Месяц: Январь 2024

^{site-specific installation, wooden objects, sound, found objects, paintings, text
Inhenio, Canary Islands, Spain}

They Don’t Have Names But We Walk Together A Lot
2022

In one room, twigs and sticks were gathered in various sculptural formations on the floor and inside some furniture. Geometry of the room with deconstructed furniture was finely-tuned as an oppositional force where each corner of it was held in suspension. The static objects seemingly become animated while consistently revealing the physical qualities of the used support. This referenced the awareness of anxiety and depression as political issues and explored the avoidance of decisive action. It also delves into the reflection of when and where these actions become relevant.

^{Site-specific installation that includes: author’s poems, twigs and sticks, a digital photo on the TV screen, furniture and objects from Villa Müller, Feldkirch, Austria}

Sudden Beginning
2023

The impulse of manipulating with light is less a question of strategy than of sensibility, For me it is a point of departure for deeper searches from the “inside” to the “outside” and back again, while remaining tied to a constant and uninterrupted surface.

Even from an apparently dormant state, the sunlight will move towards an inaccessible point, doubling back onto upon itself to the tangential beginning of something previously inchoate, grounded in histories like the and possibility that spills with love across a landscape on a sunny day.

Scenes And Stages
2022

‘Collection of collaged and found-object paintings on pieces of broken, dried, discarded, and weathered wood, installed in the back corner of the gallery.
These works were not inspired by or even made (except for one or two) during the 2022 escalation of the Russian invasion, they incarnate the collective and creative spirit of Ukraine. Scattered on the wall, like seashells on the beach, Kadzevich’s paintings are unheroic in a grand sense. Yet, each and every one is as precious and loud as the mark of eccentricity and experience they allude to. On one horizontal chunk of dried wood titled The Fragility of Distance (Hrupkost Distanczij) (2021) is a ski jumper. The viewer is tasked with an engagement with artistic gestures whose reality overwhelms the white cube; creating language from stone, from steel, from wood and vowels, to stage the everyday incomprehensible of war’. {Extract of the article by Thyrza Nichols Goodeve for The Brooklyn Rail}

Press Release: Stolen Sun, Miguel Abreu Gallery

^{architectural environment, 240X460X180 cm, paintings, objects Installation view during Ospring 2023: Raamvertelling, De Ateliers, Amsterdam, NL
Curated by Raimundas Malašauskas
Photography by Gert Jan van Rooij
Special thanks to Sjoerd van Leeuwen and Tomas Heller}