Hong Kong

Encounters 2023

Yavuz Gallery

Stanislava Pinchuk

English

普通话

粵語

<p>Born 1988 in&nbsp;Kharkiv<br />Lives and works in&nbsp;Sarajevo</p><p>1988年生於哈爾科夫<br />現於薩拉熱窩生活及工作</p>

<p><span style="font-size: 16px;"><em>The Wine Dark Sea</em><br />2022-2023<br />155 x 35 x 35 cm; 150 x 40 x 40 cm; 145 x 35 x 35 cm; 145 x 40 x 40 cm; 142 x 30 x 30 cm; 139 x 35 x 35 cm;&nbsp;</span>134 x 40 x 40 cm; 130 x 30 x 30 cm; 120 x 30 x 30 cm; 110 x 30 x 30 cm; 114 x 30 x 30 cm; 105 x 40 x 40 cm; 95 x 50 x 50 cm; 90 x 40 x 40 cm; 85 x 50 x 50 cm; 85 x 35 x 35 cm; 84 x 30 x 30 cm; 75 x 30 x 30 cm; 70 x 50 x 50 cm; 70 x 40 x 40 cm; 70 x 25 x 25 cm; 65 x 40 x 40 cm; 64 x 35 x 35 cm; 60 x 30 x 30 cm; 55 x 20 x 20 cm; 52 x 40 x 40 cm; 50 x 30 x 30 cm; 50 x 25 x 25 cm; 42 x 30 x 30 cm; 40 x 70 x 70 cm; 40 x 40 x 40 cm; 40 x 35 x 35 cm; 40 x 30 x 30 cm; 30 x 40 x 40 cm; 35 x 35 x 35 cm; 35 x 25 x 25 cm; 33 x 17 x 17 cm; 32 x 30 x 30 cm; 32 x 10 x 10 cm; 30 x 30 x 30 cm; 30 x 22 x 22 cm; 30 x 20 x 20 cm; 25 x 50 x 35 cm; 25 x 20 x 20 cm; 25 x 15 x 15 cm; 20 x 50 x 50 cm; 20 x 50 x 40 cm; 20 x 40 x 70 cm; 20 x 20 x 20 cm; 20 x 10 x 10 cm; 15 x 40 x 30 cm; 13 x 15 x 15 cm; 10 x 50 x 40 cm; 10 x 50 x 30 cm; 10 x 30 x 20 cm; 10 x 20 x 20 cm; 10 x 10 x 10 cm<br />Marble and&nbsp;enamel</p><div><p>Stanislava Pinchuk presents a new commission that expands on her work stemming materially from an apprenticeship with a grave maker in Australia. Comprising of 76 marble sculptures, the installation embodies a dramaturgy, commemorating Australia's recent history surrounding the leaked 2016 Nauru Files, which detail the brutal and abusive treatment of asylum seekers in Australia’s off-shore detention centres on the Pacific Islands of Manus and Nauru. The artist took text fragments of these documents, and found near-identical lines of text in the epic Greek poem, Homer’s <em>Odyssey</em>. She then inscribed these lines of text into marble. Referring to the <em>Odyssey</em> as the foundational ‘migrant novel’, the artist makes the text irrefutable, anti-monumental, and ultimately remembered. The marble she has chosen is textured with natural patterns of waves breaking on rocks – waves which shape the land and hold particular meaning for people moving across borders. There is also a universality to this installation, as it deals with the brutality enacted by war on bodies, and the ubiquitous struggle of forced displacement by those needing shelter. These are narratives still relevant across time, from Ancient Greece to the present moment. </p><p>Stanislava Pinchuk works with data-mapping of the changing topographies of war and conflict zones. Her practice which spans across drawing, installation, tattooing, film and sculpture, surveys how landscape holds memory as well as acts as a testament to political events.</p><p>《The Wine Dark Sea》<br />2022-2023<br />155 x 35 x 35 厘米；150 x 40 x 40 厘米；145 x 35 x 35 厘米；145 x 40 x 40 厘米；142 x 30 x 30 厘米；139 x 35 x 35 厘米；134 x 40 x 40 厘米；130 x 30 x 30 厘米；120 x 30 x 30 厘米；110 x 30 x 30 厘米；114 x 30 x 30 厘米；105 x 40 x 40 厘米；95 x 50 x 50 厘米；90 x 40 x 40 厘米；85 x 50 x 50 厘米；85 x 35 x 35 厘米；84 x 30 x 30 厘米；75 x 30 x 30 厘米；70 x 50 x 50 厘米；70 x 40 x 40 厘米；70 x 25 x 25 厘米；65 x 40 x 40 厘米；64 x 35 x 35 厘米；60 x 30 x 30 厘米；55 x 20 x 20 厘米；52 x 40 x 40 厘米；50 x 30 x 30 厘米；50 x 25 x 25 厘米；42 x 30 x 30 厘米；40 x 70 x 70 厘米；40 x 40 x 40 厘米；40 x 35 x 35 厘米；40 x 30 x 30 厘米；30 x 40 x 40 厘米；35 x 35 x 35 厘米；35 x 25 x 25 厘米；33 x 17 x 17 厘米；32 x 30 x 30 厘米；32 x 10 x 10 厘米；30 x 30 x 30 厘米；30 x 22 x 22 厘米；30 x 20 x 20 厘米；25 x 50 x 35 厘米；25 x 20 x 20 厘米；25 x 15 x 15 厘米；20 x 50 x 50 厘米；20 x 50 x 40 厘米；20 x 40 x 70 厘米；20 x 20 x 20 厘米；20 x 10 x 10 厘米；15 x 40 x 30 厘米；13 x 15 x 15 厘米；10 x 50 x 40 厘米；10 x 50 x 30 厘米；10 x 30 x 20 厘米；10 x 20 x 20 厘米；10 x 10 x 10 厘米<br />大理石和瓷釉</p><p>Stanislava Pinchuk呈獻了一項全新委託，是她作為墳墓製造學徒經驗的延伸。裝置由76塊大理石雕塑組成，體現一種劇場構作，以紀念2016年在澳洲發生的瑙魯文件洩漏事件。事件令澳洲位於太平洋馬努斯島和瑙魯群島的離岸拘留中心對尋求政治避難者的殘酷虐待曝光。藝術家將文件中與希臘荷馬史詩《奧德賽》相似的字句配對，然後將這些字句雕刻在大理石上。參考《奧德賽》以「移民小說」為基礎，藝術家將字句變得無法反駁、反紀念碑式及無法被遺忘。她選用的大理石有天然如浪花般的紋理，海浪凸顯出土地，並對跨越國界的人們有著特殊意義。這個裝置也有著一種普遍性，因為它關注了戰爭對身體帶來的殘害，以及那些因為無處不在的鬥爭而流離失所，需要庇護的人們。不論從古希臘到現在，這類事件特定的陳述仍然適時。</p><p>Stanislava Pinchuk致力於以資料記錄戰爭和衝突地區中不斷變化的地貌。她透過繪畫、裝置、紋身、電影和雕塑審視了景觀地貌如何作為政治事件的記憶和證明。</p><p><span style="font-size: 16px;"></span></p></div><div><span style="font-size: 14px;"></span></div>

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Hong Kong

Stanislava Pinchuk

Yavuz Gallery

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