Current Exhibitions

April 2

Traditional Ukrainian folk life was filled with rituals considered necessary for everyone’s well-being. An important aspect of these rituals was the creation of items embodying talismanic and protective powers. Among such articles – created by hand under propitious, ritualistic conditions – the pysanka (Easter egg) and the rushnyk (ritual cloth) are of greatest importance; to this day, they continue to play a significant role in Ukrainian mores.

Foremost among the many symbolic meanings and ritualistic uses of these items is the concept of the mystery of life – its creation, resurrection, and continuity. The pysanka traditionally is made at the time when nature is about to be reborn or resurrected – in the spring. Creating a pysanka in springtime means acting in concert with nature, working in harmony with it, and thus aiding and strengthening it in its attempt to resurrect life. In Ukrainian tradition, being in tune with nature, through the enactment of various rituals, has always been considered essential for the well-being of the humanity.

A rushnyk traditionally is made every time a child is born; additional rushnyky are created for each auspicious occasion as the child matures and goes through life’s various rites of passage. The intricate designs incorporated into the rushnyk by the mother for her child, or by the young girl for her beloved, for her future home, or for herself, are the magical, potent symbols of life and wishes for a productive future, good fortune, and happiness. In Ukrainian tradition, to be without one’s ritual cloth is to be without one’s shadow, without protection, without guidance, without the memory of one’s past, or without visions and aspirations for one’s future.

6 February 2025 – 27 April 2025

Vladimir Tatlin (Ukrainian: Volodymyr), the prominent avant-garde artist and founder of Constructivism, was born in Kharkiv, Ukraine, and lived and worked in Kyiv from 1925 until 1927. This pioneering exhibition recreates the artist’s Kyiv studio and chronicles the work made during this period within the museum space, depicting the actual environment in which his art was conceived and created for the very first time. Tatlin: Kyiv serves as an educational catalyst for the decolonization of Ukrainian art through the lens of Tatlin’s work, contributing to the preservation of Ukrainian history and cultural discourse.  

Tatlin’s illustration and design work with local Kyiv journals, book publishers, and theatre productions are highlighted for the first time. Additionally, the work of artists who studied under Tatlin at the Kyiv Institute of Art, where he taught a multi-disciplinary class that combined sculpture, film, and photography, are also on display. Tatlin: Kyiv reexamines a major gap in the discourse of art history to include Tatlin’s work of the late 1920s.

6 February 2025 – 27 April 2025

Ange Leccia, a renowned figure in contemporary video and installation art, explores themes of memory, place, and the interplay of time and perception. His work challenges viewers to reconsider how images shape reality, a perspective that gains profound relevance in the context of the ongoing war in Ukraine.

Leccia’s layered imagery and evocative soundscapes immerse audiences in sensory experiences that transcend traditional narratives. This resonates deeply with the visualization of war in Ukraine, where documenting destruction and cultural loss evolves into a powerful exploration of human resilience and memory. By blurring the lines between reality and imagination, Leccia invites reflection on history and its multifaceted narratives. In Ukraine, his work mirrors the complexities of a conflict that challenges official portrayals, transforming viewers into witnesses of a world in turmoil. His fluid visuals evoke the fragility of peace and the enduring strength of the human spirit.

Leccia’s focus on landscapes also highlights the shifting identities of war-torn regions. As military conflict alters physical, cultural, and emotional landscapes, his art becomes a poignant meditation on the loss of spaces and identities tied to memory.

Through his innovative approach to time, memory, and identity, Leccia’s work offers a vital lens for engaging with the ongoing war in Ukraine. His art serves as both documentation and reflection, underscoring the essential role of creativity in moments of crisis.

Leccia’s work has been exhibited worldwide, including at the Musée d’Art Moderne de la Ville de Paris, the Centre Georges Pompidou, the Guggenheim Museum, Documenta in Germany, the Seibu Museum in Tokyo, and the Hiroshima Art Museum.