Untitled

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Untitled, 2018. Building banner, 480 x 380 cm

Images on the building banner critically comment on the transformation of the urban environment, speculations on real estate market, privatization and visualization of the future and the past of the city in the cliched images that are spread in the visual culture of Minsk. The object receives a utilitarian function, separating the exhibition space from the other premises of the gallery, emphasizing the liminal characteristics of the building zones.

In Search of the Crystal Palace

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In Search of the Crystal Palace, 2018. Video, 12’03’’

In his video-work “In Search of the Crystal Palace” the artist addresses the history of late Soviet modernist architecture monuments, such as the VDNH (Exhibition of Achievements of National Economy) building, “Maskoŭski” bus terminal, the Belarusian Great Patriotic War Museum and others, recently demolished so as to sell the land to investors. He incorporates them into geological changes and the transformation of the matter and structure of the Earth’s crust. A drone hovers over the new urban horizon, depicting the landscape of destruction and reconstruction of Minsk.

Ghosts

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From the series “Ghosts”, 2018. Digital collage, 46 x 30 cm

In the series of works “Ghosts” the artist refers to the postwar destruction and modern landscapes of Minsk, problematizing the official canon of historical memory through the mythology and the “specter” of defeated fascism. Hramovich uses graphic elements of anti-fascist caricatures of Belarusian artists from the publication of the war times “We Will Crush the Fascist Viper”. These nondescript elements, removed from the context – the trajectory of the battle shell’s flight, the fragments of explosions and fragments of bodies, the hulls of the downed planes – remind us of the fear of destruction, of the ruins of Minsk.

Crystal Palace

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Crystal Palace, 2018. MDF, plexiglass, construction fittings, LED ribbon, 450 x 300 x 90 cm

The object “Crystal Palace” consists of two elements: a model of the recently destroyed building of VDNH (Exhibition of Achievements of National Economy) and construction fittings inserted into the model. The Exhibition of Achievements of National Economy was built in 1968 as an exhibitionary complex, representing the view of scientific, technical, agricultural and cultural achievements of the BSSR (Byelorussian Soviet Socialist Republic). In 2017 the pavilion was completely destroyed, and the land was sold to investors: biting irony on the modernist rejection of tradition and the past. In the Hramovich’s artwork the building becomes display with no entrance, which exhibits either “contemporary sculpture”, or piece of armature of the ruined pavillion.

The memory of the people to live forever

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The Museum of the Great Patriotic War in Minsk, demolished in connection with the construction of a new museum (1964 - 2014) Paper, lithography. 62х94 cm
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“Here is a part of something old and here’s a part of something older, it’s quite common to forget, then to remember and try to collect everything from scratch.
Interpretation, narration, recollection. Romantic ruins. The most famous and the closest example of Palmyra is the Maskoūski bus station in Minsk.
Obedience to the strong, heavy memories of the weak.
The black market of art brings ISIS millions of dollars; these revenues are second only to oil sales. Thousands of art objects cross the border and stay in European and American collectors’ pockets.
Another deal is returning or filling a void. Kind of saving from destruction and forgetting, by expropriating and using this destruction and forgetting. Then, to exhibit in a big and beautiful museum, to make up history, to draw a horizon. Later, to return this “history” to the weak, which can be even sold or ransomed.
What former colonies are filled with is a silent emptiness. Give it your “tongue” and teach it how to speak, and you will become the best friend who is always there.
My optics are like that, I’m all for ghosts, for flashing pictures, that are different and always stay together.
For “mute” images and expressive material. Concrete, granite, rocks.
You turn around, and they’re standing in a row, staring at you. I want pictures to go up and up, to look and remain silent”.