#roman-kantserov

#roman-kantserov

Now in the fourth year of a war sparked by Russia's 2022 invasion, life in Ukraine is challenging in ways that only those that have lived through something similar can even begin to comprehend. It's the loss of a generation of men fighting and dying on the front lines; civilian deaths and injuries caused by indiscriminate drone and missile attacks; acute shortages and the manifold disruptions of everyday life, not least of the hopes and aspirations of young ballet students in a country with a proud tradition in this art form.

An artwork is not created when an artist finishes it. It is created when it's visible to an audience and when it becomes discourse. If there's no ecosystem, nothing works. Central Asia is in the midst of an unprecedented investment in such art infrastructure, including new permanent venues, purpose-built museums, and international biennials.

We want to show people something of the physical reality of the conflict. We hope to bring it home to them that this is a war going on here and now in Europe, and that we ignore it at our peril.

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Thousands of artists, academics, curators, journalists, and political figures are calling on leaders of the Venice Biennale to "address the implications" of Russia's participation in an open letter published this week. Authored by the Arts Against Aggression International Movement, the petition comes just days after Biennale organizers confirmed in a news release that Russia will take part in its 61st edition, which opens on May 9 and runs until November 22.

It was like living in two worlds, and having to go from one to another in a dramatic way. From attending film festivals and walking down red carpets to crossing the Poland border and getting into the trenches, recalls Ukrainian filmmaker Mstyslav Chernov (Kharkiv, 40 years old) of September 2023, when he was headed from screening to screening, kicking off the race to the Oscars that he would ultimately win with his documentary 20 Days in Mariupol.

Their gathering still had to be dispersed, but the enthusiasm that Ored Recordings inspires even among enforcers of the law speaks volumes about the power of what Khalilov and his friend and label co-founder Timur Kodzoko call punk ethnography: the recording of religious chants, laments and displacement songs at family gatherings, local festivals, in people's kitchens, to fight against the erasure of Circassian culture.

Across Georgia, a series of stunning frescoes traces the country's fractious history, from its early Christian origins to the Soviet-era socialist utopianism. It was through these murals that Nina Kintsurashvili first encountered art-traveling with her father, Lasha, as he journeyed to remote mountain regions to restore medieval murals and re-learn the art of fresco painting. Here, she discovered the importance of perspective, space and line work through the logic of Byzantine and Georgian iconography, absorbing a semiotic system she has adapted and distorted,

Her son has put in the request to the volunteer humanitarian team ferrying civilians to safety in the east of the country. But she is caring for her brother, who is paralysed, the woman protests and what about her German shepherd? As explosions boom terrifyingly close, a volunteer patiently explains that his team will carry her brother to the minivan and don't worry, bring the dog.

UNESCO expressed "serious concern" about recent Russian attacks on Ukrainian cities "that have caused damage to civilian infrastructures, including heritage sites" in Odesa, Lviv, and Kyiv.

The Ukrainian-born jewellery artist Aleksandr Dotsenko, who was serving a three-year prison sentence in Russia for allegedly placing anti-war slogans in a supermarket in the Leningrad region, died on 19 February of a heart attack, according to media reports. Dotsenko, who was 65 when he died, was convicted of "public calls for terrorist activities" alongside his wife, the artist Anastasia Dyudyaeva, in July 2024. Dotsenko was sentenced to three years in prison, while Dyudyaeva is serving three-and-a-half years.

THE TITLE OF THE KW SHOW is "RATIO." The term comes from economics, this idea of balance. But I'm applying it to the conflict here in the DRC, which is based around our strategic rare minerals. I'm talking about customs, electronics, space, minerals. In my country, we only ever talk about making phones, about buying a new phone. I advise young people who are looking at the front of their phone-at the screen-to keep the back of their phone in mind;

What form would the otherwise formless emotional and psychological internal world take? In her new suite of paintings, Konstantina Krikzoni attempts to uncover just that. In her solo show at L'Appartement in Geneva, " Konstantina Krikzoni: ARMATURA," the works on view were born out of a period of intense period of solitude in the artist's studio in which Krikzoni investigated and tested the limits of painting not only as a medium itself, but as a conduit for her own self-expression.

In ChertLüdde, evocations abound: the show is a transcription of California (I've never been, but I imagine it to be sun drenched and a bit dehydrated), which is transposed onto the grid of the gallery in Schöneberg. Shells, dried stalks, bits of pottery, sea urchins, art left behind by visitors, are arranged on a stage (a duplication of the one found in Horvitz's garden in Los Angeles),

I first saw Stalker in the mid-1980s. I grew up in a very rural community, but I had a group of friends who all wanted something that we couldn't really get where we lived. With film, that was a possibility. I'm in my fifties now. I keep trying to figure out what I'm doing as an artist and how to keep going.

Behind its seemingly polished framework, To Empty Out emerges as an exhibition beautifully rife with contradictions that overlay serious and playful themes according to Grzybacz, who often sets out to "clash the forces" of gravity and levity through his chosen subjects. Through sublime florals, bawdy scenes, and raw portraits of social life, Grzybacz balances contemplation and observation, navigating between painterly precision and intuitive expression in this deeply personal exhibition.

Karina Lumiere paints like someone who trusts color more than language. Her work does not whisper its intentions. It glows, pulses, seduces. This is abstraction born not from theory, but from devotiondevotion to intuition, to sensation, to the unapologetic power of hue as an emotional instrument. Her path to abstract expressionism was never academic. It unfolded in solitude, shaped by meditation and spiritual practice, where listening became more important than learning and presence eclipsed instruction.