T. Shevchenka Park
in frame of the Night of Performance
9 September, 2017
Farbovane Village, Kyiv Region, Ukraine
21 August, 2017
Mova Kalynova (Viburnum Language)
Kharkov City Art Gallery
20 May, 2017
Nobody speaks in the executioner`s house
The House of Memory
Old Jewish Cemetry
4 November 2016
History testifies that attacks of «collective narcissism» can have a dramatic effect. Glorification of controversial characters, politically justified distortion of historical facts strengthens team spirit and promotes the abandonment of subjectivity. Society pushes itself into «the executioner’s house», and then the silence comes.
Talking about the horrors of the past and about who is responsible for the mass extermination of people, becomes more difficult. It is simpler to join the whole common thing than painfully aware of the particular. The adoption of the ruling ideology for the truth and identifying itself with the power creates a totalitarian potential, which in itself is a threat of a repetition of the tragic events. Performance «Nobody speaks in the executioner`s house» — is the search for a starting point, which can start a conversation about the silence, about its internals and ulterior motives. This is a way to work through feelings of fear, guilt, and shame, archived in the body, as a political entity, and provide the body with the right to vote and the right to autonomous existence.
The Absenсe of Evidence
HudPromo Art Gallery
1 October, 2016
Unreflected past becomes the future. Getting rid of its evidence displaces sense of guilt into the collective unconscious, condemning society for eternal circling history. Performance «The Absence of Evidence» is an attempt to live through and experience rejection of uncomfortable memory and destruction of evidence of those who could (or should) speak.
A Hole (performance in frames of Days of Performance Art in Lviv)
8 September, 2016
Amnesia (performance in frames of Non Stop Media VIII 2016 )
3 September, 2016
A Handful of Grain (performance)
Mircha village, Radomyshlskii district, Zhytomyr Region, Ukraine
27 July 2016
Picking barley grain on ancestral land, I think what it is «to be owned by history.» I think what it means «to digest the past» in order to feel a foothold. I am not always proud of those who have gone. I do not always have an answer for those who were silent. But I have to live with this «inconvenient memory»: I have to sow, collect, chew and swallow it. And feel connection to the roots that firmly bind me with past generations.
Solo for Clarinet (performance)
Kyiv, Ukraine. National Philharmonic building
9 May, 2016
The Chernobyl accident was a catastrophicnuclear accident that occurred on 26 April 1986 at the Chernobyl Nuclear Power Plant in the city of Pripyat, then located in the Ukrainian Soviet Socialist Republic of the Soviet Union (USSR). An explosion and fire released large quantities of radioactive particles into the atmosphere, which spread over much of the western USSR and Europe.
A week after the terrible accident, Soviet government instructed all culture organizations to support the morale of the explosion’s liquidators who were still at the reactor. The State Brass Band was dispatched to the Chernobyl zone on May 10. In the morning the musicians came to work and were ordered to collect instruments and costumes. Not knowing what mortal danger they are exposed to, in the afternoon they played an hour concert for the liquidators. Over the next half a year there were about ten such trips. Only two of them had appropriate orders.
My place (performance in frames of THE UKRAINIAN CROSS-SECTION)
14 April, 2016
Show me your borders (action, intervention)
5 April, 2016
During the exhibition at the PinchukArtCentre, where all the visitors had been encouraged to show the boundaries of their intimacy and take photographs in the nude, two people had had sex in the exposition hall, then the mediators that did not report that fact were dismissed. The action «Show me your borders» on the one hand has become a legitimate continuation of the study of their own sexual boundaries in the public space. On the other hand, the action provoked the institution, having had the strict policy regarding the behavior of visitors before (checking personal belongings, a ban on photographing, constant visual control with security and CCTV cameras), to show the real borders opportunities for artistic expression.
Collection of Evidence (performance)
Kyiv, Instytutska street
19 February, 2016
Performance «Collection of evidence» explores the theme of self-accusation, where «the accused» collects evidences of his own guilt, using drawing as a valid procedure of fixing in a form of graphics. On the memory day of people who died during the Maidan, the artist puts on a uniform of a special police officer and dressed in it is making sketches drawing the places where key revolutionary events have occured. The artist raises a question about the readiness of each person to plead guilty in the fact that the ideas of Maidan failed to incarnate. And animating of traumatic memories of two years ago period becomes an attempt to start a dialogue with the «enemy of Maidan», which is inside.
limits of my place / the place that I occupy / place that is not existent (performance)
Dream Museum (Kyiv, Ukraine)
29 November, 2015
in frames of the exhibition «Limits of Existence»
What is my place, what is making it mine, and what are its limits? How does the selection come round: with the body, mind or intuitively? Is it possible to expand its borders, whether it is possible to go beyond it, is it possible to leave your place? What remains and whether there will remain something?
Performance «limits of my place / place that I occupy / place that is not existent» is an attempt to survive via the body understanding of the place and to determine whether there are any borders inside and outside of it. In the context of the problem of need to transfer a person in space, it is also a work with the rethinking of the concepts of «mine / someone’s else,» «private / general»
Ego Cogito (lat. I think) (action)
Kyiv, Lisova station
20 October, 2015
The action «Ego Cogito» raises the question of the capacity for critical thinking in terms of political advertising standed with ready-made solutions, that satisfy the masses. During the action an artist, resembling political agitators, is distributing leaflets without any content to passers-by. In such booklets well-written texts and visual images are usually placed, developed by PR-specialists in order to win the sympathy of potential voters. But here absolutely empty white leaflets are a mean of visual agitation for formulating a personal opinion that leads the most of people to a dead end.
Take off me (performance with Iurii Demchenko)
26 September, 2015
in frames of GogolFest-2015
the «Сonvergence» project
The spontaneity, intuition, inner vision. The boundaries of personal space and
mental stability. The search for answers to the question «who are we?» via the body and camera, doomed to failure. Layer by layer the protective layers are disappearing. Underneath them are personal experiences, which only the body do knows, and only the body «speaks» about them.
Kharkov City Art Gallery
18 June, 2015
Performance «Belowground» is a part of the «Fertility» project (photo, video), and develops the theme of the female succession and sacred relation of a woman and the ground. The artist during the performance is under the ground, from which grows a sapling of a fruit tree. Thus, the author depicts from the one hand, the natural relationship of the Mother-Earth and the younger generation, whom she has to transmit her strength and energy, and from the other, self-sacrifice and humility of a woman who grows posterity and is fully «immersed» in the process. The rite of embedment is known as an example of one of the ancient Slavic traditions of initiation in which all superfluous human essence dies and revives.
The Stone of Revolution (action)
23 March, 2015
Video «The Stone of Revolution» is the personal author’s rethinking of events in Ukraine during the revolution at Maidan, where, demounting paving and armed with this weapon, people have tried to «dissasemble» and destroy inefficient system of governance that Ukraine has inherited from the Soviet Union. A piece of paving, the stone of revolution, became a symbol of hope for the expulsion of the spirits of the past, hindering the development of society.
A year after the revolutionary upheavals, the author finds a burnt chip paving in the neighborhood of Maidan and takes it to a trip to Moscow. She installs the stone into the Red Square paving in front of the mausoleum — exactly where the mummy of the former leader of the revolution Lenin is placed, organizing in such a manner a metaphorical image of a clash of the Soviet era with the energy of change.
Hvatit (enough) (action)
23 March, 2015
Action «Hvatit (enough)» is a symbolic response to the actions of the Russian Federation governance, which has been conducting a kind of «hybrid» war against Ukraine for about one and a half of year, that has already resulted in the death of thousands of people. In parallel with the invasion of the Crimea and the armed hostilities in the east of Ukraine, where the Russian military forces participate and the separatists are managed by the Russian security services, the Russian government provides a large-scale information war against Ukraine exacerbating the conflict.
In Action «Hvatit (enough)» Ukrainian artist Ani Zur takes her portraits with raw meat on her head in the center of Moscow on the background of the Kremlin and calls on the Russian Federation governance to stop military operations in Ukraine, sweeping the lives of people.
Instytutska Street (performance)
22 February, 2015
Performance «Instytutska Street» is dedicated to the anniversary of the tragic events that took place in February 2014 at the Institutskaja street (Kiev, Ukraine), during which in a few days more than fifty people were killed. The clashes occured between protesters against the government and representatives of law enforcement agencies.
In the performance the author raises the question of human helplessness in the face of the state «machine» and the use of human resources for solving political problems. The scale of the tragedy steps over the boundaries of those days’ events while subsequently it becomes apparent that a change of government has failed to modify built over the years system of relations between the state and its citizens. Upon that the state continues to exploit the patriotic feelings of the people to satisfy political ambitions.