A SOUVENIR LANDSCAPE
2021

After my grandfather passed away I inherited a big box, full of filmstrips. There were a great number of carefully cut pictures arranged in special boxes, and a large archive which had its own logic, unrecognizable to anyone else. I knew that he took photos, but I had never seen the images. They turned out to be truly close to me — desert landscapes, bewildered small people. Grandpa had tried to seize and preserve what was around him, to capture the real. His photographs show the endless routine that he observed in the world during his travels as chief mechanic aboard a ship. The images capture his desire to dissolve into the environment, transferring the story onto film. I don’t know if they were a means for him to permeate the memories of his whole life, or just a way to feel the keys to it in his pocket. But the filmstrips have become the space for a possible encounter with an era in which things, people, and conditions are distantly described and flicker, reminding us about themselves.

solo exhibition which includes paintings, found objects, poem, archive notes The Naked Room Gallery, Kyiv, Ukraine

curated by Lizaveta German and Maria Lanko
photo by Yevgen Nikiforov

Photos Mira Turba

ENDLESS NOON, 2021

Installation, materials: paper and wooden found objects, painting, text
‘Al fresco’ installed during Open Studios at the International Summer Academy of Fine Arts Salzburg. Class directed by Flaka Haliti. Spatial Hijacks of sculpture,
JuLy 31, 2021

 


ENDLESS NOON, Solo one day exhibition

Installation, found objects, paintings, dimensions variables
Location: Uzhgorod, Ukraine
In frames of residence Sorry No Rooms Available
June 14-15, 2021.

 

Here Is Our Place, 2021, acrylic on canvas, collage 33 X 28 cm,
Some Unsubscribe Others Are Silent, 2020 mixed media, acrylic, collage 39x60cm
His Children, 2020 mixed media, acrylic, colour pencils, panel on stretcher, 105 Х 122 сm

 

 

Old Testament Ritual, 2020 mixed media, paste on canvas, acrylic, collage 99 X 79 cm
Rebellious People, 2020 acrylic, textured paste, collage 40x86cm
Sang With All His Might, 2020 mixed media, collage, acrylic on panel, 76 X 59

NOCH book (2020) Web version
documentation of events from 2018-2020
Design Mitya Churikov
21X29.7 cm, 97 pages, softcover
Supported by ArtsLink and Open Place

NOCH
2018-
artist run space, residency

Noch is an initiative of artist Alexandra Kadzevich and writer and psychotherapist Harry Kraievets, that focuses on short-term artist studies and explorations. The topics of these studies cover under-investigated phenomena, philosophical schools, and the unforeseen moments, patterns and outcomes that have yet to be. The result of each study is a one-day exhibition, in their venue that has a view of the port of Odesa.

Noch emerged from the studio of Kadzevich in June 2018, out of an idea to create a space for 24 hour exhibitions; a situation which could be shared with others with no intervention from anyone but the artist. We are focused on intertwining the international and local art-scenes, and expanding the Odesa artistic field through meetings, artist-talks, and group discussions. Noch held over thirty exhibitions by both Ukranian and foreign artists in the almost 3 year span and has grown to become an important and influential cultural spot for the city of Odesa.

pdf бесплатно иконкаDownload NOCH book

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DACHA KICKS 2017

Childhood is always a period of absolute anonymity, only you can remember something about yourself. Turning personal memory into myth, fairy tale, and nature, we decided to make the main action a game with the dog as a symbolic return to the dacha practices from childhood. Interacting with intimate notes and diaries from childhood is a good method for reflection and reconstruction of memories. Is it possible to not only reconstruct childhood, but also to share the memory of it with someone else?

Project ‘Countryside Practices: Seasonal Proximity’ took place in a special place — a dacha in the village of Lustdorf. The show took place for one day.
In the attic we showed our old diary entries, notes, clippings, photos, books that we made, film scripts, archaeological finds from our childhood. Music from dierent periods was playing on the cd player.

Duo-exhibition in collaboration with Maria Silchenko
Performative act, installation, diaries, photos, CD player, postcards drawings
Special project for the 5th Odesa Biennale of Contemporary Art «Country practices: Seasonal proximity» Curated by Alexandra Tryanova

Photos by Christopher Pugmire

 

 

EMPTY PLACES AND FILLED FACES 2019-

This project explores overlapping structures that symbolize human existence and collective history. Utilizing phrases as subconscious beacons, these slogans are integrated into fragile urban-like tubes. The installation represents the fragility of urban life and its impact on our perception. It merges chaos, morality, and digital influence, creating a contrast between forms and «formulations.» Tubes turn into crystals, creating a homogeneous mass of images, stripes, facets and the threat of unpredictable «gentle» explosions.

Installation, Mixed Media, Collage, Acrylic on Cardboard Tubes, Textile, Dimensions Variable

 

KALINA, VINOGRADNA, SADOVA
2020

Photo documentation of a series of works in a panorama of a deserted field landscape torn from the urban environment (the village of Morozovka), which has not been visited by my relatives for more than 5 years. Intangible components of exposure, such as light and shadow, noise and silence.It was interesting for me to get out of the limitations of my own space of the workshop-gallery, the «Artistic» practice of art presentation. From a passive participant of the exhibition to become an organizer who independently models her field of activity and creates her own context. In this project, I explored the phenomenology of not yet built-up, open spaces, as well as painting in relation to the surrounding space, as an object that can shape the perception of the territory and reveal its new complex meanings.

 

 

Installation, paintings, dimensions variables
Morozovka village, Belyaevsky district, Ukraine
Supported by CEC ArtsLink and Open Place

 

installation view

COASTAL SIGNS, 2019

Installation, paper, cardboard, acrylic, pastel, wood
the Pier Art Centre, Stromness, Orkney, Scotland.
as part of SWAP: UK/Ukraine residency
October, 25

During my residency at the Pier Art Centre, I studied the language of the local communities, where I have tried to unpack visual codes, starting from everyday images, as well as objects seen in museums that attracted me, to merge history and modernity. Some things I saw on the street, these images become decoration in the exhibition space, a layout. I decided to visualise these invisible threads, the relationship of human and nature, the subject and the environment in which it is located. It seems to me in such a bundle, the space around things is ignited. This is an invitation for the viewer to review their own environment, how it is perceived and it is possible to cause that feeling of surprise that makes you see something for which you were not looking.

https://www.pierartscentre.com/


 

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