Без рубрики — Alexandra Kadzevich

Untitled, 2024, Collage, 0il on wood(24 x 5 x 7 cm) 9.45 x 1.97 x 2.76 in

Follow The Trail, Light Up The Quietest Of Movements, 2024 oil, collage on wood, steel 17×37 cm

^{Through fine-spun golden halos

2025}

^{In dreams, architecture and objects situate us, and serve as clues in a plot that our unconscious carries out, to uncertain ends. Upon waking, the details tend to dissolve in our conscious recollections, leaving us with arbitrary contours of general points of recognition. So, too, can our lived experiences elude us: disparate fragments of images enriched by varying degrees of abstraction become reconfigured into a broader narrative of memory. Kadzevich was a recent expatriate from her home country in 2022 when she began finding pictures of mirrors for sale on OLx, a Ukrainian website for selling used items, and working them into her paintings. They are collective records of a place receding from her uncertainly, taking and losing form in selected reflections, as small gestures map out ideas of home.}

^{Kadzevich recasts found objects in space like actors in a slow play, fluctuating between delicate arrangement and broad-stroke gestures. In sculptures made from antique armchairs and umbrella canes, Kadzevich turns disused materials into portals from memory to another reality. Her paintings, interconnected yet opposing one another, form an expansive virtual architecture for these sylphlike sculptures to carry out their choreographies across the floor.}

^{Minute quotidian decisions, like the way a door is opened or a cane is angled, can reroute entire trajectories of perception. Kadzevich explores the grandeur of divergent possibilities by softly focusing on the sum of traces we leave behind, or are left with. The goal, she says, is to get out of the way and let these things be themselves, and to find ourselves somewhere else entirely.}

pdf бесплатно иконка ^{Press Release}

solo exhibition
Theta gallery, New York, NY

If The Moon Water Can Do What The Others Fail To Do, 2025, collage, oil on wood, 11,5 x 15 x 7 cm, 5 ⁷⁄₉ × 4 ¹⁷⁄₂₀ in

Untitled, 2024, collage, 0il on wood, 24 x 5 x 7 cm, 9/45 x 1/97 x 2/76 in

The Border Stretched From One Stitch, 2024, oil, collage on wood, steel, 10 x 53 cm, 3 15/16 x 20 7/8 inches

Follow The Trail, Light Up The Quietest Of Movements, 2024, oil, collage on wood, steel 17 × 37 cm

Untitled, 2024 acrylic on wood, collage, 51 x 7 cm, 20 x 2 3/4

Our restless house, 2024 oil on wood, collage 3 5,32 x 3 5,32 x 3 9,16 in

The outside world, 2022 acrylic on wood, collage, 13 x 4.5 cm,

Various, 2024, acrylic on wood, collage 18 x 6.5 cm,

Untitled, 2021acrylic on wood, collage, 7 x 44 cm, 2 3/4 x 17 5/16 in

The Airplane No Longer Flies In The Sky, 2020 wood, oil, collage 12,3 x 6,9cm

Ть (soft T sound), 2020 oil on wood, collage, 59 x 8,5 cm, 23 1/4 x 3 3/8 in

Whose phone is ringing, 2020 acrylic on wood collage, 2 3.16 x 3 5.32 in

We are all responsible for football, 2019, acrylic on wood, collage, 20.3 x 18.4 x 2.5 cm, 8 x 7 1/4 x 1 in

The Two Of Us, 2019, acrylic on wood, collage, 25 x 4 cm, 9 13.16 x 1 9.16 in

Something About Wood, 2019, acrylic on wood, collage, 26 x 13 cm, 10 1/4 x 5 1/8 in

Three shadows from one stone, 2020, acrylic on wood, collage, 7 x 26 cm.

Marriage for love,2019, oil on wood collage, 17 x 20 x 5 cm

Close it, 2018, acrylic on wood, collage, 10×17.5 cm | 3 15/16 x 6 7/8 in

Order is Order, 2019, acrylic on wood, collage, 20 x 14.5 x 3.5 cm, 7 7/8 x 5 11/16 x 1 3/8 in

RKINDU, 2019 oil on wood, collage 25х22х4,2 cm, 9 7/8×8 5/8×1 5/8 in

True Tenderness Is Not To Be Confused, 2019, oil on wood, collage 25.8 х 45.3 х 4.5 cm | 10 1/8×17 7/8×1 3/4 in

Learn to get sick, 2018 acrylic on wood collage, 17.5×7.7cm

Olenka, 2016, acrylic on wood, collage, 21 x 20.5 cm, 7 7/8 x 7 7/8 in

According to the ancestors, 2016, acrylic on wood, collage, 14.5 x 39 x 2.5 cm, 5 11/16 x 15 3/8 x 1 in

To Watch Or Not To Watch, (diptych) 2017, acrylic on wood, collage
20 x 26,4 x 5,7 cm, 20 x 25 x 5,7 cm, 7 7/8 x 10 3/8 x 2 1/4 in, 7 7/8 x 9 7/8 x 2 1/4 in

The Patterns Of The Hidden Circuits, 2023, Oil on canvas 174 x 340 cm | 68 1/2 x 133 7/8 in

Sitting Around the House a While to Wait, 2023 oil on linen 100 x 90 cm | 39 3/8 x 35 7/16 in

Untitled, 2023 oil on linen 65 x 40 cm | 25 5/8 x 15 3/4 in

Untitled, 2022 oil on canvas 140 x 100 cm | 55 1/8 x 39 3/8 in

Placing or Appearing to Place, 2023 oil on linen 100 x 80cm | 39 3/8 x 31 1/2 in

Chronicled Continuity, 2023, Oil on linen, 95 x 120 cm | 37 3/8 x 47 1/4 in

Untitled, 2023, Oil on linen, 179 x 170 cm | 70 1/2 x 66 15/16 in

Zaporizhzhia m59, 2022, Oil on canvas, 90 x 90 cm | 35 7/16 x 35 7/16 in

A Spanning Of a Low Ways
2023

^{Umbrellas canes, 450×45 cm

Photos by Gert Jan van Rooij}

Come Harpies And Banshees And Gorgons And Witches!
2022

Around the immense hill, fanning the wind in the hood of your distant dream, lies an allegorical story of the dilemma of remembering or forgetting. It portrays the daily drama of transience and loss, with various materials tending to take on an archaic handicraft quality. These materials include a collapsed roof of an abandoned house, broken pieces of flooring, weeds around the rubbish dump, and ready-made objects on land in the Canary Islands. This installation is accompanied by a continuous sound of crows’ screams emanating from speakers installed in a wooden structure, representing birds that do not inhabit that land.

^{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.

^{two HD videos on a loop, colour, stereo, (2’20 min, 1’13 min),}
^{projected beam of light on the floor,}
^{installation view during Ospring 2023: Raamvertelling, De Ateliers, Amsterdam, NL}
^{curated by Raimundas Malašauskas

photography by Gert Jan van Rooij}

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}

pdf бесплатно иконка Press Release: Stolen Sun, Miguel Abreu Gallery

^{Wooden objects, collage, mixed media, dimensions variable 2019-2022

Project was part of the group exhibition of Stolen Sun with Nikita Kadan, Zhanna Kadyrova, Alexandra Kadzevich, Open Group

Miguel Abreu Gallery, New York, NY}