Sweet Pit


Maslo gallery, Khmelnitsky


15 November — 8 December 2019


MASLO Gallery presents the solo exhibition of Nikolay Karabinovych “Sweet Pit”. The artist focuses on a number of historical figures, including Nicolae Ceausescu, Enver Hoxha, Muammar Gaddafi, and Bogdan Khmelnitsky. By inviting the ghosts of dictators and political leaders, Karabinovych examines the nature of power and emphasizes the drama of the moment of its loss. The exhibition creates a scene for speculative historical polyphony, where the individual voices of the power figures are gathered in one space. The author describes such a place as a “sweet pit” – a sucking sticky dip, where those who have yielded to the temptation of power are overthrown.

Karabinovych’s project unfolds not only in space but also in time, as the appeal to episodes of different epochs emphasizes the single principle of destroying the personality of a political figure with an irresistible force of power. Loss of power is considered by the artist as an inexorable zenith of the cycle of possession of unlimited influence.

What is a sweet pit?

Who can help me figure out this term? – Enver Hoxha, Mamoire Gaddafi, Nicolae Ceausescu, Ludovic IXXXXX, Jon Antonescu, Robert Mugambe, of course Pinochet and many others. Imagine that all of them suddenly came to life, resurrected. Where should they be buried? What will this place taste like? Underwater currents, washing away everything in its path, sewage, with a sweetish aftertaste. Small (tiny) atoms of history scattered around the hall, the last fight. Night Boat To Cairo is an internal political incest between Hosni Mubarak and Nasser. Hollows and bulges, reservoirs of tears. Feverish eruptions. A damp and suffocating atmosphere of tense expectation reigns here. Pretenders and False Dmitrys. Here, all around, something happened, scattered traces. Empty items from suitcases. Tracks that lead to biographies; ropes, pulling on which something will stir. Disorientation and spatial alliteration, where ghosts appear instead of vowels. Debris, lies, betrayal and confusion. State violence and armed conflicts are about that. Body around, solar circle. What I’m doing here is scraping the dust off their bodies. At the far side, I didn’t fly through the black bird, I touched the earth for a month, There I turned blue.

One Maoist told me: Anxiety and pause. Make a color exhibition, throw off your clothes. Here is the plan:

A) A choking bunker, with foam at the mouth, sea foam of the Adriatic Sea. Hodge. Hoh. Ha ha. Laughter buried in concrete. B) A sound from nowhere, a voice from a hat. Slow decrease, fading. C) Hey you, fool, M. with what eyes will we look at you?

D) A flag that turns into a shovel

A big green spot is moving towards us No One Is Too Small to Make a Difference Over the Danube River, dying not far. My poor chumachok drowned, drowned. Save me, dad. There is nothing to row, the chumachok will drown.

In conclusion, a small photo from Lviv, what is shown on it?

I heard voices from this hole They turn into a song. This is the sound of R The sound wich creates the new dimension This is the new style of music

Belgium, give October!

This text is redundant and hardly explains the exhibition. Mausoleum Museum – silly rhyme, silly This text is redundant – it is fluffy

In dialogue with Yuri Leiderman, Stas Turina, Harun Farocki, Evgenia Belorusets, Piotr Uklański and Ivan Benkovsky.

Supported by Voloshyn Gallery

Photo: (c) Hunt Kastner Gallery. The photographer is Michal Czanderle


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