, Austria ,by Gallery «In Art»; “Art Metz”, Metz, France, by Gallery «In Art»; “Berlin Liste”, Berlin, Germany, by Gallery «In Art»; “Art International Zurich”, Zurich, Switzerland, by Gallery «In Art»; “Invitation on Akt”, Gallery «Tryptych-Art», Kyiv, Ukraine; 2009 “Sea-Ocean”, Municipal Gallery «Lavra», Kyiv, Ukraine; “Contemporary Istambul”, Istambul, Turkey, by «Tryptych-Art» Gallery; 2011

“Process and Matter” Olexiy Khoroshko & Serhiy Savchenko, Gallery «in Art», Berlin , Germany; “Christmass Paralononormal phenomenon”, «Museum of Ideas», Lviv, Ukraine;

2013

“New Art Fair”, «Gallery-73» ,Paris, France; International Art Competition “Art Revolution Taipei”, Taipei, Taiwan;

2014

“Spanish-ukrainian exhibition of paintings”, Gallery «Cartel», Malaga, Spain;

2015

Festival “Parcour del’art”, “Intimacy”, animation by Coproduction «Maison Jean Villard», Avignon, France; “Earth that…”, K. Bednarska, S. Savchenko, M. Uchman, O. Khoroshko, «Museum of Ideas», Lviv, Ukraine; “L’art fait Face”, «Maison De l’Internacional», Grenoble, France; “Mur Art”, Rzeszow, Poland; “First International Festival of print makers”, Museum of Ukrainian Paintings, Dnipropetrovsk, Ukraine;

2016

“Intimates” Kamila Bednarska & Serhiy Savchenko, Nowica, Poland; Gewalt, Macht, Herrcherr, Kunstpreis Worpswede 2016, Berlin, Germany 5-th My Mumbai Short Film Festival 2016, animation by COproduction; 5-th Odessa Biennale of Contemporary Art, video-animation “Yych-1 & Yych-2”,

2017

Odessa, Ukraine Scenography:

2017

“The garden of divine songs , Wedding”, Lviv Municipal Theater, Artistic Research and Educational Center “Word and Voice”, Lviv, Ukraine. Illustrating books:

2000 ” Dog and his friends on the moon” Heorhiy Khymychv, (2nd award of the Book of the Year2000 National Contest) publisher: A-ba-ba-ha-la-ma-ha; 2012

“Protoplastykon” poetry of Piotr Bussold (BUSSI.)

186

Art residences & symposiums: 2007 International Art symposium “Valmiera-2006”, Latvia; 2010

International Art symposium “Zelwa”, Zelwa, Poland;

2012

Residence “Red Gate”, Beijing, China; Residence “d’Clinic”, Lendava , Slovenia;

2013

International Art symposium “Slovenia odprta za umietnost 2013”, Sinij Vrh, Slovenija; International Art symposium “V kregu pogranicza” , Jablonka, Poland, (by Gallery «Marzenie»); International Art symposium, Olhon island, Irkutsk, Russia, (by Gallery «Art Dias»); International Art symposium on «Knyazha Hora», Kaniv, Ukraine;

2015

International Art symposium “Slovenia odperta za umetnost-2015”, Sinji Vrh, Slovenia;

2016

International Art symposium, Nowica, Poland; International Art symposium, Mallnitz, Austria; International art symposium in Gallery «Red Black», Kaniv, Uktraine; “XXI International Symposium of Paintings Lancut-Orelec”, Lancut, Poland, by Gallery «Marzenie»

2017

“Scifia”, the art symposium by White World gallery, Kyiv, Ukraine Curate and Co-curate events.

2011

“Christmas Paralononormal phenomenon” Museum of Ideas, Lviv, Ukraine; (curator)

2007-International Art Symposiums “Red Black Gallery ”, «Knyazha Hora», Kaniv, Ukraine, 2014 2012

Ukrainian residence”, Slavsko, Ukraine,

2016

Art weekend “Galagany”, Kyiv, Ukraine, Polish-Ukrainian International group art project, “Intimate Portrait”, (co-curator); Ukrainian-Polish International group art project, “JPS” (Jump Point Search), installation of street miniature, Museum of Ideas, Lviv, Ukraine

2017

“Catena-Berlin”, art workshops in Berlin with Catena art.(art director) Polish-Ukrainian International group art project, “Intimate Auto-portrait”, (co-curator). Awards and honors:

1997

Certificate of recognition; European Art, section Austria. European Academy of Arts, Linz, Austria; Silver Medal and Certificate, European Art, section Austria. European Academy of Arts, Linz, Austria;

2001

4-th premium, Painting Triennial, Kyiv, Ukraine;

2008 First premium, “Vysokyy zamok”, Lviv, Ukraine; 2012

Winner of competition by «d’Clinic art residence», Lendava, Slovenia. Public collections: Ukrainian Museum of Fine Art, Kyiv, Ukraine; KMC “Dzyga”, Lviv, Ukraine; Khmelnickyy State Regional Art Museum, Khmelnyckyy; Ukraine, Red Black” gallery, Kyiv, Kaniv , Ukraine

187

List of reproductions. 2-3. Serhiy Savchenko in studio, photo by Serhiy Savchenko 16-17. Portrait “Magda Uchman”, oil, acryl on canvas, 100x80cm, 2016 19. Portrait “X”, oil, acryl on canvas, 100x80cm, 2016 20-21. Portrait “X2”, oil, acryl on canvas, 140x100cm, 2015 23. Boy’s portrait, oil, acryl on canvas, 90x90cm, 1994-2017 24. Unknown Holy, egg tempera, gold leaf on wood, 50x35cm, 2015 25. Unknown Holy, oil, acryl on canvas and wood 190x135cm, 2015 27. Demiurge of copy, oil, acryl on canvas, 150x110cm, 2015 28-29 Dream, oil, acryl on canvas, 100x150cm, 2014 30. Avatar, oil, oil pastels, acryl on canvas, 150x100cm, 2014-2017 31. Portrait DX, oil, acryl on canvas, 100x150cm, 2017 32. Evolution girl, oil acryl on canvas 150x100cm, 2013-2017 33. Hard work, oil, acryl on canvas, 150x100cm, 2016 34-35. City, Grey times, oil on canvas, 165x200cm, 2006 36. Hospital on the orange hill, oil acryl on canvas, 100x120cm, 2017 37. Baby summer, oil acryl on canvas, 60x50cm, 2016 38-39. Landscape With The Yellow Rabbit, oil acryl on canvas, 60x90cm, 2016 40. Autumn, oil, acryl on canvas, 90x110cm, 2016 41. On the Top, oil, acryl on canvas, 100x70cm,2017 42-43 The road and the hole, oil, acryl on canvas, 100x150cm, 2014 44. Absence, oil, acryl on canvas, 95x105cm, 2017 45. Absence, oil, acryl on canvas, 100x70cm, 2017 46-47. Winter, oil, acryl on canvas, 150x200cm, 2016 48. Still-life Religious, oil, acryl on canvas, 80x100cm, 2016 49 Treasure, oil, acryl on canvas, 70x100cm, 2016 53. Slave 1, oil, acryl on canvas, 200x130cm, 2015 54 -55. Sunset, oil, acryl on canvas, 150x200cm, 2016 57. Slave 2, oil, acryl on canvas, 200x130cm, 2015 58. Slave 3, oil, acryl on canvas, 200x130cm, 2015 59. Slave 4, oil, acryl on canvas, 200x130cm, 2015 61.Hurghada, oil, acryl, enamel on canvas, 200x130cm, 2016, (fragment) 62-63. Kaniv, oil, acryl, enamel on canvas, 150x200cm, 2010 64-65. Kaniv, oil, acryl, enamel on canvas, 150x200cm, 2010 66. Nowica, oil, acryl, enamel on canvas, 200x40cm x 2, 2013 67. Hurghada, oil, acryl, enamel on canvas, 200x130cm, 2016 68. Berlin, oil, acryl, enamel on canvas, 200x150cm, 2017 69. Berlin, oil, acryl, enamel on canvas, 200x145cm, 2017 70-71. Eruptions in Studio, 2017, photo by Serhiy Savchenko 72. Haomsos, oil, acryl on canvas, 200x150cm, 2017 75. Masacra in Aleppo, oil, acryl on canvas, 200x135cm, 2017 76-77. Hot Sun, oil, acryl on canvas, 140x200cm, 2017 78. Cold minerals, oil, acryl on canvas, 150x100cm, 2017

188

79. Warm minerals , oil, acryl on canvas, 150x100cm, 2017 80. Wind Under Water, oil, acryl on canvas, 80x120cm, 2016 81. Treasures, oil, acryl on canvas, 270x120cm, 2017 82-83. Twelfths’’ dish (“Christmass”), oil, acryl on canvas, 102x160cm, 2016 85. Green-Red War, oil, acryl on canvas, 100x135cm, 2017 86-87. Blue-Red War-action, oil, acryl on canvas, 180x260cm, 2017 88-89. Blue-Red War, (monochrome mode), oil, acryl on canvas, 120x270cm, 2017 90-91. Blue-Yellow War, oil, acryl on canvas, 120x200cm, 2017 95. Humanzoomatica ,avto-offset ,14.5x22cm 1/10, 2017 96. Humanzoomatica, avto-offset ,14.5x22cm 1/10, 2017 97. Humanzoomatica, avto-offset, 80x50cm 1/1, 2017 98. Humanzoomatica, avto-offset, 80x50cm 1/1, 2017 99. Humanzoomatica, avto-offset ,14.5x22cm 1/10, 2017 103. Body, oil monotype on digital print , 32x21cm 1/1, 2015 104. Body, oil monotype on digital print , 32x21cm 1/1, 2015 105. Body, oil monotype on digital print , 32x21cm 1/1, 2015 106. Body, oil monotype on digital print , 32x21cm 1/1, 2015 107. Body, oil monotype on digital print , 32x21cm 1/1, 2015 109. Intimacy, avto-offset, monotype, 80x50cm 1/1, 2016 110. Intimacy, avto-offset, monotype, 80x50cm 1/1, 2016 111. Intimacy, avto-offset, monotype, 80x50cm 1/1, 2016 112-113. Intimacy, avto-offset, enamel, 80x50cm 1/1, 2016 115. Public relations, avto-offset, 80x50cm 1/1, 2016 116-117. Public relations, avto-offset, 80x50cm 1/1, 2016 118. Public relations, avto-offset, 50x80cm 1/1, 2016 119. Public relations, avto-offset, 50x80cm 1/1, 2016 120. Topography of freedom, selfportrait, oil, acryl mirror, photography, 80x80x25cm, (fragment) 2016 122-123. Serhiy Savchenko, Photo by Peter Lagler 126-127. Photo by Peter Lagler 130-141. Photos of performance “Wedding”, by Serhiy Savchenko 142-143. “Franz Kafka, phrase #75”, Fragments from video 146-147. Unwanted signals, digital photography, 2016 148-149. Unwanted signals,, digital photography, 2016 150-151. Letters to…,enamel on paper, A3, 2016 152-153. . Unwanted signals, digital photography, 2016 154-155. Letters to…, enamel on paper, A3, 2016 156-159. Author project, Lviv Palace of Art, Week of actual art in Lviv, in the frame of project “Leminarium” 160-163. Fragments and screenshots from animation of Coproduction 165, 168-169. Project Other on Jam factory, Week Of Actual Art in Lviv, 2009 Photo by Viktor Homenko 166-167. Singing head, oil on canvas, 200x200cm, 2009 (fragment) 170-171. “Other”, presented by gallery “Bottega”, Gogol Fest, Kyiv, 2009 172-179. “Three-angel”, street installation, steel. 1200x800x300cm, 2009-2016 180. Serhiy Savchenko portrait ,Photo by , 2016Marta Ozog 188-189. Photos from selected solo exhibitions by Serhiy Savchenko 190-191. Wooden studio in the forest.

189

Intymacy on “L’art fait Face”, «Maison De l’Internacional», Grenoble, France;

“Earth” Gallery «Tryptych Art», Kyiv, Ukraine; 2015

“Process and Matter”, «Scherbenko art center», Kyiv, Ukraine; 2013

190

Dispersion «Tryptych-Art», Kyiv, Ukraine; 2015

Solo exhibition, from private collections,Red Black Gallery, Kaniv, Ukraine

“That will never come..” , Kamila Bednarska & Serhiy Savchenko, Gallery Tryptych-Art, Kyiv, Ukraine, 2017

191

192

193