Ukraine's rocky road to the Venice Biennale in 2001 (12/31/00)

Ukraine's rocky road to the Venice Biennale in 2001

by Oksana Zakydalsky

KYIV - For the first time, Ukraine has agreed to take part in the Venice Biennale, to be held from June 6 to November 4, 2001. The Biennale is for art what Cannes is for films and the Olympics are for sports - the chance for a country to show its best and to measure itself against the world. The 49th Biennale will include events and retrospectives in the fields of visual arts, film, music, theater and architecture. But it is the visual arts program that is of most interest.

Although Ukraine has never taken part officially, several Ukrainians have exhibited in Venice: in 1924 Kazimir Malevich's and Alexandra Exter's works were shown in the Russian section and in 1928, a Ukrainian section was created in the Soviet pavilion and featured members of the Artists' Association of Red Ukraine, particularly the so-called Boichukisty: Mykhailo Boichuk, Vasyl Sidliar, Ivan Padalka and others. According to the Italian press of the time, the most praised work of the Ukrainian section was Fedir Krychevsky's "Family" - the central panel of his famous "Life Triptych."

On September 8 of this year, the Ministry of Culture and Arts of Ukraine announced Ukraine's participation in the 49th Biennale and designated Evhen Karas as the commissar, the official representative of the Ukrainian government. Mr Karas has been active in the art world since 1989; he has organized art-related projects, founded an art gallery in Kyiv and created a public database of Ukrainian artists, art scholars and critics. This year he was appointed an advisor on visual arts to the Minister of Culture and Arts, Bohdan Stupka. Yuri Onuch has been appointed curator for the Biennale presentation. Mr. Onuch was born in Poland, but has lived in Canada since 1985. He has been the director of the Center for Contemporary Art in Kyiv since 1997.

I asked Mr. Onuch why it was important for Ukraine to take part in the Venice Biennale. Mr. Onuch answered, "In the context of contemporary art, Ukraine does not exist. Although there are some Ukrainian artists active on the international art scene, for example - Boris Mikhailov, Oleg Kulik, Ihor Kopystianski - they are usually regarded as Russians. Of course, just taking part in the Biennale will not automatically solve the problem of Ukraine's 'non-existence,' but there is no doubt that by not taking part Ukraine will continue being 'terra incognita.' What do we hope to achieve by our participation? To be included in international art discourse. Speaking the language of art, we can mark out our position in the world and communicate our response to the world around us. To quote the director of the Biennale Visual Arts, Harald Szeemann, 'Global art without roots means nothing.' For Ukraine, participation in the Biennale is, first of all, the creation of an image of the country, open to marking out its identity through considering the future. For Ukrainian artists - it is an affirmation of their participation in the European tradition. It is an opportunity for a public dialogue within this tradition and in the center of Europe. We need to build an image of a progressive country, with an interesting, multi-faceted culture and not continue to lean exclusively on ethnographic information or the remnants of Soviet culture," Mr. Onuch answered.

"There will be over 50 countries taking part in the Biennale and each one will do its utmost to garner maximum attention. Hence, it is necessary to present a monumental artistic proposition, monumental - not in its physical dimensions, but in the power of its artistic vision. Experience suggests that it would be best to present a single artist, or a single project, done specifically with the Biennale in mind. To make the single artist or single project successful, much effort, technical assistance and sufficient money is required. To achieve one's goal, it is necessary to minimize personal ambition and funnel all energy to the team effort. We have put together a team consisting of the commissar, curator, media coordinator, logistics coordinator and assistant curator. Success of the presentation will be a success for the artist, a success for the working team and as a result - success for the country which is taking the risk to participate for the first time," he said.

So far, so good. It all seemed clear enough - the rules accepted, the benefits of taking part made clear, the support of the government in place. On October 20, a meeting of the participating countries with the Biennale organizers was held in Venice. Ukraine was represented by Messers. Karas and Onuch and Viktor Ponamariov, consul of Ukraine in Italy. And there things got a little rough.

As recorded later in Mr. Karas' report about the meeting, Olha Mazayeva, claiming to be a member of the Artists' Union of Ukraine, together with artist (and husband) Valentyn Rayevsky, waving a letter from Les Taniuk, head of the Verkhovna Rada Committee on Culture, interrupted the meeting saying that she had been designated by Parliament as the person to make the presentation from Ukraine. The official project for the Biennale was to be "Intervals," executed and curated by Mr. Rayevsky. ("Intervals" had already been exhibited in the Kyiv National Museum receiving, according to public relations manager of the National Museum, Tania Hrushchenko, unanimously bad reviews). Mr. Karas said that Ms. Mazayeva behaved agressively, threatening the official representatives with her contacts in the Ministry of Foreign Affairs, the mass media and the Verkhovna Rada. There was general consternation at the meeting; the Ukrainian consul tried to smooth things out but the damage was done. The Biennale organizers were confused and a tense public situation was created.

After the Venetian visit, letters began to fly back and forth in Ukraine. Mr. Karas wrote Mr. Taniuk that it had been inappropriate for the Verkhovna Rada committee to take actions contradicting those of the government of Ukraine, and the Minister of Culture and Arts and pointed out the importance of building an image of integrity for Ukraine. Ms. Mazayeva and Mr. Rayevsky approached the Ministry of Foreign Affairs, making an issue of Mr. Onuch's Canadian citizenship and questioning the appropriateness of someone associated with the Soros Fund (which finances the Center for Contemporary Art) to be representing the interests of Ukraine at the Biennale. Ukraine's ambassador in Italy wrote to the Ministry of Foreign Affairs saying that a conflict situation might arise around Ukraine's participation in the Biennale and produce a negative resonance in Italy in general. The vice minister of foreign affairs contacted the Ministry of Culture seeking clarification of Ukraine's official representation at the Biennale and questioning how Mr. Onuch, not a citizen of Ukraine, was chosen to speak for Ukraine in Venice.

The Biennale project also hit the mass media with newspapers stressing the "scandal" part of the story rather than the substance. They pointed out Ms. Mazayeva's charge that Mr. Onuch, not a citizen of Ukraine, should not be allowed to speak for Ukraine; they mentioned Mr. Karas' involvement in "commercial activity" (he is the director of the art gallery Atelier Karas and of the international Gattamelatta Fund) which is said to disqualify him in helping to choose who is to go to Venice to represent Ukraine; they suggested that there is something unsavory about the involvement of "Soros money" in getting the show on the road.

Mr. Onuch is discouraged by all this. "The so-called 'scandal' is being blown up by the press. Even in bringing it up, the press is not making an effort to explain what is involved and why it all happened. They write of an 'alternative project' - there is no 'alternative project' - there is one official project. Why did Mr. Taniuk write the letter of support for Ms. Mazayeva? Perhaps he did not understand the rules of the Biennale, perhaps he was told that several projects could be submitted. The rules of the Venice Biennale allow only one representation per country, something Mr. Taniuk should have known. Why did he not check with the Ministry of Culture? Good question. Mr. Taniuk has since written to the president of the Biennale rescinding his support of Ms. Mazayeva, but the damage to Ukraine's reputation in the eyes of the organizers has been done," Mr. Onuch said.

"They are making an issue of my Canadian citizenship - because I am not a Ukrainian citizen, I should not represent Ukraine's interests. Ukrainian citizens have had 10 years to put together a proposal for the Biennale, but no one bothered. (By the way, the director of visual arts for the 49th Biennale, working now in Venice, Harald Szeemann, is Swiss). I took advantage of the goodwill the Center for Contemporary Art was collecting during the very successful Andy Warhol exhibit in May and approached Minister Stupka with the Biennale proposal and received his and Mykola Zhulynskyi's support. The current situation is distracting; instead of working on choosing a presentation (which has to be done by mid-December) I have to deal with this fallout. But what is most disconcerting is that, now, some people have begun to see this project as one where they can, as they say here, warm their hands. Pressure is being applied here and there, and who knows what will happen in the end," Mr. Onuch said.

What will be the consequences if this initiative falls through, I asked Mr. Onuch. "On the national level - who cares? On the international level Ukraine does not have a good image. If the project falls apart, it will be just what some people here wanted. There are people here who just wait for something to go wrong. Unfortunately, this whole affair has become very unpleasant," he added.

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