For publicity



The first exhibition of Ukrainian artist Oksana Mas opened in 1995 in the Exhibition hall of the UN in Kiev. By October 2017, she has had three dozen solo exhibitions only – including museums and galleries of the Czech Republic, the Netherlands, Spain, Germany, Switzerland and the USA. Her new exhibition “Spiritual city” (about 150 works) just opened up at Milan Museum of modern art “Ma*Ga” in Gallarate (it will be there until January 7th, the patron of the exhibition
Sandrine Bandera) and Malpensa airport (until the end of February). This is even more significant achievement that so far neither the Ukrainian artist has received offers to make a solo exhibition in Italy, so Oksana can be considered a pioneer. In addition to the fact that every true artist is, in essence, a pioneer. The discoverer of your reality to others.

– Oksana, tell us, how does a world exhibition of contemporary art from the point of view of a man who has achieved in this industry success.

– First of all, to succeed, you need talent and the high quality of the actual art. Many books have been written about how to promote artists, how much is invested money that is to some extent a competitive game – like exchange. Major collectors “invested” in new artists who are considered promising – can select a dozen artists and buy their work. Some of these artists may at some point, “shoot” and his works will be sold for very large sums, someone will be in the middle tier, and someone would go the distance. In General, the industry of art astrit from a variety of institutions. This gallery, which are a direct business component. This art-curators who analyze the processes in the field of art look like and the direction in which art evolves. It is the curators choose artists who are doing something new, something interesting. Choose those who can dive in art at a new depth. Find an artist, curator begins to show its museums. Museums is an important institution, because they provide an opportunity to introduce the artist to the public. When you are exhibited in the Museum, it is very important enter the artist’s world in the process.

But in any case the main thing here is the quality of the art itself. If you do not create anything really important, either in museums or in galleries your work is not to get. If someone still try to make your show and she’s not interested, and neither the public nor the judges will not do it, the gallery you just say goodbye and no success you will not.

Another important part of the art world-world art fairs. There are a few basic largest art fairs: Art Basel (which takes place not only in Basel, but also in Miami and Hong Kong), Frieze Art London, FIAC Paris, ARCO Spanish, Palomar in America. If the artist has participated in all these fairs, it is believed that his art demanded that he is a notable part of the global artistic process.

See also: ART ITALIA MAGAZINE: “Spiritual cities” a solo exhibition of art works by Oksana Mas Milan



The research foundations and institutions have a completely different task – they sistematizirovat knowledge about the existing trends in contemporary art and discover new, not so much the work of individual artists, but the influence of artists on each other and on art in General.

In the art industry should also include the auctions, the most authoritative of which – Sotheby’s and Christie’s was founded in the XVIII century. In General, the tradition of public display of art is quite young – she about two hundred years. Although some open museums to the public Museum appeared in XV-XVI centuries, until the nineteenth century, art was mainly in the private collections of aristocrats in palaces.

Please note that although the industry of contemporary art is quite popular – for example, the names of major museums, fairs and auctions at the hearing and they usually do not have to explain modern art professionally engaged in very few. Less than one percent.

– 1% is quite a lot, in my opinion.

Yeah, that’s why I said “less than one percent”. I mean artists, and professionals who work in these institutions. Contemporary art abroad becomes increasingly popular in the Museum Miro in Barcelona lead children from five years old, and these kids sit and look at his avant-garde, and perceive it totally fine to discuss what it is like, trying to draw, I think. And there is no doubt that contemporary art would not be exotic to them will be a part of their everyday life.

It seems to me that the world is now divided on the criterion of relationship to contemporary art: it has become part of the world somewhere in there. In the post-Soviet space in society is almost non-existent. We say, there is a private contemporary art Museum in Odessa, there are the Pinchuk Foundation, but it is rather the exception. And the state Museum of contemporary art there.

And it needs to be? In the West, the museums of modern art – mostly private.

– So this private Museum we are not. Here is the national Museum named after Khanenko – but his exposition was considered contemporary art in the early twentieth century, a hundred years ago. And now?

In General, it is very interesting that contemporary art in our mass consciousness as if severed from all over the world: “Oh, I don’t understand modern art, this is complete nonsense, but Shishkin, Repin – Yes.” But globally such gap is not, the world sees contemporary art as a natural part of the world artistic process. There is no attempt to consider contemporary work outside the context of the entire previous history of culture. In schools and colleges it is taught that way. And how is it taught?

– As far as I know, as a rule, in General schools did not taught.

– In order to perceive modern art, at least in General terms, know the history of culture. If you know it, there will be no relationship to contemporary music as something that falls out of sequence, out of context. You will understand that famous red color in the painting by Caravaggio was in his time, in the same way that now makes Anish Kapoor with his sculpture in red wax. In this regard, in a broad artistic education, we are lagging behind Europe.

See also: Art Daily: Solo exhibition of art works by Oksana Mas opens at Museo MA*GA

In the Russian Empire, the first Academy of arts was established in St. Petersburg by Peter the great in the year before death, but in fact it was founded just thirty years later. The first Academy of art appears in a huge country, when in Europe, already digested and entered into the culture of the archaic, antiquity, Greek and Roman classical, Byzantine, Gothic, Renaissance, classicism, mannerism, Baroque. What did we have? Almost the only iconography in the Byzantine Canon. Even the first secular portraits were made on the basis of this Canon, up to and explaining inscriptions in Church Slavonic. In Ukraine, the first national Academy of arts was established only in the XIX in Kharkov, and only in 1917, a hundred years ago, it created the Academy in Kiev.

Because of this backlog we had not comprehended the continuity of artistic styles, they are not perceived as a continuous sequence. And from this it is concluded that contemporary art is some sort of side branch, which does not follow from all the previous history of culture and which is or should be considered separately from the whole preceding, or completely ignore.

To modern art was not so perceived, I believe, it is necessary to teach history of culture, and not in the Academy while still in school.

– An analogy to this perception, there are in poetry, for example, we have a free verse in the mass, is perceived as some kind of deviation from “poetic rules”, and in Europe they have long and naturally read like one of the many forms of poetry and no baffle.

– The same thing happens in the theater, in movies, in music. We are lagging behind in development. Because if the body can train in the gym, in the gym, then the soul can be trained only culture, and we have for this exercise get a very reduced requirements. Therefore, it is very common for us to be unsupportable cultural solutions, which in Europe back in the 1950s and 70s, came to life.

– This is our cultural provincialism – do you think it can be overcome only by teaching, without modernization of society? I think it’s related things.

– Yes, it’s related things. Even Karl Marx wrote that people should have food, drink, shelter, and clothing before being able to do science and art. Art is truly massive in a prosperous society. But there are practices that can be used at the state level right now. For example, in the West, extended purchase of works of art for commercial companies – they get in tax deduction, since it is believed that they support the culture. As a result, these funds are used in modern art – because the old masters hanging in museums, and they will not buy, but there are modern works, is worthy of attention. Similarly, stimulated by the donation of works of art museums through the tax write – off for the amount donated. So, by the way, was going to the Metropolitan Museum in new York – where near almost every picture of a sign showing who exactly gave her.

Many large banks invested in contemporary art as a reliable reserve asset – they created whole departments, who acquire works for display and storage, and then their analysts track changes in the capitalization of this asset, look, the price of the work of which artists and what art movements are growing.

That is why in the contemporary art industry is impossible to break by accident, by an acquaintance or by appointment. The only criterion is artistic quality of the works.

– Let’s not talk about the industry, art in General, and about your own creativity. For example, about the new exhibition “the Spiritual city”.

– The name of the exhibition gave one presented her project to me very interesting and important. I have a second degree of the philosophical, the thesis I defended on religious studies, and in this topic I consider myself an expert. I’m fully aware of how religion divides people. Even at the level of basic communication – for example, if you see that your neighbor in the train belongs to some other denomination, you’ll be somehow limited. For example, some anecdote you tell him not tell. That is, you will receive a signal that the man for you, more strange than usual, and you’ll just have to take note of it. And I wanted to create a suspended city that religion will not divide, but unite. Because for me, the main question is formulated as follows: who are you in the Universe – the soul, which the body, or the body, which is given to the soul? Depending on how the person answers this question will depend on how the person will feel like he’s going to live, how he will behave, what kind of life he will live. For me, the most every man is primarily a soul, a light soul, who all his life dancing its dance. And when people gather in metropolis, get millions of dancing lights.

But in the modern metropolis a lot of objects to bodies, and very little for a shower. Banks, supermarkets, notary’s offices – it’s not for a shower. And even in old cities, where he built many temples, it turns out that cities are growing faster than construction of new temples, and spiritual places is getting smaller. Besides, the world is becoming multiculturalism, the mixing of cultures is happening right before our eyes and is accelerating with each passing year, people increasingly move around the world, and it also reduces the space of the soul. For example, of all the Arab Emirates there is only one there is only one Orthodox Church. And in Florence there is only one Orthodox Church. And if, say, a Muslim will come to London, he, too, will have to look furious. Therefore, the idea of “spiritual cities” – idea to build next to each metropolis to another city for souls, churches, cathedrals, mosques, synagogues that everyone could come to this town to pray. Each metropolis grows your spiritual city, as the planned pattern of the city to communicate with God. Because God is still one, no matter how many religions may exist. Religions are different paths to the top. Go to it on different slopes, but the top is all the same one.

The idea is that it creates a common space for all. All believers come together, all go to one city, and everyone understands that people of other religions also come to fellowship with God, and thus leaves a sense of cegesti and there is a sense of community. Lost militancy, confrontation, who now very strongly felt. I travel a lot, and religious hostility is growing, I can feel her skin. And “spiritual city” should be the cities of reconciliation.

For this project I took the plans of real cathedrals, mosques, the famous religious buildings, and placed them in the same space. The result was a great pattern, and if you bypass it, you’ll see one of the ornament into another, but all of them are integrated.

At the exhibition opening asked me – do I believe that the cities possible. It is not that I believe in it, the fact that the artist somehow creates a new reality, which is embodied through his work. “Spiritual city” already exist. Let it not notice, let consider a game of imagination, but time passes and the world is changing in this direction, and behind him are starting to change people, to change connect financiers, politicians. And our task, the task of artists is to create as many ways they could go. As you can see, to read, to understand what is important to society, more to feel, where is this planet and to guide its movement as his talent. To transform the world into something better than it is now. And to do so regardless of whether you like it or dislike, buy or not buy. The artist’s task in this, and not, like someone it works or not and what they talk about.

See also: BIT CULTURALI: Oksana Mas, Spiritual cities – Mostra al MAGA di Gallarate

Oksana Mas party two the Venice Biennale, a regular bidder at Sotheby’s and Christie’s. Member of the world’s leading art fairs Art Basel (Switzerland, Basel, Miami and Hong Kong), FIAC (Paris), ARCO (Madrid), Frieze Art (London), Armory Show (new York). Also carries out projects in the online space. By October 2017, she has had three dozen solo exhibitions only – including museums and galleries of the Czech Republic, the Netherlands, Spain, Germany, Switzerland and the USA.

A conversation with Oksana Mas was recorded

George Download The Film



In an interview with the used photos

the exhibition “Spiritual city”

“Museum Ma*Ga” in Milan




Oksana Mas – Ambassador of Ukraine in the global contemporary art 28.11.2017

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