Today we are sure that it is Berlin and Kiev that can become discussion platforms for reviewing and clarifying basic concepts about ethics, culture and politics in Europe.
---- Vlada Ralko
For several months, the residence of Vlada Ralko and Vladimir Budnikov continues in the space of the legendary Inken and Hinrich Baller with the support of the creative association “KrasneChorne”. Although the residence was not originally outlined in a clear formal and thematic framework, today it can already be said that it has become not only a platform for the creation of a new artistic project, but above all a field for self-reflection in the conditions of a war-altered reality, being in the parallel world of a peaceful European city. Also, this residence contributed to the study of the past, the extraordinary history and stylistic features of the residence building itself.
As Vlada Ralko says of the expressive style of the Inken and Hinrich Baller houses: “Their Berlin houses cannot be attributed either to any style or to any architectural current. It seems that we operate in spaces that are modern and timeless at the same time. Moreover, the architectural structure seems to hesitate between exterior and interior: street structural and decorative elements “go inside”, so you seem to be in both spaces at the same time. It turns out that the architectural style of the residence reveals our present state of dual presence in the exil and at home. The house is like a Mebius tape, where we suddenly feel upside-down from time to time, and the workspace does not let you calm down and makes us think.”
The cooperation of “Red Black” and artists began in 2014. The sequence of this interaction is manifested in joint projects, several Editions, created as a result of projects, and most importantly — in the sustainability of topics explored by artists. Vlada Ralko started her series “Kyiv Diary” in Kyiv, continued it at her residence in Kanev, and the next stage was the “Lviv Diary” - a reaction to the war, its peculiar chronicle, the act of returning one's own language and voice. Now the artist continues the diary while in Berlin, using the same methodology of fixing on paper the surrounding events and changes in her internal state.
In his extensive series of works on paper “Paper Bridge”, Vladimir Budnikov focuses on the secondary function of individual bridges when they become meeting places, markets or a kind of forums. Moreover, he chooses this fuction as the main one. The bridge is a ridge, the basis and the principle of conversation, as well as a symbol of connection between fields that seem to be incompatible or not connected with each other. The name of the exhibition, as well as the name of the Berlin residence “Red-Black”, is inspired by the proximity of Berlin's historic Admiralbrucke bridge.
“In the beginning, while working in the Kanev studios of the association bordering the natural protected area, we extracted knowledge about the war-altered reality from the idyllic environment of the Ukrainian rear. During a full-scale war, the continuation of our artistic work in the Berlin residence from the CHC makes it abundantly clear that the quiet life of the German capital continues in the conditions of the now pan-European rear, and the peaceful inhabitants of the united Europe for the most part choose to stay in a happy misunderstanding of how serious it is They are threatened,” Vlada said. “The temporary place for our work today is just as performative as Ukrainian time. Art has the ability to reach a universal level, that is, it can become a common place for people with common values, that is, a point of trust. To the value concepts mentioned above, it is worth adding confidence. In the face of threat to the entire civilized world, trust can play a crucial role.”
Follow the progress and results of the residency on the page “RedBlack”and on the residence page.
