exhibition statement.
We consider that which is the smallest part of life to be so distant that we hold no relationship with it. The smallest living particle is not even considered a life form. And yet, our relationship with it is profound. A virus can change the course of human existence, and is so small we may not even consider it part of our immediate natural environment.
In virtual space, “nature” can be redefined. Elements can be reconstructed, repositioned, reinterpreted, providing endless possibilities, making the virtual very real. Science and Art are both interpretations of nature, our nature, our environments, and relationships with each of these. As we consider any past, we must consider the present and acknowledge it as a past for any future. So, as we are present in the future of our own past, we are also living in the history of our own future.
Through this “Virtual Landscapes” exhibition of Stepan Ryabchenko, the curator has been struck wondering if the future might have its lens focused toward this moment. Imagine, virtual technology and advanced science looking at human history, myth, our relationships to the physical world. And we are looking right back at it. How we relate to this question of time and space, to life and resonance, to our own seeds of empathy and compassion, to the forces of life and light which we all imbue, may be the most compelling reminder that we are all virtual expressions, contrasts of light, of mass, density and form.
Did future technology come from a distant past? Are we looking in the right direction? Is this present moment a virtual composite of every piece of coded information and wisdom compiled and transposed across space and time? We are living on the cusp of a new virtual history. Are we doing all that we can to carry the message of our humanity forward, to ensure our survival?
Mohamed Benhadj, Art Curator.
Photo credit Alexander Kozachenko
BIOGRAPHY | STEPAN RYABCHENKO
Born 1987 in Odessa, Ukraine, Stepan Ryabchenko is a leading Ukrainian media artist and Art Laboratory chief curator. His work spans conceptual architecture, sculpture, and light installations. The focus of his attention is the boundary between the real and virtual world and the new nature of art. In his artwork, the artist creates his digital universe with its heroes and mythology. Well-known for his monumental prints and video-art installations of non-existent characters, including Computer viruses, Electronic winds, Virtual flowers, etc.
In his art practice, Stepan Ryabchenko always tries various forms of art and technology, giving priority, especially to innovative technology. With the rapid development of technology in recent decades, art and science are more closely linked than ever before. The cutting-edge integration of the two has brought forth a myriad of new phenomena that Stepan Ryabchenko believes merit further research and analysis.
Like science, art is also a tool for understanding the world around us. Science and art use different methods, but they have a lot in common in that they need to be open, creative, and have an endless interest in learning new things. Furthermore, knowledge itself is an infinite process, an engine that stimulates the development of various human activities.
Stepan Ryabchenko's works have been widely exhibited internationally, including the Ludwig Museum exhibition in Budapest, Saatchi Gallery in London, Krolikarnia in Warsaw, Museum of Contemporary Art in Zagreb and Danubiana Meulensteen Art Museum in Bratislava, Manege and Gostiny Dvor in Moscow, etc. His works have also been exhibited in many places in Ukraine, including PinchukArtCentre, Mystetskyi Arsenal, National Art Museum, M17 Contemporary Art Center, Museum of Odessa Modern Art, Modern Art Research Institute, etc.
COMPUTER VIRUSES
The project is working with relevant issues for the 21st century, the ratio of the real and the virtual, exploring the specificity of their perception by the human mind. In today's world a computer virus is virtually a social unit, each of them has its own history and peculiar interaction with the system. Based on these facts, Stepan Ryabchenko renders the virtual nature of the virus, giving it a shape and an image. Thus, the limit between the figurative and the abstract is overcome, the viewer's attention is transferred to the external image, the focus shifts from the sense of threat in the direction of aesthetic perception.
Melissa
Digital print on aluminum under plexiglass (Diasec)
Computer animation, sound. Year 2011
White Noise
Digital print on aluminum under plexiglass (Diasec)
Year 2009
Power Pump
Digital print on aluminum under plexiglass (Diasec)
Computer animation, sound. Year 2011
Urchin
Digital print on aluminum under plexiglass (Diasec)
Year 2010
White Noise
Virtual reality
“All of Ryabchenko's works are born in a virtual world and exist within that world like a strain – the pure culture of a virus. Taking on material form, they do not only change their appearance, acquiring texture, mass and volume, they also “infect” space, as if computer viruses suddenly found themselves to be the cause of a real epidemic” Daria Borisenko, art critic.
Hunter
Digital print on aluminum under plexiglass (Diasec)
2020
This work has an exciting prehistory. On March 22, 2020, at the beginning of the COVID-19 crises, I was organizing my archive and came across my work called "The Pink Fox", which I created back in 2018. At some point, I opened the file and started working with it. The delicate pink background suddenly changed to a disturbing combination of purple and green, the image of the protagonist took on a complex biomorphic form, and most of the characters left space altogether. The stage took on an alarming state, and the animal froze as if waiting for prey. Later that night the work, that was named "The Hunter", was completed. It became a kind of prophecy, pointing to developing events, as all this began to actively occur in reality: cultural life in the world froze, all institutions were closed, there was nowhere to exhibit, people were forced into isolation. At that moment, as an artist who works with digital art, I decided to act as a curator and organize an international virtual exhibition with my team. I invited artists from all over the world to participate in this project. The focus of my interest was to show how artists of different generations, views, and nationalities see and feel this time. While negotiating with each of the participants, it turned out that everyone this or that way was thinking on the same topic.
Evening Drift
digital print on aluminum under plexiglass (Diasec)
2013-2016
Dedication to the Spider. August 16, 2020
Digital print on aluminum under plexiglass (Diasec)
2020
Transition
digital print on aluminum under plexiglass (Diasec)
2020
Disturbing "Transition" — a reflection on the sensation of a turning point, darkness condensing before dawn. The milky skies in the background are also in a transitional state. They are shrouded in a light haze - either before sunset, or before dawn. The combination of closed and open space and the border between them embodies anxiety, the proximity of the bifurcation point. In most of his works Ryabchenko puts optimistic messages, therefore, despite the apocalyptic nature of the scene, this is still a step towards hope. Natalia Matsenko, art critic
Tranquil
Digital print on aluminum under plexiglass (Diasec)
2020
The Tranquil piece represents a state of calmness, fixed in its temporary stability. It is a pause between the storms of the turbulent present. Tranquil is simultaneously the long-awaited peace and rest, the lack of movement, development, as well as the ability to fill the sails with the winds of change. It contains the ambivalence and unknowing of the coming moment. Despite the arbitrary nature of the scene, the setting retains elements of realism and proximity to a natural landscape. The streamlined shapes resemble liquid metal. Those shapes reflect in the smooth waters, with barely noticeable ripples, frozen in anticipation of the unknown. Natalia Matsenko, art critic
Entrance to the Exit
Digital print on aluminum under plexiglass (Diasec)
2020
As in many other works of Stepan Ryabchenko, in the work "Entrance to the Exit" there is a reference to biblical motives, namely, Exodus. The forms are abstract, but biomorphic, and in their stiffness one can discern dynamics and a certain drama. Against the background of a cloudless sky and a mirror-like water surface, a riot of colors and dynamics of forms, contrasting with the calm environment, testify to the intensity of the events taking place. The exit appears not as a moment, but as a long process full of trials, in which everything undergoes transformations and reality itself takes on new unexpected forms. Actualized by global events of recent times, the theme of the Exodus acquired not only a metaphorical, but also a realistic reading. Natalia Matsenko, art critic
Lateca
Digital print on aluminum under plexiglass (Diasec). 2014 - 2016
It is a rare species of the honeyplant family; until recently, was considered extinct from the virtual nature. Full name "Laetifica Renues Caulis". It is known for its medicinal and therapeutic properties. Moreover, its special feature is the accumulation of positive energy and its radiation to the surrounding beings, often psychologically depressed, sad, nervous or even prone to depression. In this regard, it was awarded the status of "Virtual Therapist". Sensory microcells, comprising the cover of the plant are able to capture the smallest signals in the area, scan the object, its condition, and send "correction" signal, as necessary. During the first minutes of action the state of euphoria may be felt. Lateca lives in isolation, preferably on the water, that helps it filter nutrient materials, delivering them to the plant through the root system.
Greenwalking Dendriform
Digital print on aluminum under plexiglass (Diasec). 2016
One of the oldest virtual plants. Unofficially, was dubbed "Walking Naturalist." It reacts to the environment of the real world. Therefore, if somewhere in the world any plant or animal dies, the Greenwalking Dendriform wilts; if born – it blooms and fragrants. At such moments, the plant attracts insects from all around to collect pollen. The crust of the Greenwalking Dendriform comprises anti-aging substances. It lives mostly in small groups from 3 to 10, more rarely, 12 species. The plant is the main supplier of the official statistics to the centers for environmental and ecological studies. Despite the fact that population of the Greenwalking Dendriform is very small and listed in the International Virtual Nature Protection Organization (IVNPO), the plant is, in fact, not subjected to aging.
Alchemicus Redolent
Digital print on aluminum under plexiglass (Diasec). 2016
The nature of the virtual world is rich and diverse. One of its unique representatives, Alchemicus Redolent, also known as Flower - Perfumer, is everybody's favorite and the king of the bees' hearts. The body of the flower resembles a complex alchemic laboratory that constantly operates conducting experiments in search of new fragrances. Specific plant cells produce essential oils, which create compounds unexplainable by any analysis or logic. They comprise the complex mixtures of various components that enter the body of the flower through the "ltering disk-shaped hat," seep into the cone, and circulate through all the vessels of the plant. Like a musical virtuoso, playing on the strings of all kinds of fragrances, Alchemicus accumulates almost the entire virtual entomofauna. Emitting an unusual odor, the smell of this honey plant attracts even the most sophisticated nectar lovers.
Crimson Needle Fidget
Digital print on aluminum under plexiglass (Diasec). 2016
Do you know how crimson dawn look like? Few people know how crimson dawn look like. In that hour, when everything is blooming and fragrant, the moment, when the insects are uncountable, that wonderful time, when the sky for a moment becomes scarlet and on the horizon, fun and provocatively flying towards you the irrepressible hellion of the virtual world - Crimson Needle Fidget. This frisky and lovely flower is endowed with special properties. With its bright appearance, its bloom is nothing but a bundle of containers for storage of nectar, which Fidget collects using syringe tips from other honey plants and processes it into miraculous extracts. All virtual residents know that this walking "pharmacy" can cure almost any disease. Often he is asked for help in private life, knowing that his "shelf" has a place for various elixirs... However, injections are not always pleasant, and this is the case, when it is said "If you like honey, you should love cold as well".
Glassflower the Gorgeous
Digital print on aluminum under plexiglass (Diasec). 2016
Such a rare species can only be met in the northern part of the virtual space, close to the Glass lake, which, according to the legend, gave birth to the flower. Due to its appearance and shaggy "boots" on the basis of stalk the plant was named the Gorgeous. The structure of the flower is still unknown as it has a reflective mirror-like surface, which merges with the surroundings and makes the plant almost completely invisible. The second reason - the three legs that help the Glassflower to move at a speed of "thought", so no one has to catch it. Legend says, that this mysterious flower can only be met by a person who has love in his heart, pure as the morning dew.
Fiolent Crystal Baby
Digital print on aluminum under plexiglass (Diasec). 2016
One of the most delicate and lovely flowers in virtual nature. Fiolent Crystal Baby appears in the sensory habitats of nascent love. It is also called "Evening Claw" and "Jealous Droplet". Extremely fragile essence depends on reciprocity and sincere feelings of the love object. Under favorable conditions, there is a dance, which causes a surprisingly gentle bloom, and from an overabundance of love flower swirls, releasing love pheromones. In these moments joy and happiness are floating around that germ of love. Digital nature rejoices, virtual Earth jubilates.
Dance
Digital print on aluminum under plexiglass (Diasec)
2016 - 2020
In themes and motives of his work Stepan Ryabchenko always gravitates to the fundamental - mythology, spirituality, nature. He is worried about epic heroes, religious subjects, and natural elements. Often the work's subjects are fictitious plants and animals - surrealistic forms of life, existing according to their own laws in the world created for them by the artist. And the world itself is a match for them. Virtual landscapes where Ryabchenko unfolds characters stories is a whole alternative reality, a self-sufficient multidimensional digital space.
Dawn
Digital print on aluminum under plexiglass (Diasec)
2020
Abounding with strange inhabitants, the landscapes themselves are minimalistic and spacious - a pure canvas for the demiurge, the embodiment of the vastness and limitless possibilities of consciousness that can fill (or not) the available space with anything. Bright contrasting colors or light translucent haze, dawn, twilight or sunny midday, life riot or perfect desolation - in any form and condition the landscape in Stepan Ryabchenko's works is full of vitality. His landscapes look like world fragments full of hopes and expectations, just beginning to be created and filled with meanings.
The world appearance, in its almost naive primordial nature, is far from being entirely urban, technogenic, despite its technological digital origin. A virtual utopia, where prosperity and harmony reign, not knowing the interventions, smoothly emerging from the ocean of possibilities.
Have a look at Stepan ryabchenko’s past exhibitions...
Al-Tiba9 | Stepan Ryabchenko, Virtual Garden (Virtual Mythology, Art Ukraine Gallery, Kyiv, Ukraine)
Al-Tiba9 | Stepan Ryabchenko, Heroes (Virtual Mythology, Art Ukraine Gallery, Kyiv, Ukraine)
Al-Tiba9 | Stepan Ryabchenko, Virtual Garden (Digital Nature, Kyiv International Economic Forum, CEC Parkovy, Kyiv, Ukraine)
Al-Tiba9 | Stepan Ryabchenko, Virtual Garden (Seedstar, Lavra Gallery, Kyiv, Ukraine)
Al-Tiba9 | Stepan Ryabchenko, Melissa (Keeping the Balance Works from the Art Collection Telekom, Ludwig Museum, Budapest, Hungary)
PRESS.
07.01.2021 | Stepan Ryabchenko at Al-Tiba9 Gallery, The Odessa Journal, READ ARTICLE
14.01.2021 | Virtual Landscapes - An extraordinary online exhibition - review, Art & Culture Inside, READ ARTICLE
26.12.2020 | 2021, l’odyssée de l’espace artistique, Le Soir d’Algérie, READ ARTICLE
27.12.2020 | L’art pour comprendre le monde, LIBERTE, READ ARTICLE
22.12.2020 | Stepan Ryabchenko solo exhibition in Barcelona, Royal Design, READ ARTICLE
22.12.2020 | Spanish gallery opens with a Stepan Ryabchenko exhibition, Monitor Odessa, READ ARTICLE
21 .12.2020 | Et l’émotion jaillit!, L’Expression, READ ARTICLE
21.12.2020 | A Spanish gallery presents a solo exhibition by Stepan Ryabchenko, L’officiel, READ ARTICLE
19.12.2020 | La galerie Al Tiba9 lance sa première exposition virtuelle, 24HDZ, READ ARTICLE