Maruschak descends from pioneers who came to Canada from Ukraine in 1897, paying a $10 filing fee for 160 acres of land. KRAINA, Ukrainian for land, gives form to an “autonomous and universal reality” where time, identity, history, and abstract spiritual concepts are blurred. The fragility of human existence, the notion of identity in the context of global immigration, and the role of the photograph in spurring an inquiry by the seer are central to KRAINA.
Art-Zavod Platforma is pleased to present BELONGING: somewhere/nowhere, a new photographic series by Lesia Maruschak. This is her first exhibition with the gallery and the first time a Canadian artist has exhibited here. BELONGING: somewhere/nowhere explores shifting senses of identity and belonging in an increasingly globalized and mobile world by presenting spaces where culture, history, place, and spatial embodiment are partially dislocated.
15 July– 21 August 2016
Maruschak's work from Denmark exhibits at Site:Brooklyn gallery in Brooklyn, NY, as part of A Point of View: Contemporary Photography. This international juried exhibition explores current ideas, subjects, and processes in contemporary photography.
“Point of View presents the work of 45 artists, whose diverse perspectives indicate the breadth of photographic practices among artists today. Personal and observational, abstract and narrative, digitally-constructed and traditionally- crafted, photography remains a choice medium for artists both to frame the world as they see it and create the world as they wish to see it.Themes run through the selected photographs and draw them into conversations with one another, including: portraits of communities, landscapes rich with the markers of place, figures transformed into expressionist strokes and abstract gestures, the objects and detritus of contemporary consumerism and its anxieties, memorials to self and city, among others.Throughout, the photographs in this exhibition offer viewers an opportunity to look closely and reconsider our own point of view.” I seek finely crafted photographs that present layered ideas and subjects. I am equally interested in documentary, studio and conceptual photographic practices and I am especially pleased to find artists engaged with how the material and visual language of photography is evolving today.”
– Mitra Abbaspour
The juror, Mitra Abbaspour, is an independent curator and scholar based in NYC. Abbaspour was the Associate Curator in the Department of Photography at The Museum of Modern Art. There, she led a research initiative that drew together an international team that formed the digital humanities platform at www.MoMA.org/objectphoto. Abbaspour was an Assistant Curator and Museum Writer at UCR/California Museum of Photography, and she also taught at Cooper Union, Hunter College, Brooklyn College, and the University of California, Riverside.
is dedicated to exhibiting a wide range of emerging and midcareer artists. The gallery invites artists, curators, and writers to engage in lively exhibitions, criticism, and the exchange of ideas through art, reflecting our times and shaping our culture.
DENMARK Untitled 4 exhibits at PhotoPlace Gallery as part of an international exhibition entitled Man in the Landscape: "The hand of man may lie lightly or heavily on the landscape, but few places on earth are completely untouched; the visible presence of humans on the planet is almost unavoidable. Here we seek images that demonstrate human impact in ways ranging from subtle to grotesque." Juror Brett Erickson, a photographer of international fame is often known as “one of Nebraska’s finest artists.”
Maruschak is one of five prize winners in the 31st Chelsea International Fine Art Competition sponsored by the Agora Gallery. The jurors are a rotating panel of influential voices in the art world ranging from creators, critics, curators and gallerists: Marisa Kayyem, Irene Tsatsos, Seb Patane, Xiaoyun Zhang, and Holly Myers.
Maruschak's DEGREES “Untitled 1” has been included in the screen project at the Saatchi Gallery in London. This is a curated program where artworks from all over the world are shown on a hi res screen in the Saatchi Gallery. This particular work features my first usage of the international geographic coordinate system allowing each person to find their place on planet earth while being connected.
Belonging Lesia Maruschak August 2016 Art-Platforma Kiev - Lidyia Krytchenko
As I walk into the gallery, which is located in the middle of an abandoned factory, the photos catch my attention - they feel so distant and familiar at the same time. Through transparent plastic walls of the gallery I see one landscape after another and I get the sense of relating to all of them - I’ve seen all those things before: wooden houses, fields, the sky. Who am I in a place with no identity? Who am I, while looking at these pictures? These are some of the questions I was asking myself. To me, as a Ukrainian, trees like birches (that can be seen in Lesia’s photos) feel very familiar and I start to think the place in the photos is Ukraine. But I know I’m not looking at Ukraine and that makes me feel confused and lost, for a second. On the other hand, looking at nature feels healing - it is mine, the Earth is mine, time is mine, weather is mine. I realise that the World’s borders are made up - that the land in the photo, wherever it is, is mine just like everyone else’s. And that calms me down from the anxiety of feeling lost, feeling like I am not where I am supposed to me.
Some of the photos are industrial and fit into the atmosphere of the gallery. They portray other abandoned factories and houses that are dead, but brought back to life by human presence. The gallery space feels unwelcoming - there is techno playing through the speakers and it feels so synthetic. But the pictures make me feel safe. They have a sense of eternity, something that lasts and I feel like I’m eternal too and therefore not afraid. I learn that boundaries are made up in my head, by me, by people around me and that I should keep an open mind, because the World is so much bigger than what I imagine it to be.