Instrument 2024, pipe organ, fragments of fired Russian shells, 3,8 x 3 x 2,4 m, 1000 kg. Commissioned and produced by PinchukArtCentre for the exhibition Ukraine: 'Dare to Dream' as a collateral event to the 60th International Art Exhibition of La Biennale di Venezia 2024. Photo: Ela Bialkowska, OKNO Studio
Refugees 22 2024, metal frame, print on canvas, lightbox, 220 x 350 cm. Photo: Ela Bialkowska, OKNO Studio
Refugees 21 2024, metal frame, print on canvas, lightbox, 210 x 300 cm. Photo: Ela Bialkowska, OKNO Studio
Refugees 03 2024, metal frame, print on canvas, lightbox, 350 x 220 cm. Photo: Ela Bialkowska, OKNO Studio
Monument to a New Monument 2023, plaster, metal, wood, 350 x 95 x 95 cm. Photo: Ela Bialkowska, OKNO Studio
Behind the Fence 2013, found metal fence, 111 x 127 x 3,5 cm. Photo: Sergey Illin
Souvenir 2023, 15 diascopes in the shape of a shell, plastic, photographic slide, 10 x 10 cm each. Photo: Sergey Illin
Souvenir 2023, 15 diascopes in the shape of a shell, plastic, photographic slide, 10 x 10 cm each. Photo: Sergey Illin
Maps 2024, porcelain, stoneware, wood, 180 x 180 x 10 cm
HARMLESS WAR 2023, found metal with bullet holes and paint, ø 90 cm
Anxiety 2022, embroidery, diameter 36,5 cm, Photo: Ela Bialkowska, OKNO Studio
Anxiety 2022, hand embroidery with hand-made and machine embroidered text, 32 x 68 cm
Anxiety 2022, hand embroidery with hand-made and machine embroidered text, 51 x 33 cm. Photo: Ela Bialkowska, OKNO Studio
Second Hand 2015-2019, scaffolding, ceramics collected from Darnitsky Silk Factory, cement, wood. Photo: Ela Bialkowska, OKNO Studio
Second Hand 2015-2019, scaffolding, ceramics collected from Darnitsky Silk Factory, cement, wood. Photo: Ela Bialkowska, OKNO Studio
Crowd. Day 2015, glass, newspapers, 140 x 600 cm, production PinchukArtCentre and GALLERIA CONTINUA, installation view Ukrainian Pavilion, 56th Venice Biennale
Crowd. Day 2015, glass, newspapers, 140 x 600 cm, production PinchukArtCentre and GALLERIA CONTINUA, installation view Ukrainian Pavilion, 56th Venice Biennale
ANXIETY exhibition view Galleria Continua San Gimignano, 2024. Photo: Ela Bialkowska, OKNO Studio
Palianytsia (Tel Aviv) 2022. Found river stone, 50 Kg. Photo: Ela Bialkowska, OKNO Studio
PALIANYTSIA (PARIS) 2022, found river stone, variable dimensions. Photo: Oak Taylor-Smith
PALIANYTSIA (PARIS) 2022, found river stone, variable dimensions. Photo: Oak Taylor-Smith
Palianytsia 2022, video, 18' 56". Photo: Oak Taylor-Smith
Palianytsia 2022, video, 18' 56". Photo: Oak Taylor-Smith
Home 2014–2023, bricks, cement, wood, wallpaper, installation, variable dimensions, 'Daily Bread. A First Retrospective' Kunstverein Hannover, 2023, Photo: Andre Germar
Experiments 2014, composition of 3 prints, ink-jet print, acid, 220 x 110 cm, 'Daily Bread. A First Retrospective' Kunstverein Hannover, 2023, Photo: Andre Germar
Fruit 2021. Permanent installation at M17 Contemporary Art Center, Kyiv, Ukraine.
Fruits 2020, Shanghai International Sculpture Project JISP, Shanghai (China)
Fruits 2020, Shanghai International Sculpture Project JISP, Shanghai (China)
Shots 2014, ceramic, plaster, particle board, glue, 60 x 60 x 2 cm. Photo: Rémi Lavalle
Shots 2014, ceramic, plaster, glue, 60 x 60 x 2 cm. Photo: Ela Bialkowska, OKNO Studio
MAPS 2011, tiles, wood, concrete, 100 x 100 x 10 cm. Photo: Sergey Illin
MAPS 2011, tiles, wood, concrete, 100 x 100 x 10 cm
Region 2010, porcelain tiles, hardboard, colored spackle, 108 x 87 x 5 cm. Photo: Oak Taylor-Smith
Zhanna Kadyrova: revealing the visual systems that influence society
Zhanna Kadyrova was born in 1981 in Brovary, then in the Ukrainian Soviet Socialist Republic. Her adolescence took place during the turning point between the fall of the Soviet Union and recovery of Ukrainian independence.Artistically active during the Ukraine’s “Orange” revolution as well as the globally famous Maidan protests of 2013, Kadyrova's art is therefore considerable in these aforementioned contexts. It has a collective outlook and considers its social and political implications deeply. In 2004 she co-founded the group “Revolutionary Experimental Space” (R.E.P.), whose goal was to encourage a reconsideration of public space and the development of a critical consciousness towards it, through installations and actions linked to the socio-economic history of Ukraine. Her practice associates with history, communist propaganda materials, post-communist modernity, the idea of community, the concept of public space both in relationship to the private individual and the collective, and the relationship between the artwork and the viewer in a tendentially urban, collective dimension in terms of processes or location. The materials she uses, like concrete, brick and tiles, tend to be far from traditional and are associated with construction and architectonical industries. Her works, rather than just presenting the viewer with images or representations of elements of civilisation, actively critique and bring to light the visual systems that are employed to impart messages on and influence society.