The MO/UA COLLIDER project, working with time, space, science, public spaces, addresses the history of Montenegro and Ukraine. Collider examines the historical periods of Montenegro and recent Ukrainian events interpreting them within mosaic panoramic video projection.
Consideration of transformative potential of art in the age of post-media under the angle of renewable futures, caused by the urgent necessity to capture the decisive mutations, which are arising from today’s redefinitions of the world, requires the context of the critical thinking of ХХІ of century. A necessity to connect the functions of art, technology and scientific researches in cultural practice shows, how we understand the world today, as a result of scientific and technological development.
Art Collider examines the iconic places of C20-21 political history. This large, long-term project began in 2011 in the USA, in Dallas – on the site of the John F. Kennedy assassination.
A collider accelerates two beams of particles that are directed against each other under experimentally controlled conditions, so that the particles collide while flying in opposite directions. This process can be used to make strange and anti-matter, Higgs boson (God particle). The colliders in physics set quantum particles on collision courses with one another to research the particles outcome. These collisions demand something of us as interpreters of our times and MO/UA COLLIDER through design of video installation, light boxes and object mapping does this. A time is one of the fundamental concepts for physics and philosophy, one of the key co-ordinates of space-time. In the project, time-space is presented by panoramic video-projection that consists of 24-60 fragments of moving images, which are revolved with acceleration in an artistic collider, activating a mechanism of audio-visual jumps where certain fragments can gradually be substituted by archival videos and followed by subsequent visual «transmutations» (term by Marie Curie). Video data base as a source of investigation of conflicts. An article examines the video-installations with the aim of to include the ideas from art project’s materials to the contemporary video data drift discourse as original polylogue of chronotope interpretations.
Project can engage with the world in some detail through a panoramic experience. Project appeals to certain similarity of Montenegrin and Ukrainian history, both states were developed within shadow of more powerful neighbor countries. “Ukrainian Collider” focuses on Revolution of Dignity and functioning of public space, where the ideals of freedom, democracy and human rights have been cynically neglected by oligarchical power. According to Spinoza the thinking is equivalent to action, where the bodies allocated with the mental life embodying ideas act. Deleuze’s interpretation: "because, as Spinoza says so well, each body has a soul” the idea imprints in soul and “a body enters into an infinite number” of interactions. Installation is an interpretation of such “multitude”. Reading unfinished Political Treatise, as Antonio Negri claims in Spinoza’s "political physics” the multitude become “a productive essence”, we understand that the Kyiv Maidan is a direct democracy, about which Spinoza only dreamed. The tension points, which will structure and collect experience, in which we are wrapped and immersed in it is a destiny of new media design.
Art project, fed by obscured history, political urgencies and imaginative, acts as a catalyst for the culturally charged encounters – experiences, feelings, a kind of shared breath – that materialize through the local environments and social relations.
“Montenegrin Collider”, which was produced and shown within Dukley European Art Community, addresses the historical periods of Montenegro from monarchy proclamation in Cenije in 1910, via Yugoslavia time under the direction of Tito till recent protests in Podgorica, interpreting them as mosaic panoramic video mapping in Saint Paul Church in Kotor in 2015-2016. In Cetinje a film fixed coronation of prince Nikola I Petrović-Njegoš and proclamation of monarchy in 1910 – an important landmark for Montenegro, a state establishment, which was ended in 1918. And king Nikola I goes on a boat to exile to Italy in 1916. In Kotor there are the navy armadas in Kotor Bay, submarines of Marshal Josip Broz Tito’s epoch and him-self on the yacht Galeb. In Podgorica – the recent protests, that, according to the Prime Minister Milo Đukanović statement, are organized by The Federal Security Service of Russia (FSB) against Montenegro efforts to join NATO. Then a computer arbitrarily transforms moving image and we see how Nikola I submerges into water, and dissolves in a sea. Thus, the distortions work visually and a great number of such semantic transformations appears in a project. And Montenegro too is involved into these breaks, Balkans have always been in the history in the center of conflicts. In Montenegro the specially developed methodology, based on the hypnotic changes of fractals, is used for treatment of mental illness, as the moving images of fractals render a sedative effect. In this sense a project reveals such propensity to dormancy and inflow in hibernation, helping not to hear grinding of history jaws, which happens right in front of our eyes. A viewer is correlated with past and perspectives. The possibility of developing Collider further – examining Potiomkin Stairs in Odesa (both sites are revolutionary and cultural phenomena, Ukraine, 1905), abandoned city of Prypiat after the Chornobyl disaster (Ukraine, 1986), Fukushima Dai-ichi (Japan, 2011), Bolotnaya Square in Moscow (Russia, 2011), airport in Donetsk (Ukraine, 2014-2015), city of Aleppo (Syria, 2011-2016), Stadium in Paris (France, 2015) and airport in Brussels (Belgium, 2016) – is real challenge.
A rose is not only appropriate in sacral space and allegedly flirts with it, it refers to the middle ages in which the world is rolled today. For the first time the Pope in his christmas speech mentioned the probability that this Christmas can be the last one.
The fact that since 2014 the provision of hands of the Doomsday Clock, maintained by The Bulletin of the Atomic Scientists as a perpetual present, indicating the proximity of threats to our survival from nuclear weapons, climate change, and emerging technologies, didn’t change testifies underestimation of Russian nuclear threat. How many tipping points do we need before moving to reframe the system? Moving from the Jacques Rancière’s postulate "problematizing the cause consequential relationships of the socio-economic system", project problematizes the stability of geopolitical system itself, exposing the complexities that belie each moment. Finally on January 2015 the provision of hands of the Doomsday has changed to two minutes to midnight, reflecting the concerns amid continued lack of global political action to address global climate change, the modernization of nuclear weapons in the United States and Russia, and the problem of nuclear waste (very abstract formulation).
Visual approach refers to the experimental methodologies of children vs adult kaleidoscope that underlines the understanding of civilizational breaks we live now, where human being is immersed into cosmogonic fluid environment. Idea that war is located too far, somewhere on periphery: in Ukraine, or Syria, but it does not concerns the whole world, is false, and the acts of terrorism in Paris and Brussels prove this. Project is about complicity. The “Collider” project, working with the events that have formed the world in which we live now, raises the question: is a person a particle in the system of accelerators of global forces, or the energy of interaction investigating new values, new forms of thought and new ways of existence in the world – insisting that ‘another world is possible’? Curator of Discussion Platform for the 1st Kyiv Biennial Arsenale Ekaterina Degot maintains that another world is possible: “Why wait passively until the system decomposes by itself – until “the world ends”? Why not start inventing a new world – the one that will succeed the current apocalypse?”
http://www.artraker.org/oksana-chepelyk/4579047235 http://dukleyart.me/oksana-chepelyk-montenegrin-collider/ http://architecture.testpattern.com.au/COLLIDER/
Oksana Chepelyk 1978-1984 studied Art in Kiev, 1986-1988 in Moscow, 1995 at CIES in Paris, 1996 at Amsterdam University 2003-2004 at UCLA, USA. Residencies: 1996 CREDAC, Paris, 1998 BANFF Centre, Canada, 2001 ARTELEKU, San Sebastian, Spain, FACT, Liverpool, UK, 2000-2002 Bauhaus Dessau, Germany, 2015, DEAC, Budva, Montenegro. 1992-2010 awarded with grants in France, Germany, Spain, USA, Canada, England, Sweden and Montenegro. Her works were shown: 1998 MOMA, New York, 1999 “ART FAIR” Stockholm, Sweden, 1999 Museum of Contemporary Art, Zagreb, Croatia, 2000 German Historical Museum, Berlin, 2001 Munich, Germany, 2000 ISEA, Paris, 2001 Museum of the Arts History, Vienna, Austria, 2002 “SEAFair”, Museum of Contemporary Art, Skopje, Macedonia, 2003, 2007, 20011 Museum of Jurassic Technologies, Los Angeles, USA, 2008 “DIGITAL MEDIA Valencia”, Spain, VII Digital Art Salón, MACZUL Museum of Contemporary Art del Zulia, Maracaibo, Venezuela, 2009, 2010 “ArtVilnius”, Vilnius, Lithuania, 2010 “Sarajevo Winter” Art Biennale, Sarajevo, Bosnia and Herzegovina, 2011 Broad Art Center, Los Angeles, USA, Art Arsenal Museum, Kiev, 4th Biennale of Contemporary Art, Moscow, Russia, 6th Tashkent Biennale of Contemporary Art, Uzbekistan (Award), 2012 1st Kyiv International Biennale of Contemporary Art ARSENALE, MMOMA, Russia, 2013 Sarajevo Museum, Bosnia and Herzegovina, MMOMA, Russia; 2014 International Festival "Sarajevo Winter 2014", B&H; IX ART-KYIV Contemporary, Art Arsenal National Museum Complex, Kyiv, Ukraine; “Long Path to Freedom”, Ukrainian Institute of Modern Art, Chicago, USA; 2015 “Decompression: Coming Up for Air” Festival “L’Ukraine – Scene libre”, Paris, France; “Borderline. Ukrainian Art 1985-2004”, PinchukArtCentre, Kyiv; “The File” – Electronic Language International Festival, the Sesi-SP’s Art Gallery in Centro Cultural Fiesp – Ruth Cardoso, Sao Paolo, Brazil; DEAC, Montenegro. She has been working with experimental video films since 1994. Her films were shown and awarded within different film, video and new media festivals: in Kiev, New York, London, Tallinn, St. Petersburg, Osnabruck, Montecatini, Linz, Moscow, Paris, Berlin, Oberhausen, Liverpool, Belo Horizonte, Karlovy Vary and Venice /A category/, Chisinau, Weimar, Tel-Aviv, Ankara, Pesaro, Santa Fe, Stuttgart, Barcelona, Berdiansk, Sebastopol, Sarajevo and Clermont-Ferrand. From 1993 she organised 11 curatorial exhibitions (Ukraine, France, USA, Canada, Brazil, Kazakhstan and Germany), 15 solo exhibitions in Europe and America, and participated in a number of joint exhibitions (Russia, Germany, Lithuania, Ukraine, France, USA, Sweden, Croatia, Brazil, Austria, Macedonia, Bosnia and Herzegovina). 1999 A.I.D.O. FilmVideo Award, Italy. 2013 Cinemadamare Award at Venice IFF, Italy. Since 2003 Oksana is a leading researcher at Modern Art Research Institute of Ukraine and author of the several articles and book “The Interaction of Architectural Spaces, Contemporary Art and New Technologies”. 2003 Werklietz Award 2003 at EMAF, Osnabruck, Germany. In 2007 she has founded the INTERNATIONAL FESTIVAL OF SOCIAL SCULPTURE in Kiev. 1997 and 2007 ArtsLink Award and Independent Projects Award, USA. 2003, 2010 Fulbright Awards, USA. 2011 – 6th Tashkent Biennale Award, Uzbekistan. 2013 – Artraker Award nomination, UK.