https://hramovich.com hramovich.com Mon, 19 May 2025 14:15:47 +0000 https://hramovich.com en https://hramovich.com/Front-page Tue, 30 Jan 2024 20:35:23 +0000 hramovich.com https://hramovich.com/Front-page 2026 <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0d822fd56a444f19458710b26c2ca919e87519ef2706944e6245eec528777ae2/TBA_Hramovich_Margins_Ph_Kuba_Rodziewicz_01.jpg" data-mid="246824714" border="0" src="https://freight.cargo.site/w/1000/i/0d822fd56a444f19458710b26c2ca919e87519ef2706944e6245eec528777ae2/TBA_Hramovich_Margins_Ph_Kuba_Rodziewicz_01.jpg" /> When the banner becomes a landscape. TBA, Warsaw, Poland 2025<img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/13d4ec22b1b24ece86a27e6b2e402e184bfa2b05d10e3911f6e05c3ee42cc3a6/_IMG8601.jpg" data-mid="240756645" border="0" src="https://freight.cargo.site/w/1000/i/13d4ec22b1b24ece86a27e6b2e402e184bfa2b05d10e3911f6e05c3ee42cc3a6/_IMG8601.jpg" />The Howl of St. Christopher. Bialystok, Poland <img width="6007" height="4005" width_o="6007" height_o="4005" data-src="https://freight.cargo.site/t/original/i/89f8b2f3957ef7c4a569bcdcfbb1fbbf9a9b74046f6435c04bc4250628b5d5e6/01_1.jpg" data-mid="240756047" border="0" src="https://freight.cargo.site/w/1000/i/89f8b2f3957ef7c4a569bcdcfbb1fbbf9a9b74046f6435c04bc4250628b5d5e6/01_1.jpg" />Last Pastoral. Bialystok, Poland<img width="3000" height="2001" width_o="3000" height_o="2001" data-src="https://freight.cargo.site/t/original/i/f3e6d8c70b22b9f223700eb8e4796781374ffd954f042f6b1fe5e2d0b63a55f6/XY-2025---Basement---1.jpg" data-mid="237632938" border="0" src="https://freight.cargo.site/w/1000/i/f3e6d8c70b22b9f223700eb8e4796781374ffd954f042f6b1fe5e2d0b63a55f6/XY-2025---Basement---1.jpg" />By LAW. Olomouc, Chech 2024<img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/1ab54f246e70af9e809aa177e8d9062666d800312979d169820650bc50f89e29/Uladzimir-Hramovich_Ruins-of-Belarus_1.jpg" data-mid="221871839" border="0" src="https://freight.cargo.site/w/1000/i/1ab54f246e70af9e809aa177e8d9062666d800312979d169820650bc50f89e29/Uladzimir-Hramovich_Ruins-of-Belarus_1.jpg" /> Ruins of Belarus. Berlin, Germany <img width="2667" height="3320" width_o="2667" height_o="3320" data-src="https://freight.cargo.site/t/original/i/0491b70dd7c6f60d1171d88956a0b877543d4665124aa22ef5427030907802b7/01_HQ3A9340-Edit_fix.jpg" data-mid="213823893" border="0" src="https://freight.cargo.site/w/1000/i/0491b70dd7c6f60d1171d88956a0b877543d4665124aa22ef5427030907802b7/01_HQ3A9340-Edit_fix.jpg" /> People of Salt. Prague, Chech Republic 2023 <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/1df3e82f307d97d8c85d622c20b2d09ddd763daa42091a347059484497ff1982/23_Hramovich.jpg" data-mid="203203669" border="0" src="https://freight.cargo.site/w/1000/i/1df3e82f307d97d8c85d622c20b2d09ddd763daa42091a347059484497ff1982/23_Hramovich.jpg" /> Illumination: Between Bear, Hats, Fruits, Octopus and Hedgehogs. Reims, France&nbsp; <img width="5968" height="3884" width_o="5968" height_o="3884" data-src="https://freight.cargo.site/t/original/i/0d33ca80393aad758f412faf35107c7edd6cceefc5b1753c3398817c1592112c/DSC_2137.jpg" data-mid="203205795" border="0" src="https://freight.cargo.site/w/1000/i/0d33ca80393aad758f412faf35107c7edd6cceefc5b1753c3398817c1592112c/DSC_2137.jpg" /> All buried is forgotten. Vilnius, Lituania 2022 <img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/63302b64ecb568bdd4a874c754b09be23c0c41f7c4e74863cb1050e187d8bfb3/02_photo-Tom-Dachs.jpg" data-mid="203206401" border="0" src="https://freight.cargo.site/w/1000/i/63302b64ecb568bdd4a874c754b09be23c0c41f7c4e74863cb1050e187d8bfb3/02_photo-Tom-Dachs.jpg" /> Confused Conversation. Leipzig, Germany <img width="2504" height="1554" width_o="2504" height_o="1554" data-src="https://freight.cargo.site/t/original/i/f9c89831230203742bd4c8d2d7f4f21b3d149e05cae8b459d216d20410d03430/--2024-01-31--1.03.42.png" data-mid="203216564" border="0" src="https://freight.cargo.site/w/1000/i/f9c89831230203742bd4c8d2d7f4f21b3d149e05cae8b459d216d20410d03430/--2024-01-31--1.03.42.png" /> How to Respond a Rods When You are Dead Yiddishland Pavilion at the 59th Venice Biennale&nbsp; 2021<img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/40ff1e53e350f77286682a1ac31e402ddf55f0b50872e39443ef63ef03171deb/03_.jpg" data-mid="237905156" border="0" src="https://freight.cargo.site/w/1000/i/40ff1e53e350f77286682a1ac31e402ddf55f0b50872e39443ef63ef03171deb/03_.jpg" /> Learning to Defeat. Domie, Poznań, Poland <img width="2500" height="2000" width_o="2500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6632f465e3f7e2a211c7975c0b0cd5ead0d209031493e36d67e6951112638d19/01_crop-1-von-59.jpeg" data-mid="203213070" border="0" src="https://freight.cargo.site/w/1000/i/6632f465e3f7e2a211c7975c0b0cd5ead0d209031493e36d67e6951112638d19/01_crop-1-von-59.jpeg" /> CROP. Collaboration with artist Gleb Amankulov.&nbsp; Vienna, Austria &nbsp;<img width="2700" height="1800" width_o="2700" height_o="1800" data-src="https://freight.cargo.site/t/original/i/b88c22968b28cae67d394d7871b885a1e326e46fa0a7d88870d0081b197a3f3b/DSCF6951__new.jpg" data-mid="203774918" border="0" src="https://freight.cargo.site/w/1000/i/b88c22968b28cae67d394d7871b885a1e326e46fa0a7d88870d0081b197a3f3b/DSCF6951__new.jpg" /> Weak Horizon.&nbsp;Kyiv, Ukraine&nbsp; 2019<img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/ba24a4b53d6913032482a033a8e8d2216d99440ea18cb61604484fdaafe6c932/DSCF6368.jpg" data-mid="203774898" border="0" src="https://freight.cargo.site/w/1000/i/ba24a4b53d6913032482a033a8e8d2216d99440ea18cb61604484fdaafe6c932/DSCF6368.jpg" /> I Found Your Broken Signs. Minsk, Belarus&nbsp; 2018<img width="3516" height="2344" width_o="3516" height_o="2344" data-src="https://freight.cargo.site/t/original/i/eea4319d4e09183b7f2c1486fea6dabe0aebfb1d36e1768f289a1f960496ed90/01_Crystal-Palace--2018.-MDF--plexiglass--const.jpg" data-mid="203774951" border="0" src="https://freight.cargo.site/w/1000/i/eea4319d4e09183b7f2c1486fea6dabe0aebfb1d36e1768f289a1f960496ed90/01_Crystal-Palace--2018.-MDF--plexiglass--const.jpg" /> When The Rocks Are Uphill, The Cannonballs Are Off The Road. Minsk, Belarus&nbsp; https://hramovich.com/Ich-bin-Pfeilstorch Mon, 19 May 2025 14:15:47 +0000 hramovich.com https://hramovich.com/Ich-bin-Pfeilstorch <img width="17066" height="8820" width_o="17066" height_o="8820" data-src="https://freight.cargo.site/t/original/i/d9e65cfb2b9d4ef666c94e9e9ae2f7a22c55e1d3fc62138ff6b426a0a29583c5/07_Ich-bin-Pfeilstorch_Print_U.Hramovich.jpg" data-mid="233403700" border="0" src="https://freight.cargo.site/w/1000/i/d9e65cfb2b9d4ef666c94e9e9ae2f7a22c55e1d3fc62138ff6b426a0a29583c5/07_Ich-bin-Pfeilstorch_Print_U.Hramovich.jpg" /> &nbsp; Ich bin Pfeilstorch The German word "Pfeilstorch" refers to a stork injured by a spear or arrow in Africa while returning to Europe to breed. The first documented case, discovered in 1822 near Klütz, is now preserved in Rostock University's Zoological Collection. This remarkable finding provided evidence that birds migrate over long distances and challenged myths that prevailed at the time, such as underwater hibernation. Today, I believe we are all Pfeilstörche, carrying our own "arrows" as we navigate new contexts and integrate the experiences of exile. The original linocut featured on the poster was created by Belarusian artist V. Sharangovich in the 1960-70s and is part of my private collection. I simply added the story and arrows. Ifa-gallery. Berlin, Germany https://hramovich.com/Ruins-of-Belarus Fri, 15 Nov 2024 16:21:47 +0000 hramovich.com https://hramovich.com/Ruins-of-Belarus <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/59a747929dae7d024eac223405e32cec0e3ceff128af82084492266dab45c9e0/Uladzimir-Hramovich_Ruins-of-Belarus_6.jpg" data-mid="221872056" border="0" src="https://freight.cargo.site/w/1000/i/59a747929dae7d024eac223405e32cec0e3ceff128af82084492266dab45c9e0/Uladzimir-Hramovich_Ruins-of-Belarus_6.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/48d27768a6563becb88072bef487fdc540071222c475dc1324ddba88e67ca7ac/Uladzimir-Hramovich_Ruins-of-Belarus_15.jpg" data-mid="221872059" border="0" src="https://freight.cargo.site/w/1000/i/48d27768a6563becb88072bef487fdc540071222c475dc1324ddba88e67ca7ac/Uladzimir-Hramovich_Ruins-of-Belarus_15.jpg" /> Scarecrow 60 х 225 cm Mannequin; GDR police helmet from the 80s; Linen schirt from 1930s, Zburazh village, Malaritsky district, Belarus. Buttons: 3D printing: Modernist decorative element from the Museum of Achievements of National Economy, Minsk 1968-2017; Marat Kazey (1929 - 1944) Soviet and Belarusian partisan; A log cabin of a 10th century house Archeological Museum, Brest, Belarus; Ruin of a tower of the 13th-16th centur Navagrudak castle, Belarus. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/530e93ff0341d181061f0d5b3324b72f97dcbf576ae63ed72f4a195f280cedb8/Uladzimir-Hramovich_Ruins-of-Belarus_13.jpg" data-mid="221872081" border="0" src="https://freight.cargo.site/w/1000/i/530e93ff0341d181061f0d5b3324b72f97dcbf576ae63ed72f4a195f280cedb8/Uladzimir-Hramovich_Ruins-of-Belarus_13.jpg" /> <img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/804282e241f3b78aa07145ea582c67b3d58790fb74e1199819e3630fbe7a14a7/Uladzimir-Hramovich_Ruins-of-Belarus_4.jpg" data-mid="221872091" border="0" src="https://freight.cargo.site/w/1000/i/804282e241f3b78aa07145ea582c67b3d58790fb74e1199819e3630fbe7a14a7/Uladzimir-Hramovich_Ruins-of-Belarus_4.jpg" /> <img width="1536" height="2048" width_o="1536" height_o="2048" data-src="https://freight.cargo.site/t/original/i/7eb0e49520fdf490f84810b26377de16e141f9cb6666bf2d9e109dff6fb841b6/Uladzimir-Hramovich_Ruins-of-Belarus_5.jpg" data-mid="221872133" border="0" src="https://freight.cargo.site/w/1000/i/7eb0e49520fdf490f84810b26377de16e141f9cb6666bf2d9e109dff6fb841b6/Uladzimir-Hramovich_Ruins-of-Belarus_5.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/9183ed171dd9d26ff0e9a5dcc5433ed75a9418cbd9d21089028e402828c3e772/Uladzimir-Hramovich_Ruins-of-Belarus_11.jpg" data-mid="221872178" border="0" src="https://freight.cargo.site/w/1000/i/9183ed171dd9d26ff0e9a5dcc5433ed75a9418cbd9d21089028e402828c3e772/Uladzimir-Hramovich_Ruins-of-Belarus_11.jpg" />Blind Search 55 х 125 сm Lamps of the 60-70s; Linen canvas; led lamps. Photos: Minsk, Vitebsk, Ragachou, Gomel, frome eBay. Period 1941-1943 <img width="4895" height="3916" width_o="4895" height_o="3916" data-src="https://freight.cargo.site/t/original/i/65154cb4941c17b21cc872b876178b8e32035671421e4f774c8e3e051d091fc9/DSCF0221.jpg" data-mid="222000766" border="0" src="https://freight.cargo.site/w/1000/i/65154cb4941c17b21cc872b876178b8e32035671421e4f774c8e3e051d091fc9/DSCF0221.jpg" /> <img width="1638" height="2048" width_o="1638" height_o="2048" data-src="https://freight.cargo.site/t/original/i/741c6ca14e69de52a4930f02f5b8682f7b0d852bef72e1c4088b9cb8a7225257/Uladzimir-Hramovich_Ruins-of-Belarus_9.JPG" data-mid="221876850" border="0" src="https://freight.cargo.site/w/1000/i/741c6ca14e69de52a4930f02f5b8682f7b0d852bef72e1c4088b9cb8a7225257/Uladzimir-Hramovich_Ruins-of-Belarus_9.JPG" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/e025567211a4e3839683ec699cb6a7c19c621fcadce2839c149a0fb56f38c7cc/Uladzimir-Hramovich_Ruins-of-Belarus_10.jpg" data-mid="221876853" border="0" src="https://freight.cargo.site/w/1000/i/e025567211a4e3839683ec699cb6a7c19c621fcadce2839c149a0fb56f38c7cc/Uladzimir-Hramovich_Ruins-of-Belarus_10.jpg" />Seek and Hide 82 х 62 сm Toys from the 60s-70s from the GDR and Poland; 3D print: hand with a grenade from the monument to Marat Kazej (1959) in Minsk. Hand of a soldier from the memorial complex Brest Hero Fortress (1971), Belarus. Uladzimir Hramovich: Ruins of Belarus. Based on the VEHA archive Ruins make time visible; they signify both memory and the present. Even if their architecture has lost its functional and representative meaning to decay or destruction, their reception is an indication of the contemporary political climate. For Uladzimir Hramovich, materials such as concrete, stone, metal, paper, and color are not just surfaces that reveal traces of history but agents that actively influence it through their presence. In his artistic work, Hramovich examines ideologies and political movements, using documentary material as a point of departure. In Berlin, cut off from his sources in Belarus on account of his forced exile, he discovered eBay kleinanzeigen for his research. Among other things, he bought a series of pictures from the period of the German occupation of Belarus from 1941 to 1944. The pictures depict destroyed buildings and were taken by German soldiers, eventually winding up in private family archives. The photographs taken by the occupying forces present a perspective that differs widely from the heavily censured Soviet image politics. Hramovich stages the pictures in an installation that resembles the classic display of a local history museum. The play of perspectives and the quirky presentation of the objects is brought to new heights in his installation “Ruins of Belarus.” While researching online, Hramovich’s algorithm pointed him to relics from the GDR (German Democratic Republic, or in German DDR) that were sold on eBay as nostalgic souvenirs. Among these relics is the GDR police helmet on display here, which reminds Hramovich of the brutal violence with which the regime in Belarus persecutes anyone who does not follow the dominant ideology. He juxtaposes the helmet with a traditional Belarusian linen shirt, evoking an eerie feeling of familiarity and repulsion at once. He also “reconstructed” cats made of plastic, an iconic toy from the former GDR and Poland, in his own manic way: on each cat, Hramovich replaced one paw with the arm of a Soviet monument that commemorates the Great Patriotic War. In this exhibition, he creates a familiar museum setting that also engages with uncanny associations of bodies. Fascinating as they are, these bizarre combinations induce a feeling of profound discomfort. Hramovich’s technique can be read as a speculative restauration of fragments of various periods, contexts, and ideologies. His manipulated objects are an attempt to reconstruct his own history, and to propose an alternative narrative to hegemonic historic discourses. After the exhibition closes, the pictures will join the eponymous collection “Ruins of Belarus” of the independent VEHA Archive. Curator: Katharina von Hagenow Photo credits: Lesia Pcholka https://hramovich.com/People-of-Salt Sat, 29 Jun 2024 09:54:18 +0000 hramovich.com https://hramovich.com/People-of-Salt <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/d17f96eb55ab53805f888447c2f33d9d39c09b720d5f71dba64361993a486ecb/HQ3A0327.jpg" data-mid="213823552" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/d17f96eb55ab53805f888447c2f33d9d39c09b720d5f71dba64361993a486ecb/HQ3A0327.jpg" /> People of Salt Metal, aluminum, scythes, pumps, water, potassium permanganate, potassium, found objects In his artworks Uladzimir Hramovich uses materials that are also used in museums, construction sites, monuments. He asks the question: what if these materials, like concrete, granite, metal, and glass, not only get worse over time but also change history? In People of Salt he creates a fountain with different unusual elements. It is connected to the history of the city of Salihorsk. The city is famous for its salt mines. Some of these objects, like helmets, represent the hard work people do in mines, quarries, and construction sites. Others, like scythes, represent agricultural work in the countryside. Peasants used to fight their masters with scythes. The helmets are now fountains and the scythes are displayed with their blades pointing upwards. Their shape is changed – from the tools of work they became tools of struggle. The objects shown in the artwork are a symbol of workers and peasants fighting for their rights. The artwork is about two uprisings in Belarus. One happened in 2020 when workers went on strike against state and police violence. Many workers from Salihorsk mines joined the strike. The other happened in 1863 against the Russian Empire's colonial rule. The artist connects these struggles and how they were forgotten over time. The current government in Belarus is removing all memories of anti-colonial struggles, including monuments and texts in school books. Both the uprisings of 1863 and 2020 have failed – but what does the failure represent? How can we remember it and make use of it in the present moment? The work from The Biennale Matter of Art. Prague, Czech Republic Curator: Aleksei Borisionok, Katalin Erdődi <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a502afe1709fad22f89de9aa898d04149282cc2d59f629905fbc7c64301417b1/HQ3A9342.jpg" data-mid="213823895" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/a502afe1709fad22f89de9aa898d04149282cc2d59f629905fbc7c64301417b1/HQ3A9342.jpg" />&nbsp; &nbsp; &nbsp;<img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/da6731623125872e735bc7b9686b6fcfc47186dd575aebc36f9eb2e4a3da8ff5/HQ3A9311.jpg" data-mid="213823965" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/da6731623125872e735bc7b9686b6fcfc47186dd575aebc36f9eb2e4a3da8ff5/HQ3A9311.jpg" /> <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="//freight.cargo.site/t/original/i/76fde0bd912cdd2008c72f2322962f3530ee47c7a5197a35397816f399f6500b/23_Hramovich.jpg" data-mid="203204203" border="0" style="width: 934.78125px; height: 623.1875px; display: none;"> <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d700b247e198b60b0b70b0df3991d15dd77638b2658bccc6b8e734e9d65521da/HQ3A9391.jpg" data-mid="213823976" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/d700b247e198b60b0b70b0df3991d15dd77638b2658bccc6b8e734e9d65521da/HQ3A9391.jpg" />&nbsp;&nbsp; <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/8d13365699d9da2c2bed010d4ca89ece1e10f2d2d88e4cbaa881ea9e70a535da/HQ3A9322.jpg" data-mid="213823993" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/8d13365699d9da2c2bed010d4ca89ece1e10f2d2d88e4cbaa881ea9e70a535da/HQ3A9322.jpg" />&nbsp;&nbsp; <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c99e56b6fa16ffb611f863d2c7fed4f682efc5c4e1d1bbc87632c3cf6010f469/HQ3A9393.jpg" data-mid="213824144" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/c99e56b6fa16ffb611f863d2c7fed4f682efc5c4e1d1bbc87632c3cf6010f469/HQ3A9393.jpg" /> Photo credits: Jonáš Verešpej https://hramovich.com/Hide-and-Seek Thu, 27 Jun 2024 15:43:16 +0000 hramovich.com https://hramovich.com/Hide-and-Seek <img width="3342" height="2741" width_o="3342" height_o="2741" data-src="https://freight.cargo.site/t/original/i/82b018251d3de944b9b2564694b4ed2fb500dd6ac6e9702662f20437d819830c/003_Uladzimir-Hramovich_fix.jpg" data-mid="213736110" border="0" src="https://freight.cargo.site/w/1000/i/82b018251d3de944b9b2564694b4ed2fb500dd6ac6e9702662f20437d819830c/003_Uladzimir-Hramovich_fix.jpg" /> Hide and Seek Wood, find photo, find plastic toy. 60×80 cm The pieces is a reflection on the newest photo collection that joined the VEHA archive in 2023. These are Ruins of Belarus i.e. photos in which people pose against the background of demolished buildings located on the territory of today's Belarus. For installation, I uses photos of ruined Belarusian cities, taken by German soldiers during the occupation in times of the World War II, which I found on German eBay. (Mentioned that is Gomel 1941). And I combine archival photos with post-war toys for children created in the GDR and PRL. The form of the work itself is a reference to Chaim Steinbach's artistic method, which is based on collecting and organizing already existing, most often mass-produced objects. Hramovich leaves the shell of Steinbach's construction as a recognized form in contemporary art, saturating it with things that resemble rather a historical museum’s display than a contemporary art exposition. In my case was said it’s like “subjective archaeology”, or private historical museum where things from different pasts suddenly appear in one place. The contrast between them is intensified by the modernistic shape of the toy from the 60-70s, which looks like an alien against the background of the rubble. By juxtaposing two different pasts in present time, aims to showcase the past repeats itself in the present, like in an endless game.&nbsp; The work from group exhibition "We’ll Hold a Wedding on Your Graves. Beyond VEHA Photographic Archive"&nbsp;Copenhagen Photo Festival. Danmark Curator:&nbsp;Vera Zalutskaya <img width="3091" height="4006" width_o="3091" height_o="4006" data-src="https://freight.cargo.site/t/original/i/e12467d12213d4d146126ed390dfb6e9722442ead4fc272d9fe7b21c0108a085/004_Uladzimir-Hramovich_fix.jpg" data-mid="213736111" border="0" src="https://freight.cargo.site/w/1000/i/e12467d12213d4d146126ed390dfb6e9722442ead4fc272d9fe7b21c0108a085/004_Uladzimir-Hramovich_fix.jpg" /> <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="//freight.cargo.site/t/original/i/76fde0bd912cdd2008c72f2322962f3530ee47c7a5197a35397816f399f6500b/23_Hramovich.jpg" data-mid="203204203" border="0" style="width: 781.28125px; height: 520.854167px; display: none;"> https://hramovich.com/Illumination-Between-Bear-Hats-Fruits-Octopus-and-Hedgehogs Tue, 30 Jan 2024 20:35:24 +0000 hramovich.com https://hramovich.com/Illumination-Between-Bear-Hats-Fruits-Octopus-and-Hedgehogs <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/41f21140ec776086cb30906c90c6e4e4fc090cb48ba7f750dd0443713bfa724d/22_Exhibition-view.jpg" data-mid="203204371" border="0" src="https://freight.cargo.site/w/1000/i/41f21140ec776086cb30906c90c6e4e4fc090cb48ba7f750dd0443713bfa724d/22_Exhibition-view.jpg" /><img width="4416" height="2944" width_o="4416" height_o="2944" data-src="//freight.cargo.site/t/original/i/4a0d005f606928bcde247d52665da99e37b5130637a43f3704deac9548b56bfa/24_Hramovich.jpg" data-mid="203204201" border="0" style="width: 379.411px; height: 252.940667px; display: none;"> <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/f315ce094bdb43d81b84d46e3c865a2f30af6a87986e1ab0c5063b44e743b243/DSCF4390.JPG" data-mid="203204375" border="0" src="https://freight.cargo.site/w/1000/i/f315ce094bdb43d81b84d46e3c865a2f30af6a87986e1ab0c5063b44e743b243/DSCF4390.JPG" /> Illumination: Between Bear, Hats, Fruits, Octopus and HedgehogsAcrylic. 800x300 cm Taking the logo of the Belarusian soviet satirical magazine “Вожык” (Hedgehog) as a basis, I "roll" it by sticking different narratives and stories on its needles. In the new version of the work "Illumination: Between Bear, Hats, Fruits, Octopus and Hedgehogs" I contrast old cartoons from the 19th-20th century representing the unchanging "alphabet" of the political imagination showing how some images (countries) may not change for centuries but at the same time how the hedgehog becomes an anti-tank hedgehog that keeps rolling on the ground. I used the basic colours of the Reims Gospel miniatures - brown, green, blue - and "enlarge" these colours from miniatures to monumental painting, like magazine cartoons to mural. Essentially combining two histories and meanings of the word illumino - which meant completely different things at different times in history, from miniature to giant light destruction.&nbsp; The work from group exhibition "L'horloge à répétition” (The repeating clock). The Left Place, The Right Place. Reims, France. 2023&nbsp; Curator: Patricia Couvet&nbsp; <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/3713d5bd636db5628e15c7797c218dfe355b2d9ba5d96bbcc512d3f4d9058e1f/23_Hramovich.jpg" data-mid="203204372" border="0" src="https://freight.cargo.site/w/1000/i/3713d5bd636db5628e15c7797c218dfe355b2d9ba5d96bbcc512d3f4d9058e1f/23_Hramovich.jpg" /> <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="//freight.cargo.site/t/original/i/76fde0bd912cdd2008c72f2322962f3530ee47c7a5197a35397816f399f6500b/23_Hramovich.jpg" data-mid="203204203" border="0" style="width: 781.28125px; height: 520.854167px; display: none;"><img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/55df00117c8730bce4ffd4cce2c6ef031d9f11d71ceea20e9aa487df2dcaa895/26_Hramovich.jpg" data-mid="203204374" border="0" src="https://freight.cargo.site/w/1000/i/55df00117c8730bce4ffd4cce2c6ef031d9f11d71ceea20e9aa487df2dcaa895/26_Hramovich.jpg" /> <img width="4416" height="2944" width_o="4416" height_o="2944" data-src="https://freight.cargo.site/t/original/i/4f419c58e1600e46e291f85b6e0e430373d507eb4666855ec7b32e39af6c6544/24_Hramovich.jpg" data-mid="203204373" border="0" src="https://freight.cargo.site/w/1000/i/4f419c58e1600e46e291f85b6e0e430373d507eb4666855ec7b32e39af6c6544/24_Hramovich.jpg" /> https://hramovich.com/All-buried-is-forgotten Tue, 30 Jan 2024 20:35:24 +0000 hramovich.com https://hramovich.com/All-buried-is-forgotten <img width="5831" height="3892" width_o="5831" height_o="3892" data-src="https://freight.cargo.site/t/original/i/c096404fcd47fad3e3dea78b5dd9cef42945f88259fe76727491e7d837cad2ad/DSC_2132.jpg" data-mid="203206022" border="0" src="https://freight.cargo.site/w/1000/i/c096404fcd47fad3e3dea78b5dd9cef42945f88259fe76727491e7d837cad2ad/DSC_2132.jpg" /> <img width="3953" height="5941" width_o="3953" height_o="5941" data-src="https://freight.cargo.site/t/original/i/7cafcf9438f85e42fa726a6729a02e5d2e3ad435e3e6137521c7145666269d13/DSC_2177.jpg" data-mid="203206026" border="0" src="https://freight.cargo.site/w/1000/i/7cafcf9438f85e42fa726a6729a02e5d2e3ad435e3e6137521c7145666269d13/DSC_2177.jpg" /> <img width="3963" height="5957" width_o="3963" height_o="5957" data-src="https://freight.cargo.site/t/original/i/4a57deade18095ef70b5621c811daaaae548863dd74ee56c3c9afdd9124b95e2/DSC_2146.jpg" data-mid="203206023" border="0" src="https://freight.cargo.site/w/1000/i/4a57deade18095ef70b5621c811daaaae548863dd74ee56c3c9afdd9124b95e2/DSC_2146.jpg" /> All buried is forgotten&nbsp; Banners In his artistic practice, Hramovich draws on the history of modernist art and architecture, the history of ideology and political movements and transformations of urban space. Trained as a professional graphic artist at the Belarusian State Academy of Arts, Hramovich's work alludes to an increased demand for realistic drawing skills in the 3D modeling and CGI market. Before 2020, one of the main employers in the IT sector was Wargaming, a company that developed the online game World of Tanks. Within a historical framework, the game recreates tank battles through an online multiplatier structure and is highly popular in Eastern Europe. This game is part of what Hramovich calls a spectral temporality, where various historical narratives are mixed with the imperialist perception of space, 3D modeling and elements of contemporary cyber warfare. His installation Усе забыта што зямлей зарыта (All buried is forgotten), borrows its name from a Belarusian folk proverb. In it, he uses various fragments of 3D models (in collaboration with Andrii Akhtyrskyi) of the borderland landscapes between o and, Ukraine and Latvia. Over the last 3 years, the Belarusian border has become a place of crossing and historical 'rifts'. Political refugees from Belarus, refugees from other countries (instrumentalized by the Belarusian government) and Russian troops that attacked Ukraine from Belarus on February 24th all crossed the border. The digital, speculative and real maps and compasses follow the logic of disorientation, where the political frameworks of sovereignty, and agency are obsolete. The border has now become a kind of 'rampart: as Ukrainian forces have blown up roads and bridges, and EU countries have fortified their borders. The rolled scrolls refer to the dialectics of the visible and opaque in the ongoing cyberwar, and its imperial and post-colonial production of space. Monuments from "Memory Alley" near Brest which was created by pro-regime activist and businesswoman Natalia Ilnitskaya: "The preserved plaque with inscriptions is a good luck, you can learn a lot from it. Basically, all the monuments brought from abroad - in a shattered state - had to be collected literally piece by piece. Natalia The idea came up of creating a memory alley in a village near Brest in 2017, when the Polish Sejm decided to demolish Soviet monuments. More than 400 were to be dismantled, located throughout Poland. Many had already been destroyed by that time, while the rest had been deliberately dismantled and transported away from human eyes”. The work from group exhibition "If Disturbed, It Becomes Tangible". The Lithuanian National Museum of Art. Vilnius, Lithuania. 2023&nbsp; Curators: Aleksei Borisionok, Antonina Stebur &nbsp; <img width="3658" height="5866" width_o="3658" height_o="5866" data-src="https://freight.cargo.site/t/original/i/288d73146d7e241ce0f5522723373da10e53a42259c1bfa21fc03cd130f01372/DSC_2175.jpg" data-mid="203206024" border="0" src="https://freight.cargo.site/w/1000/i/288d73146d7e241ce0f5522723373da10e53a42259c1bfa21fc03cd130f01372/DSC_2175.jpg" /> Photos by&nbsp;National Gallery of Art. Vilnius, Lituania &nbsp; https://hramovich.com/Confused-Conversation Tue, 30 Jan 2024 20:35:24 +0000 hramovich.com https://hramovich.com/Confused-Conversation <img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/13a723c3b45782bfead9fc9699575054b65c3155576720d61dc72a359dc09f7e/01_photo-Tom-Dachs.jpg" data-mid="203206582" border="0" src="https://freight.cargo.site/w/1000/i/13a723c3b45782bfead9fc9699575054b65c3155576720d61dc72a359dc09f7e/01_photo-Tom-Dachs.jpg" /> Confused Conversation Helmets, salt, plastic bags, lanterns, dimensions variable The helmet is an image from the past, found in illustrations and mosaics from the 20th century depicting strikes and labor. However, today it symbolizes the protection of not just your head, but your thoughts as well. It serves as guiding light, helping us navigate the darkness of history and find others along the way. In Belarusian Prisons, a plastic bag is a common item used when someone wants to give something, such as food or clothes.The bag is labeled with your name. When you leave prison, you typically have a bag containing your belongings, often the same one that was given to you with your name on it. Salt is an essential element found in nature, used in food and various weapons. It is also associated with Belaruskali,the renowned company that mines potassium salt. During the protests in Belarus, there were significant strikes by miners at this company. Unfortunately, these miners faced subsequent repression and many are now imprisoned.&nbsp; The work from group exhibition “VERSSchmuggel Belarus Deutschland”. Gallery Intershop. Leipzig, Germany. Curators: Louise Walleneit, Künstlerin und Künstlerische Leitung FZHK e.V.&nbsp; Photos by Tom Dachs <img width="1493" height="2240" width_o="1493" height_o="2240" data-src="https://freight.cargo.site/t/original/i/aadad15c16db7973f90365c9aff1043cb76ac52cb2c5940f4ecf0768ba5b519f/03_photo-Tom-Dachs.jpg" data-mid="203206495" border="0" src="https://freight.cargo.site/w/1000/i/aadad15c16db7973f90365c9aff1043cb76ac52cb2c5940f4ecf0768ba5b519f/03_photo-Tom-Dachs.jpg" /> https://hramovich.com/CROP Tue, 30 Jan 2024 20:35:25 +0000 hramovich.com https://hramovich.com/CROP <img width="3554" height="4488" width_o="3554" height_o="4488" data-src="https://freight.cargo.site/t/original/i/bdec1eb6fec25433880f891174cfd715c3edab2e1fcfba2aea0ecd50e195b38b/crop-23-von-59.jpg" data-mid="203210646" border="0" src="https://freight.cargo.site/w/1000/i/bdec1eb6fec25433880f891174cfd715c3edab2e1fcfba2aea0ecd50e195b38b/crop-23-von-59.jpg" /> <img width="3554" height="4488" width_o="3554" height_o="4488" data-src="https://freight.cargo.site/t/original/i/e0a5d20a8cbbe5c0b4a85b5d6df29423f7ec158f53ddfcec2c42ba2f4b90c263/crop-8-von-59_CUT.jpg" data-mid="203211192" border="0" src="https://freight.cargo.site/w/1000/i/e0a5d20a8cbbe5c0b4a85b5d6df29423f7ec158f53ddfcec2c42ba2f4b90c263/crop-8-von-59_CUT.jpg" /> Sleeping Material | U. Hramovich, G. Amankulov&nbsp; Potassium permanganate, belarusian ‘dyvan’ (carpets) dimensions variable Object 2 | U.Hramovich, G. AmankulovLeather, wood, metal, photo dimensions variable CROP. Collaboration with artist Gleb Amankulov WAF gallery, Vienna, Austria A year ago, in September, in the midst of the anti-government post-election uprising in Belarus, we made a trip to the city of Zhodzina with a couple of friends. Zhodzina, first mentioned as a settlement in 1688 and acquired a city status in 1963, with today’s population of 65 451 people, is a factory city and a prison city. The site of extraction — of earth resources and of the resources of bodies. The city’s major enterprise, BelAZ, is one of the world‘s largest manufacturers of large dump trucks and mining transport equipment. In August 2020, its workers joined the strikes against the falsified elections and state violence. Another crucial space of Zhodzina is a prison and a detention centre, where, along with Minsk, most of the arrested protestors were confined. Their friends and relatives regularly go to Zhodzina to meet the ones released and to bring parcels to the ones still imprisoned, assisted by the extensive network of volunteers. When in town, we decided to visit the regional ethnography museum. What struck me in its display, was the speed with which history unfolded and then abruptly stopped. In the two rooms, ancient artefacts were almost immediately followed by documents of the Second World War — the museum’s final point. Meanwhile out- doors, the history has been written, erased, revealed and rewritten again on every surface — protest graffiti covered pavements and walls, readable (or guessed) even when painted over. Exhibition “CROP” by Uladzimir Hramovich and Gleb Amankulov created through a collaborative process, resembles a strange ethnographic museum. Its display presents a non-linear interrupted narrative, the ar-rangement of objects which seem to refuse to represent the assigned places and functions. Collected from unspecified locations and times, contemporary objects revoke the past, while the origin of seemingly traditional artefacts is uncertain. They refuse the viewers to establish a clear relation, being both familiar and unrecognized. The things revolt, the human figure is absent. Bluestone or copper sulphate and potassium carbonate transform their matter, connecting industry and geological history, regeneration and intoxication. Not only the function of the object is uncertain — it alters. Through the power of even a slightest gesture ever- yday becomes political. Through the transformation of the matter or its recomposition — like straightening of the scythe — the course of history changes. Straightened scythes first appeared as weapons in the Kościuszko Uprising of 1794 against Russian influence in Polish–Lithuanian Commonwealth (partially the territory of contemporary Belarus), and were used by scythemen, normally peasants and town dwellers. Both crop and museum address the time. Their collection marks the past, the end. Today, a year after the events, it is almost painful to look back — at the images, to recall the witnesses. It makes it seem that the events are not happening anymore. Revolting against such a final, we are joining the objects in their refusal of linear time. Text be Olia Sosnovkaya August, 2021. Vienna, Austria <img width="5282" height="3471" width_o="5282" height_o="3471" data-src="https://freight.cargo.site/t/original/i/ff341544645c12963047b67903d006137c991e3e0ee61edd7697489918438a5f/crop-15-von-59.jpg" data-mid="203211682" border="0" src="https://freight.cargo.site/w/1000/i/ff341544645c12963047b67903d006137c991e3e0ee61edd7697489918438a5f/crop-15-von-59.jpg" /> Sleeping Material | U. Hramovich, G. Amankulov Potassium permanganate, belarusian ‘dyvan’ (carpets) dimensions variable <img width="3648" height="5472" width_o="3648" height_o="5472" data-src="https://freight.cargo.site/t/original/i/2a93ca4058fd3e8e0b9abca93a9d56c0cffb80e0dc991b2e8198930f93dcce0a/crop-19-von-59.jpg" data-mid="203210642" border="0" src="https://freight.cargo.site/w/1000/i/2a93ca4058fd3e8e0b9abca93a9d56c0cffb80e0dc991b2e8198930f93dcce0a/crop-19-von-59.jpg" /> 1988 | &nbsp;U.Hramovich, G. Amankulov Wood, table cloth, dimensions variable <img width="5378" height="3648" width_o="5378" height_o="3648" data-src="https://freight.cargo.site/t/original/i/6384af129aeda9ee9d713bf2c8642c9d0e85b61ecd4152a2821c22c1a76b8858/crop-37-von-59.jpg" data-mid="203210660" border="0" src="https://freight.cargo.site/w/1000/i/6384af129aeda9ee9d713bf2c8642c9d0e85b61ecd4152a2821c22c1a76b8858/crop-37-von-59.jpg" /> <img width="3313" height="4512" width_o="3313" height_o="4512" data-src="https://freight.cargo.site/t/original/i/dbd223e8109727631184d3bc8dcee1dab52fcd554796751299e759561c016d91/crop-6-von-59.jpg" data-mid="203210649" border="0" src="https://freight.cargo.site/w/1000/i/dbd223e8109727631184d3bc8dcee1dab52fcd554796751299e759561c016d91/crop-6-von-59.jpg" /> <img width="3313" height="4512" width_o="3313" height_o="4512" data-src="https://freight.cargo.site/t/original/i/ac0129d2fe0883a20360dea59d838f5120cc3baa7050e550b00a572fb062d77c/crop-2-von-59_CUT.jpg" data-mid="203210791" border="0" src="https://freight.cargo.site/w/1000/i/ac0129d2fe0883a20360dea59d838f5120cc3baa7050e550b00a572fb062d77c/crop-2-von-59_CUT.jpg" /> Fire Bird &nbsp;| U. Hramovich Banner printing, lamp, 150x200 cm Rebellious Things (New Wind) | U. Hramovich Scythe, straw hat, lashing strap, dimensions variable&nbsp; <img width="5472" height="3523" width_o="5472" height_o="3523" data-src="https://freight.cargo.site/t/original/i/fbf18492e321da6d4752addbe7d7602f02b10b3babbccce56494249feba0d9a1/crop-40-von-59.jpg" data-mid="203210652" border="0" src="https://freight.cargo.site/w/1000/i/fbf18492e321da6d4752addbe7d7602f02b10b3babbccce56494249feba0d9a1/crop-40-von-59.jpg" /> Photos by Philipp Pess https://hramovich.com/Weak-Horizon Tue, 30 Jan 2024 20:35:26 +0000 hramovich.com https://hramovich.com/Weak-Horizon <img width="4896" height="3264" width_o="4896" height_o="3264" data-src="https://freight.cargo.site/t/original/i/e181b0da7421423d28616a2301fb807a3112ab50d82908d8d6707e5ea03b5d05/DSCF6957.JPG" data-mid="203212335" border="0" src="https://freight.cargo.site/w/1000/i/e181b0da7421423d28616a2301fb807a3112ab50d82908d8d6707e5ea03b5d05/DSCF6957.JPG" /> <img width="2700" height="1800" width_o="2700" height_o="1800" data-src="https://freight.cargo.site/t/original/i/f2f6cae0b0297108f9137bda5ccb6787eec46621f038d7ee5afc098880529f8d/DSCF6900.jpg" data-mid="203212295" border="0" src="https://freight.cargo.site/w/1000/i/f2f6cae0b0297108f9137bda5ccb6787eec46621f038d7ee5afc098880529f8d/DSCF6900.jpg" /> Weak Horizon &nbsp; Plywood, glass, oracal. 300×1000 cm The work “Weak Horizon” is a model of a modernist façade based on the destroyed VDHKh expo center (1968–2017) in Minsk, inside of which is a frieze or “horizon” of narratives about the 30th anniversary of Belarusian independence (1991–2021). The “horizon” of images refers to different ideological counterpoints of the modern Belarusian state and its architectural embodiment (National Library (2006), new building of the Belarusian Great Patriotic War Museum (2014), etc.), as well as the history of destruction and construction sandwiched between nostalgia for the Soviet past and the capitalist present. The work was created in collaboration with Genadziy Grak, a Belarusian graphic artist of the older generation. The artists present a kind of monument to the weak horizon of history.&nbsp; The work from group exhibition "Every Day. Art. Solidarity. Resistance”&nbsp;Mysteckiy Arsenal. Kyiv, UkraineCurators: Aleksei Borisionok, Andrei Dureika, Marina Naprushkina, Sergey Shabohin, Antonina Stebur and Maxim Tyminko&nbsp; <img width="4855" height="2760" width_o="4855" height_o="2760" data-src="https://freight.cargo.site/t/original/i/5c85d3fa67d3ce62c505c73d81ecba5a1e76d308163fcfa7f1486fd4760fcf21/02_For_web.jpg" data-mid="203212293" border="0" src="https://freight.cargo.site/w/1000/i/5c85d3fa67d3ce62c505c73d81ecba5a1e76d308163fcfa7f1486fd4760fcf21/02_For_web.jpg" /> <img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/6a079ca08ae543b29dcc7d0ed3bdb220a085a992052bc9bdf277aefc69b925cf/Every-Day-Kyiv-015.jpg" data-mid="203212971" border="0" src="https://freight.cargo.site/w/1000/i/6a079ca08ae543b29dcc7d0ed3bdb220a085a992052bc9bdf277aefc69b925cf/Every-Day-Kyiv-015.jpg" /> Photos by Lesia Pcholka and&nbsp;Mysteckiy Arsenal&nbsp; &nbsp;&nbsp;