Nazar Bilyk. Art and emptiness in public space

/ Interview /

The creativity of the famous Ukrainian sculptor Nazar Bilyk has reached unprecedented heights. In the literal sense. His work "Paws" was selected to participate in the SMACH (Constellation of Art, Culture and History) international biennial of land art, which runs from July to September in the Italian Dolomites. The installation, which, not surprisingly, is two pairs of black giant "paws", now frames the alpine landscape at an altitude of about 2 m above sea level, forcing you to look at it in a different way. This is not the first work of the master for natural landscapes and far from the first in the field of public art.

PRAGMATIKA.MEDIA met with Nazar Bilyk after his return from Italy in his Kyiv studio to talk about the high-altitude artistic experience of the sculptor and work in the urban landscape of Ukrainian cities.

Nazar Bilyk. Photo: Yury Ferendovych PRAGMATIKA.MEDIA

PRAGMATIKA.MEDIA: Your installation "Paws" was selected as one of the ten winners of the SMACH 2019 Land Art Biennale and exhibited in the Dolomites. Tell me what this work is about?

Nazar Bilyk: This is not a new job for me. Its first version was implemented in 2014 on Byryuchy Island, in the South of Ukraine. After seeing the landscapes in the Dolomites, in Italy, I proposed her for the competition. Of course, it acquired a different reading, since both the location and the context itself have changed. The theme of this biennale was connected with the homeland. Reflecting on the conventionality of this concept in the modern world, I took the landscape of the Italian mountains and used it as a metaphor for my native home. We question and revise what is enclosed in quotation marks. So, with the help of my sculpture, I changed the circumstances of the perception of the landscape, offering the viewer to think about what he, as a resident of a dynamic and changing world, invests in his own sense of home. This work has never climbed so high... (laughs) It was at an altitude of 2 m.

Biryuchy is a kind of artistic paradise, where everything is created for a carefree beach holiday and creative work

PM: If we go back to 2014, when you first created this installation as part of a contemporary art symposium on the Byryuchy Peninsula, what meaning did you put into it then?

N. B.: It was a year when very few artists came to the symposium, because the war and the occupation of Crimea had begun. Just 200 kilometers from the peninsula, military operations took place... And what is Byryuchi for artists? This is a kind of artistic paradise, where everything is created for a carefree beach holiday and creative work. And I still wanted to return myself and the company to the reality of the war that had started, which was not obvious, but very close. It was a kind of appeal, a reminder that our security is very imaginary and relative.

Self-portrait, polymer materials, 2019. Photo: Yuriy Ferendovych | PRAGMATIKA.MEDIA

PM: You said that your work did not go up so high, that is, you used it somewhere else besides Biruchychi and the Dolomites?

N. B.: No, it was just my first experience working with a mountain landscape. The mountains are extremely self-sufficient. They are like giant sculptures that do not need competition and interference. We applied for this Biennale to be able to work with the context and environment of the Dolomites, infusing our 'partition marks' into the body of the landscape. For a sculptor, it is always an interesting experience — to explore how one work, depending on the location, can reveal the subject with which he is working in completely different ways.

I took the landscape of the Italian mountains and used it as a metaphor for my home

PM: What is the audience like in the Dolomites, where your installation is set?

N. B.: The Dolomites are known for some of the most beautiful trekking routes in Europe. Therefore, fans of active recreation and picturesque landscapes come here. And the mission of the organizers of the SMACH Biennale was to create a kind of dialogue between nature and art and thereby draw even more attention to these places. Art objects are installed in various mountain locations around the town of San Martín de Tor, and at the beginning of the route you can take a map showing their location. When we were installing "Lapky", the snow had not fully melted yet, and there were already plenty of tourists. Locals who work in a nearby hotel immediately began to "aim" and look at the familiar landscape through our "Paws", and I saw a revival and smiles. Italians are more understanding of art, read it easily and start playing the game you suggested.

Installation "Paws", Italy, 2019

PM: But this is a temporary installation, isn't it?

N. B.: So, when I saw in the photo how beautiful it is in winter, I turned to the organizer of the biennale with a proposal to leave the sculpture for the whole year. Winter and the snow carpet turns the mountain landscape into a white piece of paper, and the work becomes a graphic inscription on it. But the organizer replied: "Here, everything is covered with snow up to two meters, so your "Paws" will be visible only partially." Therefore, they should be removed in November.

PM: Your most famous work, known even to those who have never heard the name of Nazar Bilyk, is "Rain", installed on Pejazhnaya Alley in Kyiv. You have repeatedly said that this is a very personal work for you. Can you explain what exactly?

N. B.: It is really very personal, because it captures a state of calmness and self-absorption that is important to me. This is a work about state and feeling. It stands at the junction of the upper and lower city, so to speak, on the border, in a place of reflection and contemplation, where the background for the sculpture is the sky and clouds... Perhaps, that is why it is perceived by passers-by as a familiar experience. Its scale (190 cm) is comparable to a person and causes the viewer to compare himself with himself. The face is not visible, it is hidden behind a drop. This is a state when you just want to be alone, very lonely, looking both inward and upward. This state is important for everyone, because it gives integrity, collects thoughts, and leads away from internal fragmentation. At such a moment, a person probably gets some very important answers...

Nazar Bilyk. Photo: Yury Ferendovych PRAGMATIKA.MEDIA

"Rain", bronze, glass, granite, 2010

PM: You said that a copy of "Rain" was commissioned in the US for a park in Massachusetts.

N. B.: Yes, it was installed there three or four years ago. In addition, in the public space "Rain" can be seen in the city of Cape Town in South Africa and in the West of France, in the landscape park of the city of Etretat.

PM: Sculpture for public space is a big part of your work. We recently raised the topic of public art on the pages of the magazine and came to the conclusion that this direction is not yet sufficiently developed in Ukraine. What do you think about this?

N. B.: Recently, French students came to me, shared their impressions of Ukraine, of Kyiv, and it seemed to them that we have a lot of sculpture in public space. And I think, on the contrary, that there are not so many sculptures here. They explained that they meant works of art that have come down to us from Soviet times. At that time, public art developed very actively and had an ideological color. Therefore, the average citizen has the idea that the meaning of urban sculpture is to depict a hero, a leader, or to embody a call that clearly lies in the political plane.

"Space around", polymer materials, metal, 2018

During the last four years, as part of decommunization, a lot of public objects were destroyed - both those that had cultural significance and those that really needed to be dismantled. Now there is a gradual change in the perception of sculpture as an ideological and politicized form of art. This means that a sculptor as an independent artist has more chances to become one of those people who shape public space outside of politics, outside of ideological influence. Possibilities of personal stories, experimental statements are opened up, which should change the pattern that is ingrained in all of us regarding sculpture.

There is a gradual change in the perception of sculpture as an ideological and politicized form of art

The zone of new public spaces, parks, neighborhoods is precisely the meeting zone of art, architecture and the viewer. And this is a very important function of sculpture, when society develops, understands that it is necessary to fill the territory where you live with new meanings, and to create an environment in which to live and feel good. The territory of the parks is a neutral territory, in contrast to the central squares. It is there that public art could now develop more and more actively. It is very difficult and not really necessary to put something on the central square of Kyiv, because public space is an intersection of different interests and views of a large number of people. Any piece of art that enters a public space causes a lot of emotions - some people really don't like it, some people want to dismantle it immediately, and some people say that it's the best thing that could happen to this place. This is always a stumbling block. Because public art is non-functional, some people like it and some people don't. I am not saying that it should not be in central squares. But, in my opinion, it is worth starting from the park zone, gradually forming a more relaxed perception of public art in the viewer. And then it will already enter the city and will be perceived as it should be.

"Space around", polymer materials, metal, 2018

PM: So you think we don't have enough public sculpture?

N. B.: We have few successful examples of the existence of modern sculpture in the public space of the city. Architecture deals with issues of appropriate functioning of society in the city. Takes care, so to speak, of the applied plane of human needs. And a sculpture or an object closes this principle and fills it with a meaningful component as best as possible. Public urban space cannot be formed only according to the criteria of functionality and comfort. Modern society has broader needs, seeking to understand and understand the world in its complexity and dynamics. Therefore, the public space must create this correspondence. And it is precisely this problem that modern sculpture deals with. Without art in public space, it is limited to functionality. With the help of an art object, we feel the city more, it stops us, makes us think, often with its incomprehensibility awakens interest in the unknown or even motivates creative activity. Sculpture traditionally helps the space to develop, generate new meanings and simply talk to the viewer. It always defines the space, becomes an integral part of the visual image of the city. Therefore, a more conscious cooperation between the developer, architect and sculptor will help the city and its residents.

Public urban space cannot be formed only according to the criteria of functionality and comfort

"Slice", bronze, 2018

PM: You once said that you had an idea to create a park of modern sculpture, which would become a platform for the development of this type of art. Has it not come close to implementation?

N. B.: I think that this is not the function of sculptors and artists, but of cultural managers and administrators. It is impossible to do both. For now, I'm just trying to focus on my creativity and showing off my work. And there, the time will come, everything will fall into place. Although the dream of such a territory, of course, does not leave me. Here, for example, recently in the city of Dnipro there was an initiative for several sculptors to think about art objects for the city space and express themselves about it. So far, these are only projects, but the dialogue itself is very pleasing.

PM: And who initiated it?

N. B.: Precisely by the caring representatives of business and the Dnipro authorities. That is, this issue will be considered, something will be accepted, something will not. But it is important that there is already a conversation.

Nazar Bilyk. Photo: Yury Ferendovych PRAGMATIKA.MEDIA

PM: How do you see this model: should the city government take care of public sculpture, or should the initiative come from below?

N. B.: Here, it seems to me, the wind must blow from different directions. First of all, the city authorities should understand that this is a normal global practice that develops the city, and Ukraine should be included in it. The expert-managerial component, initiatives that connect business, government and artists are important. The expert team should propose artists and sculptors to the authorities. In order for this not to happen, as we often see in the space of a wonderful park - a bicycle with a heart was placed and a flower bed was arranged near them - experts should be involved in this. The issue of financing is also important. The creation of a sculptural work is always a high cost of materials and production itself, so we are talking about fairly large budgets. It can be in such a model.

PM: And what successful sculptural initiative in the city would you mention?

N. B.: There was such a positive example — the Kyiv Sculpture Project, when in the Botanical Garden named after Hryshka hosted an international exhibition of sculptures and a national competition for works that were chosen for temporary display in the park. The level of organization was really professional. It is a pity that it was not possible to secure further funding for the project, otherwise we would have our own sculpture biennale now.

Nazar Bilyk. Photo: Yury Ferendovych PRAGMATIKA.MEDIA

Portrait, series "Imaginary distances", polymer resins, author's technique, 2018

PM: But these are temporary installations, what about permanent ones?

N. B.: Temporary can grow into something permanent if the city, architects and business representatives are involved. For example, when there is an exhibition, why not choose some work from it, enlarge it and install it in a public space? There are works, now you need to think about how to tie them to the chosen place, finance them - and then you can enjoy.

PM: You have already touched on the topic of toppling Soviet-era monuments. The process took place, the pedestals mostly did not find new heroes. But enough time has passed to choose a path. What is the correct solution?

N. B.: I see that these questions did not await any expert or artistic solution. I recently drove through the cities and towns of Ukraine, and from the point of view of a tourist, the central square of these settlements is a kind of mess: there is a monument dedicated to the Great Patriotic War, nearby - on the knee are monuments to the Revolution of Dignity and those who died in the anti-terrorist operation. And it was created not in the same way as in Soviet times, when there were expert councils and specialist commissions, but at the level of popular closure of the problem. We see that everything is arranged improperly, that small obelisks, places for placing flowers create chaos in these squares. And you feel that time is passing, and history is being written right here. The emptiness of the pedestals is closed by people. And this is understandable, because they need to somehow respond to the war, to the revolution. And the government is trying to honor the memory of those, and those, and those. And so, spontaneously, in the provincial towns, everything has already been done, the problem is closed. It seems to me that it is impossible to stop this wave, because it has spread throughout the country. And then it just takes time for everything to calm down and to be able to professionally solve these issues and professionally decorate the monuments.

Project of the monument "Memory Constructor", 2017

PM: How do you feel about the idea of ​​creating a Museum of Monumental Propaganda of the USSR in Kyiv?

N. B.: Perfectly! In my workshop, I hung a photo of my grandfather's monument (Ukrainian sculptor Valentyn Borysenko. — Editor's note). This is the Monument to the soldiers of the First Cavalry Army. It was dismantled two years ago in the Lviv Region. I found the photo in the country and took it away. I have no idea how she survived. This monument was stretched to scrap metal. Although in Soviet times it was considered one of the best equestrian monuments of the Union. Grandfather received all possible awards for him. If we look at this monument, we simply see an extremely successful artistic decision. No one has such a compositional principle: this cavalry suddenly jumps out from above!... If it had been preserved and transferred to some other place, we would be dealing with a work of art that carries primarily historical and cultural value. And the ideological component could be moved. Reflecting on this topic, I created my work "Scars".

The art of public sculpture is in any case connected with politics

Destruction of the monument to the soldiers of the First Cavalry Army, author Valentyn Borysenko, 1975—2016

For example, the reliefs on the Ukrainian House, which my grandfather also made, are still there. Three or four years ago, the newly appointed director of the Ukrainian House wanted to destroy them by dusting them with scrap metal. Knowing the reality that no one keeps these works of art, and everything is discarded, melted down, thrown into some landfill, we protected them. And the reliefs were simply covered with a yellow-blue flag. They are now in a very true historical context of layering. And at least they are saved. They can be removed, but they must be given a place in this museum, which will surely be created. Although I haven't heard anything about him in recent years.

"Scars", polymer materials, metal, 2017

"Scars", polymer materials, metal, 2017

PM: You talked about a new non-ideological perception of sculpture. Do you believe that art can be outside of politics?

N. B.: This is a very broad question. The art of public sculpture is in any case connected with politics. This cannot be avoided: it exists in the public sphere, therefore it is already political in a certain way. Another thing is that some of the authors want to consciously touch on politics or history, while others avoid it, bringing personal experience and more distant topics into the space of the city, which, however, can be perceived as a political gesture.

PM: Would you personally be interested in making another public sculpture for Kyiv?

N. B.: Yes, this is my favorite city. Walking around Kyiv, I constantly notice places that encourage me to do something there. So far, I have scored only one nail on the map of Kyiv. Perhaps another sculpture of mine will appear soon. Negotiations are ongoing, but this dot has almost already been drawn.

Workshop of Nazar Bilyk

PM: In your opinion, which locations in Kyiv lack public sculpture?

N. B.: I would like to talk about the territories of the parks that are currently being restored in Kyiv. In Obolon, they made a very nice park "Natalka". There are excellent locations for sculpture. A work of art - and not just one - is very much requested there. It can be permanent or temporary exposure. There was already a sculpture exhibition there last year. I wanted such initiatives to continue. Moreover, now the second phase of this park has appeared. Artists are open to cooperation. It is simply worth voicing this need, offering two or three successful examples. And it will become a model for all cities. You know, I noticed something like this when I was still studying: a small monument to Mykola Yakovchenko, successfully made by my professor, was erected near the Franko Theater - and immediately similar monuments appeared in many cities of Ukraine. All the mayors of Ukraine look at how it is in Kyiv and copy everything. I'm not saying that this trend will be with new sculptures, but the principle will be inherited in any case.

 

Communicated: Olena Panchenko