This Chapter is section of the exhibition devoted, in part, to nature. The works connect back
to ancient landscapes and the presence of human beings within them. They also map out a sense of
belonging to a specific place. This section
considers the idea of place as realised exploration of historical roots, environment, politics,
identity and traditional storytelling. The works collected in Location allow us to think
about choice, and our own bodies in the
context of a place. They question the stability and instability of borders, both physical and
psychological, against a background of ever-changing political landscapes.
Location is section of the exhibition devoted, in part, to nature. The works
to ancient landscapes and the presence of human beings within them. They also map
out a sense of belonging to a specific place. This section considers the idea of place as
realised exploration of historical roots, environment, politics, identity and traditional
storytelling. The works collected in Location allow us to think about choice, and our own
bodies in the context of a place. They question the stability and instability of borders,
both physical and psychological, against a background of ever-changing political
Richard Long (1945 -)
This black and white photograph is a natural continuation of his research into nature, for years
the main subject of his work.
Rearranging natural elements at a particular spot, as a way of marking his presence, is a
distinctive feature of his practice. England is derived from a physical involvement of
the artist with the Bristol Downs, in Ashton Park. An
‘X’, seen in perspective, becomes visible in a field of daisies where the artist has plucked
daisy heads to create the shape we see on the ground.
In the context of the Location chapter of the exhibition, the ‘X’ becomes a metaphor for
choice, and the trodden path. It is about one person’s attempt to mark out a place of one’s own,
engaging with the landscape. The title,
England, ‘seems to assert Long’s identity as an English artist,’  also brings a
question of a sense of belonging in a nomadic world.
A black and white photograph in landscape format, on a white mount with a
deep border, in a wooden frame. The entire image is of a grassy area which is
densely covered in small white flowers, apart from two long strips of grass
without any flowers. The two strips cross over each other to form an
elongated X, the centre of which is off-centre and in the top-third of the image.
Bernard Cohen (1933 -)
Untitled (Black), 1973
This work continues the conversation about body and space, environment and existence, that expressed in Circle of Signs, by Valery Lamakh. Untitled (Black) opens the
Location chapter of the exhibition and sets its main
agenda, which is to locate a place or part of one’s body in this part of the collection.
Against the black background, one can see a white geometric figure with black traces of human
brushes depicted over it. These marks might be reminiscent of late paleolithic finger tracings.
Referring to primordial practice and artistic
experience dating back 30000 years, Cohen reminds us of the eternal desire of human beings to
capture their traces. As the artist mentions, questions of identity are a key theme in his work.
It is seen in the way he deals with gouache
technique; black spots are perceived as unconscious and intuitive touches that speak of some
It is a black and white image on white paper, in landscape format.
The image is in a black frame with a white border. Inside this border is a white sheet of paper. In
the centre of the white paper is a black rectangle, inside the black rectangle there is a white
geometric shape and within the white shape
there are ten fingerprints left by two hands. The fingerprints start towards the top of the white
geometric shape, and have been dragged towards the bottom, leaving long fading traces of black
The white geometric shape which holds the image of the fingerprints is angular, and tightly cropped,
so that it touches the edges of the fingerprints and also touches the edges of the black rectangle
Dmytro Starusiev (1984 -)
Three Sisters, 2018
This work comes from a series entitled Three Sisters. The ideas emerging from when the artist
stood on the border of three states: Ukraine, Russia and Belarus. For Starusiev, it is important
to ‘document’ the emotional side of reality in his abstract compositions. The work suggests
mutilated bodies and chopped innards with a sense of religion and reverence, evoking feelings
of wonder and fear at something difficult to describe in words.
The work is in two parts because of technological limitations of large format photography. This
in turn becomes a metaphor for borders and disputed territories. In the context of the Location
chapter, the work illustrates the traumatic experience of self-determination, where finding a
place of one’s own stumbles upon the invisible scars of history and territory.
It is a large work, in landscape format, two metres tall and three metres wide. It is in a black frame and the image is on photographic paper, which goes to the edges of the frame. The image is abstract. There is a
heavy crease in the paper, which divides the image and runs horizontally all the way across the paper. Either side of the crease is a dark blue area. Moving out from the centre and beyond the blue, the colours are greys and silvers. The
abstract marks are organic in shape and faintly defined amongst the dark greys and central blue band.
Paul Nash (1889-1946)
Landscape of the Megaliths, 1934
This work was inspired by his 1933 visit to Avebury stone circles, the largest ritual prehistoric
site of its kind in Europe
Looking from above, Nash creates, within the plane of the canvas, impressions of primordial
stones from different angles drawn from memory. In England, Nash was appointed an Official War
Artist during World War I and again when World War
This painting was made between the wars, with Europe once more under seige by totalitarian
regimes. “Landscape of the Megaliths is a vision of the foreign-ness of English fields;
it is a vision filtered through the archaeologist’s
windscreen, or the binoculars of a new breed of English tourist, motoring out into rural parts
armed with Shell Guides and Ordnance Survey maps” . Politically and historically loaded, this
painting, in the context of the exhibition,
questions boundaries and nationalities, cults and rituals of our time.
This is a painting on canvas in landscape format. The colours are a harmonious
and muted palette of red, brown, yellow, green, blue and white. The image is
an abstract composition, in the centre of the frame is a large defined shape,
angular and organic. The paint has been applied quite dry and this gives the
shape a rough texture. The shape is shaded, with curved edges a mixture of
sharp and smooth. It contrasts strongly against the surrounding area.
The areas around the main central form include some recognisable elements.
There is a small cloud towards the top of the image and just to the left of the
main form. At the top of the image on the left is a small dark rocky shape,
surrounded by an oval shape filled in with yellow. There are concentric rings of
red which emanate from the small rocky object.
At the top of the image on the right is a very similar small rocky object
surrounded by a circular yellow shape, within the yellow shape there are
several curved lines painted in red.
All of these shapes and forms take up almost the whole space of the canvas.
John Stezaker (1949 -)
Double Shadow XXIV, 2015
This work typifies John Stezaker’s artistic practice, which often uses found and manipulated
images. Stezaker himself has said, “most of my process when it comes to collages is about
subtraction, taking things away, hiding things to
engage the images in a sort of meditative relationship.” 
Double Shadow XXIV, in the context of the Location section of the exhibition,
explores hidden presence, memory and human consciousness. Two silhouettes of a man and a woman,
cut out of found images, seem as if they are
ghosts in the landscape, showing a fight or struggle in some way. A suitcase on the right of the
work hints at a possible journey or an escape.
There is a black and white photograph on a white background.
The black and white image is a collage of two different photographs layered
one on top of the other. The uppermost photograph is an image of several
suitcases, they are closed and stacked up on top of each other. They are old-
fashioned rigid suitcases with metal catches and reinforcement on the corners
and along the edges. On one of the suitcases is a sticker saying ‘Hotel Paris
Prague’. In the bottom right hand corner of the photograph is a logo saying
This photograph has a large part of the middle of it cut out. The cut out is in
the shape of a man and a woman. The man is wearing glasses and the woman
is wearing a hat. The couple are very close together, their heads are turned to
The cut out shape reveals another photograph behind the first one. This
photograph is upside down. It depicts a room, with heavy curtains, a painting
on one wall and lit by a large table lamp. In front of the lamp are two men,
one is standing with his arms outstretched and an agitated expression on his
face. He has pushed the other man who is captured mid-fall, with an arm
outstretched behind him.
Ansel Krut (1959 -)
Woman with Monkey, 1985
This work depicts a nude woman, bent over. Her figure is curved like a bridge, on top of which a
monkey is sitting. The monkey copies the posture of the woman but they face in opposite
directions. The woman’s body is pale in colour
against the background of a barren landscape. The painting is executed in muddied colours 
that enhance a feeling of despair.
In some European painting traditions, the monkey is perceived as evil, and a symbol of
shamelessness, hypocrisy, and cunning. Sitting on a woman makes its position powerful, whereas
the woman is submissive and vulnerable. Created in 1985,
just a few years before the fall of the Iron Curtain, in the context of this Location
chapter, this painting embodies the confusion of the human experience in a world of
changing contemporary reality.
A painting in portrait format. In the centre of the frame and towards the
bottom, a naked female figure is bent over on all fours, so that both of her hands touch the floor.
She is facing towards the right of the frame. Her eyes are closed and her mouth is a thin line. Her
feet are submerged in water which almost comes up to her knees. Her skin is pale and mottled with
blue and grey colours.
On her back, facing in the opposite direction is a small monkey. It is wearing a red fez hat with a
green sash tied around its body. The monkey is also bent over in the same position as the woman
except that the monkey has one hand raised.
The landscape around the figures is barren and rocky. The earth is dark in colour, and the sky is
cloudy and cold in colour. The style of painting is soft and diffused, with some fine brush work
detailing the features of the woman’s face and hands and the figure of the monkey.
Suki Dhanda (1969 -)
The artist specialises in portraits of people in their environments, citing emotion, realism and
identity as key themes in her work
The series to which this work belongs includes a number of social documentary photo stories
exploring issues of gender, identity and culture within Asian communities living in Britain and
In this photograph, one feels a dream-like quality of late afternoon light. We see a woman at a
window, looking out. She has wrapped the lace window curtain around her head like a veil. She
peeks through the window, staying in the
comfort of the home, hinting at a strong sense of belonging to a specific location.
It is a square colour photograph in a black frame. In the centre of the
photograph, facing left, a young woman with dark hair is looking out of a
window. She has the net curtain of the window over her head. Through the
texture of the net curtain her face is lit by a warm light. Her expression is
neutral, with her lips parted, she is staring outside. Her hands rest on the
window ledge which is at her chest height. The light from the window shows
the detail of the net curtain with great clarity, her face is lit, as is some of her
clothing which is red with buttons. The rest of the room is in deep shadow.
Mona Hatoum (1952 -)
The work shows a projected map, drained of colour, in contrast to the marked maps with national
flags and defined borders which we are used to seeing. The work suggests a neutral, common
ground with land masses with no geographic
barriers. The image with its soft cotton texture and watermarks and muted colour, speaks of
environmental issues. As audience, we move beyond geo-political rows, conflicts, borders and
controls to concerns about sea levels, global warming
and melting ice caps.
Hatoum redraws the entire world, altering proportions of territories and continents,
re-assembling landmasses and landscapes of terrains, representing the bigger picture. Her
artistic play on shifting spaces and illusion is physically
embroidered into the artwork.
A piece of fabric, in landscape format. The image on the fabric is a projection
of a map of the world. The land masses are translucent revealing the white
wall behind. The areas of water are opaque composed of tightly woven fabric
and beige in colour.
Irakli Bugiani (1980 -)
Untitled (Sovieticum), 2013
This work is one of the paintings from the series Sovieticum, created during 2013-2014,
long after the crash of the Soviet Union. Portraying solitary Soviet sand building blocks in
isolated cityscapes, this work invokes
complicated feelings of nostalgia and architectural brutality.
The architectural planes are simplified and abstracted, over-painted with crude marks and traces.
A muted color palette and geometric constructivism contrasts with heavily gestured, vivid
Bugiani’s storytelling remakes a figurative archival view of the past; here, the artist confronts
stale political ideology and questions the meaning of the utopian urban space. Bugiani tries to
find where individuals fit within massive
historic political changes, and how we engage with these issues within our personal and
It is a painting on canvas, in landscape format. The painting is of an isolated
four-storey rectangular building. The building is a dark grey-green and the windows are depicted in
black. It stands in the centre of the frame, in the top-third of the image. The sky is white and
featureless and the middle and foreground of the image is made up of patches of green grassy areas,
divided up by a network of white paths and roads. There are three grey poles in the middle ground
and a pond or lake in the foreground which is painted as a black outline with wavy edges.
The painting style is loose and lacking in any detail. The paint has been applied quite thinly and
not worked much, so that the brush marks are clearly visible in the image.
Natela Grigalashvili (1965 -)
The Doukhobors'Land, 2015
The photo series The Doukhobors' Land shows the everyday life of an ethnic and religious
minority group of Doukhobors. The community were exiled by Tsar Alexander I of Russia to Georgia
from 1840 onwards. Doukhobors founded eight
villages in the Javakheti region, the largest of which was Gorelovka, considered their holy
land. Their spiritual approach is that God is found in everyone and everywhere.
The last twenty years has been difficult for Doukhobors and they have been slowly dispersed from
Gorelovka. In the work, Grigalashvili tries to narrate and archive through ethnographic
storytelling with rituals, clothing and traditional
The works depict not only the lives of the community but contributes to a long-term art project
in which Grigalashvili actively integrates herself in the community to tell the story. Themes of
cultural interaction, migration, isolation
and assimilation are explored, preserving traditions, rituals and roots whilst in exile, across
the whole series.
It is a colourful photograph in landscape format. A group of seven women and
one small girl are gathered on a hilltop. They are all wearing long skirts, long
sleeved shirts, brightly coloured waistcoats and headscarves. The waistcoats
are very striking, purple with bright pink trim and decorated with flowers. It is
the summertime and the green grass of the hillside is covered in flowers of
white, yellow and purple. Beyond the group we can see a panoramic view of
hills. The sky is cloudy with clear patches of blue, and the sunlight dapples the
hills beyond where it has broken through the clouds.
There are grey rocks in the foreground and to the left of the image. Four of
the women stand towards the left of the image in the foreground, just behind
them stands one woman and the small girl holding hands. The group of four
women have their hands clasped in front of them, and they are standing on
the edge of the rocks with their heads bowed. Their faces are solemn. The
remaining two women are walking away from the rest, in the opposite
direction to the right of the frame. Their heads are also bowed and their faces
This Chapter acts as a bridge between location and dislocation, the other two
sections of this digital experience. The artwork here connects and disconnects. We see
transformation within ourselves and our surroundings.
Changing landscapes and daily rituals and the relationship between time and space are explored
in spiritual and physical ways. The human body is used as material, with performative elements
in often non-linear storylines.
In Between acts as a bridge between location and dislocation, the other two
sections of this digital experience. The artwork here connects and disconnects. We see
transformation within ourselves and our surroundings. Changing landscapes and daily rituals and the
relationship between time and space are explored in spiritual and physical ways. The human body is
used as material, with performative elements in often non-linear storylines.
Valery Lamakh (1925-1978)
Circle of Signs, 1969–1970
Circle of Signs, by Soviet Ukrainian artist Valery Lamakh, is the key work of the In Between
chapter of the exhibition. The piece embodies core thinking within one of five books of poetic
and philosophical essays entitled The Books of
Schemes that Lamakh spent writing, over 30 years of his life.
He writes: “Circle of Signs leads to unity, and it also creates all differences. Circle: this is
what keeps the world as a whole”.
The exhibition brings to life reflections by Lamakh which resonate within today’s contemporary
world; one that is full of social constraints, and visible and invisible borders. Lamakh
proposes to accept and to understand the world in all
its differences, and to recognize it as a whole. To do this, he devised a scheme of signs that
represents our attitude to the world. The sign exists in between the spiritual and material
world, whereas black represents subjective,
internal and the white means materia, external. Circle of Signs demonstrates transition
of internal to external, invisible into visible and vice versa.
Living in the ambivalent situation of the Soviet reality behind the Iron Curtain, in
Signs, Lamakh offers his philosophical reflection about the universe. He suggests that,
“the Сircle of Signs destroys the familiar notion of ‘I’,
which is strictly connected to a certain place, body, and time as well as prepares to the idea
‘I am You’”.
It is a painting, in portrait format. On a light cream background, in the
centre of the image is a composition consisting of circles and symbols.
The main shape is silver circular band, taking up most of the image. Within the silver band, placed
at regular intervals are eight small circles, outlined in gold. These small circles contain black
and white abstract symbols, based on
diamonds, petals, circles and cross motifs.
Inside the silver band is a large gold rimmed circle, containing another black and white symbol of
four intersecting curved waves. In the centre of this is a solid silver circle with a gold rim.
The paint is applied very evenly, and the effect is a flat, bold, graphic design.
Luna Ece Bal (1992 -)
Where I come from, 2017
Through Bal’s installations, the exhibition space becomes a metaphor for the body, both physical
and magnetic, creating experiences that linger in the mind and memories that don’t quite belong
Where I come from is a celebration of a contemporary feminist re-evaluation of witchcraft
practice, installed within a space infused with sacred energy. The church itself holds the
history of different regimes and the bodies that
have passed into the afterlife. Making a circle of salt in the central church space, Bal creates
an inner sanctum that welcomes her spiritual, artistic and witch self. These different
components throw light on the existentialist dilemmas
that human beings face in society.
There is a ring of salt on the floor, the salt is heaped up into a circular
The salt is coarse and very grainy. Embedded in the salt are many fragments of
broken mirror. The fragments are sharp and pointed and they stick upwards out
of the salt. In the space inside the ring, directly in the centre is a circular mirror,
on the mirror is a single white rose.
The ring of salt is on a marble floor inside a church. The interior is very grand,
there are chandeliers hanging from the ceiling and to the left and right of the
space, against the walls are ornately decorated columns, with gold details.
Beyond the ring of salt are two gold plinths, surmounted by a font. Towards the
rear of the space is a large archway, and a raised area. Above this raised area
there appears to be a domed roof, which is letting in natural light.
Yaroslav Futymskyi (1987 -)
Who are all these people who have seen the same landscape?, 2018
The performance was especially conceived for the experimental virtual environment
Shukhliada(https://shukhliada.com/#/menu). The project was curated by Ksenia Malykh,
with camera and sound design by Ivan Svitlychnyi.
The performance took place in the outskirts of Poninka, the artist’s home town. Standing on a
stone above the river with his left hand raised and seemingly on fire, the performance referred
to the workers’ movement and the fight for
human rights, questioning the historical and political dimensions that shape our landscapes. The
artist chose to site the piece in a place where paper mill workers went on strike in 1905, an
action which was immediately quashed by
In the work itself, Futymskyi asked, “...where in this horizon, stones and river, are the hooks
that tell the story of an unrealized class struggle, the supposed trade union experience that
vanished? How are these disturbances negated
with time and washed away by the river into the past, silenced in memory? When did this flame
ignite and how was it extinguished? Who were all these people who saw that same landscape?”
In the context of the exhibition, particularly the In Between chapter, this work adds an
additional layer of meaning, using the human body as material for exploring the invisible and
ever-changing political landscape.
A man is dressed in black and standing on a rock in a river. He is holding one hand
above his head and in his hand is a burning object. The camera is very wide-
angle, showing a rural landscape around him with trees, reeds and rocks on the
Leman Sevda Darıcıoğlu (1985 -)
A Childhood Tale From The Dark, 2019
For this work the artist collaborated with Kurdish tattoo artist, Berivan Işık. Darıcıoğlu asked
for a Kurdish sentence Işık could remember from tales told by their elders, or childhood dreams,
to be tattooed on their body. During the
performance, Darıcıoğlu did not intervene on the choice of the sentence nor the placement of the
Drawing from the Iranian myth of Kaveh the Blacksmith defeating the ruthless King Zahhak, Işık
chose the following sentence: ‘Bi mirine ye qrale zordar bihar cardin hat!’ It means, ‘Spring
came only when the tyrant king died!’ With this piece, the artist turns their body into a
‘space’ of free expression and a ‘canvas’ for those who were kept in the dark
Note: As an non-binary person, the artist prefers to take a gender-neutral pronoun rather than
she/her. So when possible the artist should be referred to as they/them, to keep the gender
neutral form in descriptions of bio and work
It is a colour photograph in portrait format of a person with their back to the
viewer. They are naked from the waist up and have both arms raised aloft and
folded. They have short cropped hair, on their back and their arms they have
On their arm there is a fox head, with a halo and a wreath. On one shoulder there
are two girls standing hand-in-hand. On their other shoulder there are the
outlines of two flowers. In the centre of their back is the head of a stag.
On the middle-left of their back is a new tattoo, the skin is red and swollen
around it. The tattoo is a phrase, written in Turkish it says “Bi mirine ye qrale
zordar bihar cardin hat!”. It means “Spring came only when the tyrant king died!”.
Tracey Emin (1963 -)
Outside Myself (Monument Valley), 1994
The artist’s practice presents a deep connection to her own life story, often with an intensely
personal touch that focuses on the artist’s body, autobiography and confession. She states, “I
am interested in life; art for me should be an
Therefore this poignant image of Emin sitting on a chair in front of Monument Valley with its
spectacular rock formations in the background, reading a white book shows a notable personal
journey for the artist.
In this series, she sits on her grandmother’s chair, with the words ‘Thanks mum’ written around
the seat, reading from her own handmade book about the first thirteen years of her life, posing
in different places across America. In a way
she is ‘dislocated’ from the comforts of home, yet reminiscing on her childhood experiences.
This portrays a symbolic journey of both reflection and alienation from one’s childhood.
It is a colour photograph in landscape format. The location is a desert, with
sand and small bushes. In the distance are red rocky mountains and a blue sky
with light white clouds. In the foreground on the right side of the image a woman
is seated on a low chair reading a book. The woman is wearing blue and white
canvas shoes without socks, blue jeans and a blue and white striped shirt. She
has short brown hair, hooped earrings and silver rings on her fingers. The book
she is holding has the title ‘Exploration of the Human Soul’. The seat she is sitting
on is upholstered with green fabric. It has a circular seat and curved back. Purple
letters on white patches have been sewn onto the seat to spell out words. The
words are partially obscured by her legs and spell out ‘THA..KS….UM’.
Richard Long (1945 -)
Reflections in the Little Pigeon River, Great Smokey Mountains Tennessee, 1970
This work echoes Long’s work England which is presented in the Location chapter of
the exhibition. In both works, nature becomes subject matter as well as medium of Long’s art.
This piece shows the same ‘X’ motif, this time
made from flat river-bed stones in a shallow bay, which embodies the idea of a crossing. In this
photograph the river surface reflects the sky and trees, showing nature in flux. Long also
includes in the work lyrics by Johnny Cash:
I keep a close watch on this heart of mine I keep my eyes wide open all the time I keep the ends out for the tie that binds Because you're mine, I walk the line
I walk the line alludes to the first walking work by Long, A Line Made By Walking
(1967). Analyzing relationships between time and place, presence and movement of the human
being, this work, in the context of the In
Between section of the exhibition, represents a constant change of things invoking the
phrase attributed to Heraclitus, ‘No man ever steps in the same river twice.’
It is a colour photograph in landscape format. The photograph is of a
shallow river, the river is still and the water is very clear. The surface of the
water is very reflective. The water takes up three-quarters of the image.
The top quarter of the image is the far bank of the river, which is densely
covered in trees. Underneath the water, the river bed is stony. The artist
has laid two long lines of large, round, flat stones. The lines intersect half-
way along their length to create an ‘X’.
At the top of the image the title is written in red capital letters ‘Reflections in
the Little Pigeon River, Great Smokey Mountains Tennessee, 1970’. In the
bottom-right of the image there are several lines of text which read:
I keep a close watch on this heart of mine
I keep my eyes wide open all the time
I keep the ends out for the tie that binds
Because you’re mine
I walk the line.
Anna Zvyagintseva (1986 -)
The work explores a particular existential search for a way of life and the physical durational
treading of a track. The work is composed of two elements, video and drawings. The video follows
an unconscious yet familiar track, that
appears to be guided by footprints left by another human being. The viewer follows the path
through different seasons, illustrating the passage of time. In her drawings, Zvyagintseva
extracts sections of the way that symbolically
represent humans’ imprints on paths, including repetitions, ordeals and mistakes made. Put
together, animated fragmented drawings suggest both cul-de-sacs and multiple directions of
travel. In the context of the exhibition, Paths embodies
persistent doubts we all have about decision-making, being in limbo and taking responsibility
for the choices made, which is why this work forms part of the chapter, In Between.
Footprints in thick snow form a path in the centre of the image, the camera
moves forwards along the line of footprints in a shaky, bumpy motion. We can
see only the path, and the area either side of it.
Cut to a roadside path, in between two grassy areas. The path is hard and
compacted earth. The camera moves along it in the same way.
Another cut, now the path is wider, still with grass either side. The surface of the
path is gravelly.
Cut to a path through snow, this snow is less deep, it is smooth and slightly
melted where the path is. The camera continues to move along the path in the
same forwards motion.
There are smaller, animal footprints off to the side of the main path.
The path is less defined now, the snow is less compacted.
Cut to the gravel path, with grass either side. The occasional autumn leaf and
muddy puddle appears along the way
Cut to thick snow, moving forwards along a path through the snow
Cut to a muddy path with lots of autumn leaves, and grass on either side
Back to the snow, this time there are parallel tracks in the snow which the camera
A muddy path strewn with leaves, and twigs.
Cut to the slushy path through the melting snow, footprints can be seen clearly
Back to the muddy path with puddles, reflections of the tree canopy can be seen
in the puddle
Now following the slushy snow path.
Now a path which is dry, compacted earth, with autumn leaves.
And back to the snow
Cut to the dry, earthen path with grass either side.
Cut back to the snow path with the parallel tracks
Now on the hard earthen path
Now deep snow, with some dry stalks of vegetation sticking through the surface
of the snow.
Cut back to the dry earth path
And now in the deep snow
Cut to the earth path
And back to the snow
Now back following the muddy path
And now back to the slushy snow
Cut to the dry earthen path
And now the thick snow, with grass poking through
Now a muddy path with grass on either side
Back to the deep snow
Terry Atkinson (1939 -)
Ancient Gaelic Ghost After Completing A Tour Of Duty Haunting The Border, Passing
Through A Decontamination Shower Before Going Off Duty. Note The Easter Cactus (Left) And How
Brightly The Candle Continues To Burn,
Atkinson wrote of this work, “The drawing is number 11 in a series of 28 drawings called
Bunker Armagh. It is therefore approaching the halfway point of the series. Even at this
point the series was beginning to display some
distinct tendencies of having an inevitable logic towards its own termination. This was a
tendency to move towards a completely blank surface without a single mark on it. Even at this
stage (drawing no.11) the reductive logic of an
unmarked black surface as an appropriate simile for the ‘black hole’ intractability of
Anglo-Irish history seemed to beckon uncomfortably.”
The series was eventually finished by Atkinson as drawing no 28 was completed. As Atkinson
relates above, there’s a tension in the work between figurative historical references to
Anglo-Irish history and the artist’s leaning towards
modernist imagery. This image shows that haunting feeling of not belonging to any particular
movement in a playful manner.
It is a drawing in coloured chalk on black paper, in portrait format. The image
of a human figure, in a dark room with a narrow horizontal window on the back
wall. The figure is in the centre of the image. The head has a hood over it, the
arms and body are covered by a long gown. The figures hands are coloured green
and are raised above its head. There are two candles protruding from the head of
the figure, one from the front and one from the back. Directly above the candles,
hanging from the ceiling is a shower head. The water is running over the lit
candles and the figure.
To the left of this is a plant with red flowers in a yellow pot. To the right is a blue
vase with white flowers.
Marc Camille Chaimowicz (1947 -)
Interval no.2, 1979
In this work, Chaimowicz draws on imagery from his own intimate world, glimpsed, but never fully
grasped in its entirety. His use of the camera is personal and specific. The images are
carefully constructed, cultured, synthetic, giving
substance to the fugitive and insubstantial. The artist, author and subject of the work is
always discretely present.
In Interval, images representing the artist’s internal world are juxtaposed with
references to objects and places: touched with washes of colour, pressed within panes of glass,
they appear as enigmatic fragments, awaiting
completion. The sequence of photographs marks a personal cultural journey, mixed with nostalgic
elements. This conjures up feelings of belonging, and not belonging and fragility as brittle as
the window glass itself, but also sentimental,
like the sepia photographs found within this work.
There are two frames, each frame containing several small black and white sepia
photographs, arranged in small overlapping groups, arranged at different angles within
the frame. The photographs are not mounted, and they are held between the panes of
glass in the frame.
The photographs depict details of a man, an interior scene. Detail of his hand writing,
an ashtray, a wine glass. In another grouping of photographs the man is standing
looking out of a window, detail of a fireplace, sitting on a stool at a desk. Other
photographs show abstract textures, like clouds, details of shadows, the single stem of
All of the photographs are treated with pale painted brush marks in pastel pink, yellow,
green and blues.
The frames are visible from both the front and the rear. The reverse of the frames show
the rear of the photographs, overlayed on top of each other. Each photograph has tape
in each corer at the rear, to stick it to the glass. The tape is old and yellowed.
Behind one photograph, in the top left of one frame is a red paper sticker which reads:
THE BRITISH COUNCIL FINE ARTS COMMITTEE
PERMANENT COLLECTION No. P386 (B)
Artist MARC CHAIMOWICZ
Title INTERVAL NO 2 (RIGHT PANEL)
Medium B/WHITE PHOTOGRAPHS GLASS & GLOSS PAINT
The British Council, 10 Spring Gardens, SW1A 2BN
Behind a group of photographs on the other frame is another sticker:
THE BRITISH COUNCIL FINE ARTS COMMITTEE
PERMANENT COLLECTION No. P386 (A)
Artist MARC CHAIMOWICZ
Title INTERVAL NO 2 (LEFT PANEL)
Medium B/WHITE PHOTOGRAPHS GLASS & GLOSS PAINT
The British Council, 10 Spring Gardens, SW1A 2BN
Ceren Saner (1991 -)
Leaves of Wild Waters, 2015
The artist’s photography practice is predominantly autobiographical. She captures what she sees
on her camera, often reflecting her emotional connections to the subject matter. For the artist,
the work connects what is seen, and what is
felt, so the images reference a dream-state, or an idealized person, within the parameters of
the physical realm. In this series, Leaves of Wild Waters, Saner references youth and a
metaphorical journey through often blurred
transitions of colour using an analogue camera. The pictures suggest glimpses of a passionate
journey, one we may all hope to have experienced at least once in our lives. The images imply a
feeling of belonging, but also youthful passion
to leave, to conquer, to yearn and search for more experiences, and perhaps float, like leaves
in wild waters.
This a horizontal arrangement of three colour photographs, in landscape format.
The images are characterized by blurriness, warm colours and double-exposed
images. The image on the left is a soft composition of golden orange, a woman is
in the bottom right of the image, her head and arms are our of shot and only her
naked upper body is visible.
The centre image shows the torso of a woman, seen from the back, holding open
a curtain and standing in an open window. The light from the window casts
shadows on the wall to the left of the woman. She has dark wavy hair. She is
naked from the waist up.
The third image, on the right is a double-exposure. The end of the film-reel is
visible, and the image is of a woman, laid on her back on some rocks. Only the
woman’s bare legs are visible. Overlaid on this image is a soft blurry image of
yellow and gold.
Ali Emir Tapan (1983 -)
Almost Flower, 2016
In this work, the artist investigates self-defeating utopias; machines and systems for living
that self-destruct, and urban phenomena as a mode of totemic representation. Tapan explores the
juxtapositions between private, public, and
spiritual spaces, through installation and live-art based practice. The ever-shifting forms of
colour and light represent the In Between chapter of this exhibition. The video with its
figurative and digital artifacts, hints at the story
of a flower that is opening, or has not yet opened, indicative of our feelings as we move
through this exhibition, observing ourselves and our current contemporary conditions.
A bright image, light flares with pink, green and black edges.
Overhead cables appear running vertically up the screen
The lines waver slightly from left to right, the light glow comes and goes.
The light is dazzling and bright when it appears. A single bird flies overhead, high
in the sky.
The screen becomes completely white with the light flare.
Leyla Gediz and İnci Furni (1974 -) (1976 -)
Self-Help is the first collaborative work by İnci Furni and Leyla Gediz. The two painters
set out on a long train journey from Haydarpaşa Station, which today is no longer in use. Using
just a blue biro and without resorting to
words, they create a nine minute dialogue, at times shaped by their jaded and anxious moods, and
illustrative of their close female friendship.
Istanbul and Anatolian landscapes, and scenes of urban transformation flowing past the train
window, evoke dualities such as relationships of production and consumption, metropolis and
countryside, nature versus concrete, at speed and
also slow. This documentary develops in front of a background of a shifting panorama of the
country and allows us to observe or listen to the inner voice of two artists becoming and
transforming each other, as time elapses.
Both artists manage to sustain their practice by accompanying each other during this journey, by
pursuing each other’s practices, and in a sense, becoming each other’s ideal audience.
Self-Help presents, within a collective
structure, the personal works of two artists who strive to continue their production despite the
weight of the ethical, political and social tangles of the land we live in, and brings them
together in a space which itself resembles the
wagons of a train.
Fade up to two women, sitting opposite each other on a train. Behind them out
of the window an urban landscape passes by. The women both have shoulder
length brown hair and are wearing blue shirts.
The women are relaxed, woman 1 is leaning on the small table between them,
woman 2 is sitting with her legs crossed and her arm leaning against the train
The camera cuts to woman 1, she is looking at a pen on the small table.
Cut to woman 2, she looks across at woman 1
Woman 1 picks up the pen
She is twirling the pen between her fingers, Woman 2 has her arms folded.
Woman 1 throws the pen up in the air and catches it a couple of times
Now woman 2 is holding the pen, the scenery outside has changed to more rural
Woman 2 has put the pen back on the table..
Woman 1 picks it up
She has removed the lid and starts drawing the pen across the ventilation grill
below the window
She is tapping the pen on the table
And now pulling the pen across the table
Woman 2 is becoming agitated
Woman 2 is pulling up her hair into a bun and looking outside. The landscape
shows a large expanse of water and hills beyond.
The train enters a tunnel and woman 2 lets her hair down.
The train leaves the tunnel and woman 1 picks up the pen again
She puts the pen between her nose and top lip and balances the pen there
If falls off and she tries again
Woman 2 smiles and laughs at her efforts to balance the pen
The train enters another tunnel, woman 1, with the pen between her pursed lips
and nose, is blowing upwards towards it.
She tips her head forwards and drops the pen onto the floor. The train has left
Woman 2 picks up the pen and looks at it.
She removes the lid, and starts to draw on the window in bold expressive
The pen leaves no trace on the window
Woman 1 looks on
The landscape moves through an industrial setting as woman 2 continues to draw
She puts the pen down
Woman 1 picks up the pen, and bangs it on the table, getting the attention of
Woman 2 loses interest and looks away
Woman 2 reaches out and stops woman 1 from banging, she takes the pen.
Smiling, she places her hand flat on the table, and with the pen in the other hand
she rapidly stabs the pen down between each finger in succession.
She finishes, and smilingly offers the pen to the other
Woman 1 picks up the pen and makes the pen fly in a slow arc through the air in
front of her
Woman 1 brings the pen around to land on the table
Woman 2 takes the pen and starts to draw on her own arm, she hesitates and
instead plays with the pen, in the fold of her arm.
She passes the pen to woman 1
Woman 1 holds the pen up to the light and looks into it
Woman 2 is holding the pen now, and drawing on the window again.
Woman 1 is tracing the curve of the window frame with the pen.
Now she is tracing the pattern of the seat cover, woman 1 is looking away
Woman 2 is now tracing the lines of her own face and hairline
Now woman 1 is holding the pen in the crook of her arm, and balancing it on the
back of the seat
Woman 2 holds the pen and closely examines it
Then twirls it in between her fingers.. Woman 1 looks on
Fade to black
Self – Help
Leyla Gediz, Inci Furni
Edit: Ayhan Hacifazlioglu
Camera: Ayhan Hacifazlioglu, Nihan Somay
Copyright Leyla Gediz, Inci Furni, Istanbul 2011
Oleg Holosiy (1965-1993)
Bridge was made by Ukrainian painter Oleg Holosiy in 1992, shortly after the collapse of
the Soviet Union. It depicts a melancholic landscape with a bridge as its central motif. Painted
in moss-green colours, it creates an
atmosphere of reverie and anxiety.
Here, the bridge becomes a metaphor for the transition between life and death, something that
connects and disconnects at the same time. One can hardly miss the historical coincidence of a
falling figure depicted here, with the artist’s
untimely death at the age of 27, just a year after the work was made.
In the context of the exhibition, this work embodies a human being’s constant doubts about
decision-making, and hopes for a better future.
It is a painting, in landscape format of a bridge over a river. The bridge has
a single arch and
the water is completely still and reflects the arch in its surface. A figure is suspended in mid-air
as they fall from the bridge. Through the arch in the distance there are buildings and other
structures. Either side of the bridge are two trees. The painting style is very soft and diffuse.
The paint has been applied thinly and the texture is very flat and even.
The bridge and trees are in dark silhouette, painted in browns and blacks. The sky beyond is
bright and clear, with orange edges.
Langlands and Bell, (1955 -, 1959 -)
In this work, Langlands & Bell explore the complex web of relationships linking people and
architecture and the programmed systems of circulation and exchange which surround us. Using
laser technology, they create an ethereal work
mapping the airline routes of the world etched within a block of crystal. The piece was produced
in Russia using a unique process first developed during the Cold War as part of the space
The title suggests a reference to the world-wide-web, or internet culture, and how we define
ourselves today within the parameters of online resources. This links to the viewer experiencing
this work in the digital format of this
exhibition. The laser engraved lines circling inside the crystal might be a metaphor of the
contemporary being, ‘free’ to move in-between places and locations, but often stuck inside the
limits of borders. We can see through the glass,
and the world is within our reach, but we are confined to the rules that are engraved within.
A small glass cube with an engraving inside the cube. The engraving is made up
of hundreds of lines which emanate from several different points. The engraved lines overlap and
criss-cross each other to create a
spherical form within the glass cube.
This chapter looks at artworks, which deal with the urge to escape. Artists in this section are
grappling with themes of constraints and borders, whether clear or blurred. Here, works
emphasise notions of separation, displacement, inner
and outer space as well as familiar and re-imagined landscapes. The stories they collectively
tell are intertwined together, reflecting the ways in which physical and spiritual experiences
transform us. So the journey or cycle of this
chapter can continue in an open-ended way.
Dislocation looks at artworks, which deal with the urge to escape. Artists in
this section are grappling with themes of constraints and borders, whether clear or blurred. Here,
works emphasise notions of separation, displacement, inner and outer space as well as familiar and
re-imagined landscapes. The stories they collectively tell are intertwined together, reflecting the
ways in which physical and spiritual experiences transform us. So the journey or cycle of this
chapter can continue in an open-ended way.
Ayça Telgeren (1975 -)
First image: Hand of the Artist, 2011. Second image: Shark Guitar No.3, 2015
In 2015 Telgeren collaborated for the first time with Cem Köksal, a musician and electric guitar
virtuoso. Köksal produced the third edition of his custom design guitar, Shark, especially for
this exhibition, and the instrument was then
hand-painted by Telgeren.
For this work, she reinterpreted a drawing of her own hand from 2011. Telgeren left empty only
the part where Köksal’s hand would touch the guitar, so that metaphorically the two artists
creatively share this artistic space.
Two pieces of work hang side-by-side on the wall. On the left is a square
drawing on paper in a
white frame. The drawing is a black and white representation of a human hand. The hand is in
the centre of the frame, and drawn in highly detailed style in black ink. The striking thing about
the hand is that it is made up of faces, limbs, legs and other body parts. These elements wrap
and twist around each other to take the overall shape of the hand. The faces have their mouths
open in surprise with wide-eyes. Next to the drawing is a white electric guitar, the artist has
drawn onto the surface of the guitar in the same style, in black ink. The drawing contains more
faces, and other organic shapes forming webs and networks of lines and texture across the
body of the guitar. There is an area of the drawing that is left blank – this negative space is
exactly the same shape as the hand in the previous work.
Öykü Aras (1992 -)
Spirit Explorer, 2019
The artist uses different mediums in her work to portray her own journey, suggesting an
existential discourse. The conceptual framework she creates allows her to portray a spiritual
self-journey, through references and symbols. She uses
these objects and voices during her installations and performances. In this piece, Spirit
Explorer, she conducted three performances, of one hour duration, as part of the curated
group exhibition In Between Pilgrim, where
the idea of contemporary beings searching for a higher meaning was examined.
In this performance, Aras uses handmade glass and ceramic objects she had made and installed as
an ever-changing set-piece for the duration of the performance, making sounds and movements with
the objects as if they were an extension of
her body. In the interactive performance, Aras conducted a ritualistic collective experience
with the audience, allowing them to interact with her, and take part in this ritual as well.
Spirit Explorer, öykü aras
Curated by Seyhan Musaoglu at Space Debris
It’s an art gallery with pictures on the walls and several plinths covered with white cloth. A woman
is seated on the floor, she is rolling an orange ball down her leg
She is holding a large glass object with with a mouthpiece attached and blowing into it
She is holding small glass objects and blowing into them, a group of people are watching, some
standing, some seated.
The woman is smiling, she is letting an audience member blow into the object.
The woman is kneeling and slapping the floor with both palms, people are watching her.
The woman is looking at an audience member, the audience member looks back, they both smile at each
Now the woman and a small group are sitting in a circle, they are blowing into the objects.
The woman is walking around blowing into the object, the others are seated.
She is moving the orange ball around with her feet.
She is seated holding the ball on the floor and vocalizing.
She is slapping and rolling the large glass object around in front of her.
Now she is rolling the smaller glass object.
A member of the audience is rolling another small glass object.
The woman blows into a small ceramic object.
The woman is standing, blowing into the large glass object.
Fade to black
Performance took place in the group exhibition, In Between Pilgrim
25.04.2019 to 21.06.2019
Artists: Alev Gozonar, Aylin Zaptcioglu, Berna Ay, Joana Kohen, Merve Morkoc, Murat Guzelgun, Oyku
Aras, Suzanne Stroebe
Richard Hamilton (1922-2011)
Portrait of the Artist by Francis Bacon, 1970/71
This work was initiated when Richard Hamilton and Francis Bacon had lunch at a restaurant in
London, during which Hamilton asked Bacon to take a few photos of him against the curtains of
the dining room. Bacon’s handling of the Polaroid
shots made them blurred and out of focus, which Hamilton built on in this work.
Hamilton produced a series of seven collotype prints, over-painted with oil, and let Bacon choose
his favourite, the seventh one, with its vibrant violet background and heavily manipulated
portraiture. Alluding to delusion and dreamlike
fantasy, the portrait embodies the moment of transformation in a physical and spiritual sense.
It is a colour image in portrait format, mounted on a cream background within a
black frame. This image is of a male head and shoulders, against a violet
background. The man is in the centre of the image looking out of the image
directly at the viewer, but his face is very blurred and has two faces super-
imposed which gives an impression of movement.
The light is from above and it catches his smooth forehead, nose and cheeks. He
has wavy light-coloured hair which almost touches his shoulders. He is wearing a
dark shirt, unbuttoned at the collar, and a dark jacket. His head is tilted back as
he looks out of the image, and his mouth is closed and neutral.
Gareth McConnell (1972 -)
Meditations No 5, 2005
This photo series is frequently described as an ‘exercise in domestic sublime.’ In this intimate
portrait of empty bed and rumpled sheets, composed as a sculptural object, McConnell amplifies
the melancholy, suggesting a sense of
contemplation in the composition.
With its blue ambiance, portraying the beds as bodies, this work speaks about sickness and
recovery, rest and passion, birth and death. In such instances, the minimalist depiction of an
empty bed is emblematic of despair, dreams and
Reflecting life, this everyday intimacy also suggests the limitlessness of surrounding space,
beyond the frame.
It is a colour photograph, in landscape format. The frame is almost filled with
image of an unmade bed, with the cover turned back. In the bottom third of the
image, the white sheet covering the mattress is revealed. In roughly the middle
third the photograph there is the crumpled white bed sheet. The top of the
photograph shows the wall beyond, which is a deep blue. The white bed sheets
have a blue tinge and the image is characterised by high contrast and deep
highlights and shadows which define the crumpled bedsheets and cover.
Rita Khachaturiani (1982 -)
Aria Behind the Wall, 2015
This work is from a series where the artist refers to unconscious psychological states.
Portraits are blurred, with representations of bodies smeared across each other, acting as a
visual clue to human experience. The monochrome palette used by the artist adds to a sense of
emptiness and sadness, hinting at both physical
and spiritual formation. Here, the time-frame is hard to understand; past, present and future
interchange in zones, leading to the unknown.
Adding layer upon layer of oil paint to build texture reflects Khachaturiani’s traditional
attitude to painting technique. The title of the artwork suggests a glimpse of our desire to
escape and hide, or perhaps be present with an
identical twin, doppelgänger or alter ego.
It is a painting in landscape format. The painting is of two figures side-by
from the shoulders up. They take up most of the painting. They are painted in
white over a black background. The paint has been applied quite thickly in layers
so that the painting is very textural and the colours mix together. There are hints
of pale yellow around their heads and shoulders. Both figures are in the same
position, each with one raised hand which is held below their chins and close to
their bodies, the fingers of their hands are slightly closed. The faces have very
little detail, and both have scratchy black lines painted over their small black eyes.
The white paint of their faces has been smudged together with broad brush
strokes, so that it connects the two figures. The painting style is loose and rough.
Tamar Giorgadze (1983 -)
Bring me the Horizon, 2018
This work is a typical example of the artist’s painting with its familiar themes of contemporary
landscape. The geometrical abstraction of horizons relates to political problems in the occupied
territories of her homeland.
Giorgadze’s more recent practice transforms digital aesthetics into manual, hand-drawn paintings
using conventional mediums.
Borders and wire-fences blur the background of the pictorial arrangement of the composition,
whilst visually fragmented horizontal lines and pastel colours soften the aggressive and
traumatic themes within this painting.
In the work, divided spaces pinpoint specific geographical locations, simulate multiple
perspectives and expose digital glitches and artifacts. These flat decorative paintings, with
minimal details or figures, are melancholic in their
commentary, poetically referencing wider current cultural and socio-political issues.
This is a painting in landscape format. The canvas is a field of overlapping
horizontal rectangles and blocks of paint. The colours are mostly muted, dark
greens and greys, pale yellows and blues. There a few small areas of vibrant red
and pink. In the top-right of the image, there is a repeated motif of tree or plant-
like shapes in a line, and below them a looping line with ridges along its length.
These elements are painted in a way that allows the background rectangular
shapes to remain visible.
Sasha Kurmaz (1986 -)
Tools of Resistance, 2013-2014
This series was made during the revolutionary months of the Euromaidan in Kyiv in 2013-2014.
Otherwise known as ‘The ‘Revolution of Dignity,’ the uprising was marked with violence, police
repression and shootings by unidentified
aggressors in the centre of the Ukrainian capital.
Kurmaz depicted self-made objects which were used by protesters during clashes with the police.
Kurmaz removed the objects from their familiar environment, neutralising the background as if
they were being photographed for an
Taken out of context, these objects document the everyday reality of life marked by violence,
aggression and displacement, as well the loss of hope. Some of the objects seem to have a sacred
form, reminiscent of symbols of power or
religious suffering. In terms of the Dislocation chapter of the exhibition, this series
hints at state aggression that leads to physical and spiritual resistance.
There are three objects on display. The first object is a piece of barbed wire
looped into two circles. It stands on edge. The wire is silver.
The second object is five pieces of stone. Three of the stones have been stacked
on top of each other to make a small tower. The other two pieces are next to it.
The stone pieces are angular, with defined sharp edges. The stone pieces look
like fragments and the broken edges are rough and grainy. Some of the faces of
the stone are smooth. The colour is mottled and ranges from grey to blue, with
some red ochre.
The third object is a star shaped metal object. It is made from three rods of rusty
metal. The rods are ridged along their length and sharpened to points at their
ends. The rods are welded together at their middle, so that they form a star
Jimmie Durham (1940 -)
Our House, 2007
This is an engraving on copperplate, with gestural drawings of houses in a residential area,
separated into zones for ‘neighbours,’ ‘high fence,’ and ‘our house’.
A sense of belonging is depicted in almost childlike strokes in this simple geometric
construction, against the chaotic mark-making in the ‘neighbourhood’ section, which is divided
by the demarcation of a horizontal line. This alludes to
a sense of belonging and to human rights, told from the author’s point of view, as he is both a
Native American rights activist and a poet.
This subversive play on serious social-political issues, reflected by almost impulsive graphic
forms, depicts movement and a sense of tension, referencing social constraints, isolation,
discrimination, and solitude within an urban
The image is a black and white drawing on paper, in landscape format. The
drawing is very simplistic in style. On the left there are many lines, close together
and heavily worked, defining groups of buildings or houses. Underneath the artist
has written ‘The Neighbors’. Immediately to the right of this group there is a
single vertical line, above which is written ‘high fence’. To the right of the high
fence is a single simplistic drawing of a house, with a pitched roof. Underneath
the artist has written ‘our house’. The drawing has been created with very few
lines, and the only details within the shape of the house are two small square
Maia Naveriani (1966 -)
Bunnies and Man, 2008
This is one of her works on paper. Using coloured pencils, she blurs the boundaries between
painting and drawing, figurative and abstract, reality and fantasy. With humour, she explores
the role of hidden languages and symbols concerning
feminist and conceptual questions.
In this work, Naveriani depicts location and map in the foreground, combined with a geometrically
defined space in the background. In the space she then places figures such as a Playboy Bunny
and a mannequin-like male portrait.
As Naveriani herself explains: ‘It is this full intuitive trust and irrational approach to the
language of drawing that takes me into another, ultimate and yet unknown space with no past or
future, just the intangible present and the
countless possibilities to investigate and reflect on it.’
It is a colour image in portrait format, using coloured pencil, paint and photo
collage on paper. It is a surreal image with several different elements at play.
The illusion of a space is defined using perspective to create a floor which extends
half-way up the image. The space has walls to the right, left and towards the back
of the space. The walls are defined as yellow vertical lines. Along the bottom
edge of the image, standing in a line are five women in silhouette, they are
wearing rabbit ears and carrying coconuts with red flowers. There is one woman
on the far left, not in silhouette. She has short hair and is standing with one hand
on her hip, wearing a black coat with a pink collar and belt.
Beyond the line of women there is a map which is in a ‘v’ shape and appears
suspended in the space. The map shows land masses in green and surrounding
areas of sea in blue. There are red angular sections on the map and many curved
dotted red lines which cross the map and move into other parts of the image.
Beyond this, on the back wall of the space there is a male doll’s head. The head is
gazing upwards with a neutral expression and is framed by an oval blue shape.
There are hatched areas of orange and purple within the blue shape, the blue
oval is framed with a pink wavy edge. There are two black outlined squares with
yellow backgrounds, in the top left and top right of the image. Within these
squares there are very rough pencil sketches which look like female heads, the
faces are featureless shaded areas.
Cornelia Parker (1956 -)
Meteorite Lands on Buckingham Palace, 1998
This work is from the series of artworks depicting the apocalyptic scenario of a meteorite
landing on the important sites in London. Parker alters the artwork by physically embodying the
paradoxical idea and actually heating up the real
iron of Gibeon Meteorite, which originally fell on Namibia and was discovered in 1836 by
projecting it’s trace on the map with a burn mark left by an ‘alien’ object to scratching the
roads of cosmic and at the same time geographic
The humor in the work, to ‘send a meteorite back where it came,’ has a conceptual as well as a
historic reference. In her own words, “an alien object from space, the meteorite, embodies the
fear of the unknown and fear of the future. In
this sense, this is an apocalyptic work for the end of the millennium.”
The metaphoric dislocation of the Meteorite creates the conceptual framework of the artwork by
shifting symbolic objects and power structures.
There is a street map of London mounted in a frame. The map shows the blue
curve of the river Thames curving up through the image from the bottom-centre
to the top-right. The larger roads are in pink, green and yellow and the smaller
streets are in white. The map is covered with street names, park names, buildings
and stations. On the left of the map, about half way up, in an area where
Buckingham Palace should be, there is a dark burnt area.
Uli Golub (1990 -)
Babushka in Space, 2017
This work exemplifies the Dislocation chapter of the exhibition.
It references a famous piece by Illya Kabakov, The Man Who Flew Into Space From His
Apartment (1985) where a man flying to a phantasmagoric unknown space is looking for new
hope. Golub’s work, in contrast, invites us on a journey
full of irony, sorrow and subtle provocations, making us think of solitude, searching for escape
and the experience of displacement.
The narrative is drawn from philosophical thinkers inspired by the cosmos - including Nikolay
Fedorov, Konstantin Tsiolkovsky and Aleksandr Bogdanov as well as Boris Groys and Arseniy
Discussing these philosophical ideas together with the artist, her 83 year old grandmother Nadya
narrates about her life on a space station, talking about her constraints and hopes as well her
thinking about the future of humankind.
The piece reveals the conflict between reality, its perception, and our wishful thinking on this
reality. The space station where Nadya settles becomes a metaphor for the shell of solitude,
where disabled or displaced people are trying
to transcend their current realities.
The camera pans around a room in slow motion. It’s inside a house.
The camera moves through an open door and down a corridor
A glass bookcase filled with books, there’s a black and white photo of a man and a woman.
Now the view is of a kitchen, a sink, cooker and worktop covered with cups and plates.
Fade into a computer generated space scene of planets and stars. A huge spacestation passes to the
right of the frame.
Dear grand-grand-grandchildren, I don’t know which year exactly you’re going to receive this
message. Thanks to the propositoric whirblast reflector we managed to transmit undulatory messages
through space and time.
However the results are still somewhat uncontrollable and unpredictable. Currently the error may
constitute a millennium. We work hard to improve our device.
The camera is moving through the interior of the spaceship, there are trees growing inside. There’s
a room with carpet and furniture. A woman is sitting in a chair, wearing a nightgown looking out
Today is a beautiful day. This morning I was contemplating the meteorite rings of the satellite of
the planet Z-121. I love to spend hours sitting at the illuminator and looking at the stars and
planets around. At breakfast I often play the
slides from Earth and listen to music.
An image of a room is rendered in 3-D, a mixture of photographic realism and computer generated, the
image is distorted as the camera moves around.
Composer Glinka is my favourite. When I was young and lived on Earth his tunes were often broadcast
on radio. The rest of the time I spent in my garden and laboratories – taking care of plants. I also
love cooking, especially when guests
Back on the computer generated world of the spacestation, a table is covered with food, fish, fruit
and vegetables, cakes and salad.
It’s a good thing we no longer have to eat tubed food, but learned to synthesize the food like on
Earth. Yesterday a new resurrection specialist team arrived at the station.
I treated the spacement to a thick borshch, fried potatoes with onion and pancakes with apple jam.
Then we drank tea from a real samovar. Nice fellows, very cheerful. We talked a lot until late at
One lad played the balalaika for us. Today they left for the planet Z-123
Over the shoulder of the woman, outside in space, a small spaceship leaves the spacestation.
Fade back into the video of the house. A woman is sitting in a chair with her back to the camera.
The camera is filming over the shoulder of the woman, as she serves soup from a pan on the cooker
into a bowl.
She strikes a match and lights the gas hob.
Now she is washing cups in her sink.
And now washing out a small plastic bag and hanging it up to dry.
fade back into the computer generated space station, and the woman is walking along a corridor.
I have to stay alone at the space station for long periods of time. Everybody mostly works on the
planet. Due to my age the overstrain is contraindicated. Therefore I always stay here, in orbit.
She walks slowly and with difficulty
I am a sort of space station keeper. I am very glad when someone comes by – I welcome my guests with
hospitality, Sometimes I carve for the human companionship. Similar stations are built on the orbit
of each planet forming the archipelagos
of ethereal clusters.
Exterior shot of space around the space station
There are a few solar systems located in the close proximity and having at least one liveable
planet. Recently our scientists created an artificial sun near which one more system was formed with
habitable planets. Thus our archipelago
The woman is at the sink, bust in place of her dishes, there is a model of a solar system, floating
in front of her.
The camera moves closer to the model and orbits the sun.
On the planet Z-121, in the orbit of which I live, we try to reconstruct life on Earth in the 21st
century. Yesterday’s ship brought the last remaining DNA samples and the uploaded mind and
personality database needed for the resurrection
of all Earth residents of that epoch.
The view is of a large room with human bodies and brains in tanks in suspended animation.
For now the preliminary works to provide the requisites for the resurrection are held on the planet.
We will try to reconstruct all the life conditions of that time so that the resurrected people don’t
get psychological shock.
After resurrection it will seem to them that they keep on living their everyday life. Then it is
planned to gradually prepare them mentally and tell them the truth. In the neighboring system
another fascinating mission takes place.
In the room with the tanks, the woman is sat milking a cow
On a few neighboring planets scientists plan to reconstruct the biological life as it was on earth
before the human intervention. Perhaps those are rumors, but I’ve heard that on one planet
scientists even plan to resurrect the dinosaurs.
And on another planet they plan to stimulate the genesis and development of life on earth. There
will be a system of sanctuaries with the minimum anthropological intervention in the ecosystem.
The woman is walking through a museum-room containing many stuffed animals, rendered in 3-D.
According to the local scientists, the resurrection of animals on one of the planets went quite
well. More that 100,000 years have passed since the first human went into space. Millennia have
passed since we gained control over time and
The main task of modern planetology is the search for habitable planets. If necessary we can create
artificial planets and stars, like the sun, for further space colonization.
Back in the house, shot in video, over the shoulder of the woman. She is moving around her room,
using her hands to support her.
She is holding on to the bookcase for support as she moves.
The camera is filming close behind the woman, showing her arm and hand.
Her hand rests on a doorframe, beyond are shirts hanging on a hook on the wall
Fade back to the space station, in the museum-room with the stuffed animals and pictures on the
On the non-liveable planets, we created manufacturing and research centres. The main values for us
are the equality of all living creatures, the equality between the living and the dead, whim we
resurrect on a regular basis. We also value
the absence of physical suffering.
At this stage the Milky Way is completely colonized. We landed on all the inhabitable planets within
the limits of our native Galaxy.
The museum-room now contains a moving ribbon of blurred images which loops and turns through the
The main objective of the contemporary humankind is the unfolding of the history fabric, so that the
crucial stages of organic life and human civilization development coexist simultaneously in the
space of our universe in the present
The woman is now naked, with her arms outstretched, she is floating and turning in the air, amongst
the ribbon of images which moves around her.
Currently we are ready to recreate the terrestrial life in 21,20,19,18,17,16 and 15 centuries on the
planets Z-121, Z-120, Z-119, Z-118, Z-113, Z-116 and Z-115 correspondingly. These planets are
located in 3 neighboring systems within the
Simultaneously, the wildlife sanctuaries programme is being implemented. Thus we not only try to
spatially unfold the fabric of human history but also the general history of organic life and
We designed the reconstruction model and thoroughly planned the restoration of all stages of
biological life and human civilization on Earth. This plan will be gradually realized in the Milky
Way and neighboring Galaxies.
In the event of an encounter with an alien civilization or another type of lifeform, we plan to
register them in the Intergalactic Museum of Organic Life and Intelligent Civilizations.
Thus, the Universe will embody the dream about the simultaneous existence of themed exhibitions in
planetary or even in star system scale: The Earth of Cenozoic, Mesozoic, Paleozoic, Neoprotezoic,
Paleoprotezoic Eras, planetary sytems.
Each planet of those systems represents a certain period of an Era. At the present stage we are
ready to resurrect the system of Cenozoic Era with 13 inhabited planets.
Thus, the archiving is embodied in living organisms representative of past epochs. We create
high-speed interplanetary passageways which interconnect planets and planetary systems. This allows
We start with the resurrection of humans and animals of the nearest Epochs. Gradually, moving away
from the Solar System, we slowly plunge into the preceding centuries, at the end reaching the moment
of life genesis on Earth.
A series of images in frames move horizontally across the screen, technical drawings, paintings,
Each civilization and each epoch, each organic species and each biological specimen acquire the
timeless existence in the limitless space of our Universe. The same applies to other potentially
existing life forms and species not yet
The woman is now clothed again and standing in the middle of the museum room as the ribbon of images
swirls around her.
Thus, we gradually create the immersive model of contemporary world constituted of everything which
has ever been, is and will be. It will be the most complete representation of organic life history
unfolded and stretched into space.
Having reconstructed all stages of life from development from the start, we, most probably, will be
using just a small part of the Universe. After the main plan is implemented, there will be an
opportunity to start different curatorial,
scholarly and scientific experiments.
The main condition being the respect of the rights of living organisms. Final objective of the
project consists in inventing a way of re-creation of the Universe after the end of time.
The woman holds a chick in the palm of her hand, the chick is eating crumbs from her hand.
Two human skulls are side-by-side on a sofa
In this manner we will ensure the eternal existence of the Universe and its restoration in case of
Fade back to video footage of the woman in her house. Her feet are moving slowly as she walks. She
is wearing slippers and knee supports.
Fade to black, fade up to the woman’s hand moving an ornament of a ballerina on the mantlepiece.
Fade to the woman’s hands holding a hexagonal ornament. Her hands are shaking.
Fade to the woman’s hands moving over a selection of old photographs and jewelry. The photographs
are images of a younger woman.
Fade to the woman who is sat at the counter in her kitchen, eating
Fade to a room with windows looking out into the garden, a leafy tree is blowing in the wind.
Fade back to computer generated space scene. A blue planet and next to it a satellite with an
astronaut floating in space.
I would love to have a look at the Earth right now. What is happening there? A long time ago, when I
looked at Earth from space for the first time, I thought: Wow! Earth is so beautiful!
A closer view of the astronaut, it is the woman in the spacesuit.
How is it even possible that there are wars, starvation, exploitation, death in such a wonderful
place? Why are we all so mean-spirited? If everyone looked at earth from space, all evil would
probably disappear from this world.
People would unite in their efforts and aspirations. I love dreaming about the Earth. I float in
zero gravity and dream of Earth. I dream of the willow trees rusting near a pond. I dream of a
pleasant sensation that you have when running
barefoot in grass wet with dew.
The woman is now naked and floating through the room with the tables of food.
The camera moves through the room with trees and plants, the woman, now clothed is walking amongst
I love to recall the songs we sang in the forest at a fire. I love to think about the sun rising
above the horizon and slowly caressing the treetops with its rays. I dream of seagulls screaming,
the salty air and the warmth of sunrays on
I dream of wind cradling the heavy and whippy spikes of wheat, of endless fields, the limitless sky,
the low clouds moving slowly overhead. I also dream of the swallow’s chirps nesting under the roof,
the chirr of crickets.
I dream of white lace curtains fluttering in the wind and the smell of jasmine. I dream of pine
forest, pricking of needles under the feet, the smell of the fragrant fir-needles, and the river
nearby – yellow waterlilies.
The water striders move fast on the river surface. Splash! A frog just jumped into the water. I am
from the first generation of people aging in space. Because of my age I can’t leave the space
station. Any strain can cause me damage.
The secret of immortality has been discovered long ago, without it no one could survive the
intergalactic travels. But still, the immortality requires regular injections which costs us lots of
biomaterials and man hours.
Strange as it may seem, it is easier to resurrect the person in a new body than support its
immortality. All mission workers are resurrected on the neighboring planets, unless indicated
otherwise in their testament.
Some people demand that their remains be sent to Earth after their death, but they all get the same
response: First we are going to resurrect you and then you many travel wherever you want – even to
Frankly there is something fascinating and exciting about death, if one would think of those
released atoms and energy which can subsequently transform into another lifeform.
After death one may become a fern or an oak, a bee or a spider, a squid or a jellyfish, a bear or an
elephant, or one may turn into a star, a galaxy, a solar wind or a comet. I am not afraid of dying.
It’s not because I will be resurrected afterwards, but because I imagine the ecstasy of those
particles which will be finally set free. Sometimes I feel excited contemplating the Universe,
thinking of the amazing and wonderful history of
The woman is holding a red flower, a bright glow builds around the flower and it explodes into white
light, leaving only the stem.
When I die, I will be dying in joy and convinced that happiness, perfection, endlessness and
continuity of a rich organic life and eternal travels through unthinkable spaces await me.
The woman is seated, riding on a set of robotic legs which move powerfully along.
Fade to video of the woman in her kitchen. She is reading from a script.
But I would still like to have at least one more look at Earth before I die. Therefore, this time I
will agree to get resurrected, and will start my journey back home right away.
She turns to face the camera
The woman is walking slowly out of her kitchen, away from the camera. She goes through a doorway and
into darkness beyond.
The camera pans away from the woman and around the kitchen.
Babushka in Space, film by Uli Golub
Text by Nadja Golub and Uli Golub
Inspired by works by Nikolay Fedorov, Konstantin Tsiolkovsky, Alexander Bogdanov as well as
contemporary authors: Boris Groys and Arseniy Zhilyayev
Music Nocturne “Separation” by Alexander Glinka