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Decade Work Created

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Artist Name

Our Grandmothers’ Gardens
© » KADIST

Olga Grotova

Film & Video (Film & Video)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

Zemlya (The Soil) (Our Grandmothers’ Gardens series)
© » KADIST

Olga Grotova

Photography (Photography)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

Korni (The Roots) (Our Grandmothers’ Gardens series)
© » KADIST

Olga Grotova

Photography (Photography)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

National Landscape (House of Services)
© » KADIST

Nikita Kadan

Drawing & Print (Drawing & Print)

East of Ukraine became a place of armed conflict with Russia-backed separatists, who proclaimed parts of (the) Donetsk and Lughansk oblast (administrative region in Ukrainian) to be ‘People’s republics’. This region, in conflict since spring 2014, is where most of the charcoal is extracted. It is with this same coal that artist Nikita Kadan realizes this drawing in 2018, representing a field on which is juxtaposed a small photograph.

Controlled Incidents #2
© » KADIST

Nikita Kadan

Drawing & Print (Drawing & Print)

Ukraine is under tension due to the politics of President lanoukovitch since 2010. Numerous passive demonstrations against the government have led to numerous police repression of the protestors. The demonstration ‘Euromaïdan’ in 2013 is a perfect example.

Preah Kunlong (The way of the spirit)
© » KADIST

Khvay Samnang

Film & Video (Film & Video)

Originally commissioned for documenta 14, Khvay Samnang’s two-channel video work Preah Kunlong (The way of the spirit) takes land politics, resource extraction and Indigenous Cambodian resistance as its primary concern. Created in collaboration with the classically-trained dancer and choreographer Nget Rady — who is also the performer in the video — Preah Kunlong powerfully utilizes a lexicon of gestures and movement to point toward the need for embodied forms of knowledge and understanding amidst the mechanistic frameworks of rapacious development, which are threatening not just forests and Indigenous communities in Southeast Asia, but also worldwide. More specifically, Preah Kunlong offers a proposal for the language of the body to exercise what political ecologist Nancy Lee Peluso has called “counter-mapping”, a form of “critical cartography” that has been practiced by Indigenous forest communities in Southeast Asia to strengthen claims on their traditional territories and resources by defying hegemonic mapmaking methods, which have long abetted strategies of colonial rule and resource extraction.

Constituent
© » KADIST

Cameron Rowland

Installation (Installation)

Rowland’s minimal installations require a focus not on the objects themselves, but on the conditions of their creation, use, and distribution. Who controls the services that contemporary citizens take for granted—like power, water, heat? Who makes these objects that deliver these services?

Controlled Incidents #1
© » KADIST

Nikita Kadan

Drawing & Print (Drawing & Print)

Ukraine is under tension due to the politics of President lanoukovitch since 2010. Numerous passive demonstrations against the government have led to numerous police repression of the protestors. The demonstration ‘Euromaïdan’ in 2013 is a perfect example.

Nikita Kadan

Trained in large-scale painting, Nikita Kadan’s artistic practice encompasses installation, graphics, painting, wall drawing, and urban postering, sometimes in collaboration with architects, human rights activists, and sociologists...

Olga Grotova

Olga Grotova is an artist and poet whose practice involves collecting and mapping stories of Soviet and Eastern-European women that have been erased from established historical narratives...

Khvay Samnang

Khvay Samnang’s work critically examines the interlocking nature of ritual and politics, the humanitarian and ecological impacts of globalization, colonialism and migration, and the cultural-material histories of exchange that have shaped the Southeast Asia region...

Cameron Rowland

Cameron Rowland bases his practice on re-contextualizing everyday objects in ways to highlight the economic and political forces that influence our immediate surroundings, exposing dynamics that are often overlooked, hiding in plain sight...