Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.When Russia launched its full-scale invasion of Ukraine in 2022, Voloshyn gallery in Kyiv became a refuge for its artists and employees. The space had served as a bomb shelter during the second world war \u2014 and so it did again. The artist Nikita Kadan lived in the gallery for more than two months, during which he became \u201cinterested in how we can look at Ukrainian art history through the lens of this war\u201d. Sifting through artworks in Voloshyn\u2019s storage, he curated an exhibition titled Tryvoha (Anxiety), with historical works by 20th-century Ukrainian artists \u201cwhich had the shadow of catastrophe on them\u201d, arranged around his mattress.\u201cMany things became really obvious about Ukrainian 20th-century art,\u201d Kadan observes. \u201cThis art was made during revolutions and wars, almost each of our important 20th-century artists had an experience of surviving a big historical catastrophe.\u201d These include the October revolution of 1917 and the war that followed, the Holodomor famine, Stalin\u2019s purges, the second world war, and the collapse of the Soviet Union \u2014 meaning that \u201calmost no one worked in totally peaceful times\u201d. Now Kadan makes art about the effects of war, from metal sculptures which reference the bombing of a playground where he and his daughter would play, to a sound piece that evokes the relentless scream of air raid sirens. \u201cIt\u2019s not so different for my generation,\u201d Kadan says. \u201cIt\u2019s like a mutation. We who live in war are changed.\u201d\u00a0When Ukraine was attacked in 2022, Max and Julia Voloshyn \u2014 who founded the eponymous gallery in 2016 \u2014 were left stranded in the US, having stayed on after a run of art fairs. Just weeks before Russian forces crossed into Ukraine, the Voloshyns had opened a pop-up show in Miami, The Memory on Her Face, which featured older works about their country\u2019s conflict with Russia \u2014 including Oleksiy Sai\u2019s Bombed series, which look like aerial views of craters, begun during Russia\u2019s 2014 invasion of Crimea and the Donbas.The Voloshyns found another permanent gallery space in Miami\u2019s Allapattah neighbourhood, already home to a small cohort of galleries and within walking distance of the Rubell Museum. In addition to providing a US platform for contemporary Ukrainian artists, the Voloshyns are interested in building a dialogue between eastern Europe and the Americas. In September they will open an exhibition of 20th-century and contemporary Ukrainian artists curated by Kadan while simultaneously in Kyiv unveiling an exhibition of artists from the US curated by Los Angeles-based artist Harold Mendez. All this raising money through selling art, it\u2019s not about charity. No, it\u2019s very practical self-defence. We don\u2019t just do it for others \u2014 we do it for ourselvesThey hope to take the Miami show to Latin America early next year.\u00a0Julia Voloshyn explains: \u201cWe have some similarities and histories of colonial pasts.\u201d Max adds that some Latin American countries are also \u201cunder Russian influence \u2014 and we\u2019d like to change this as much as we can\u201d.\u00a0Many of the artists that Voloshyn represents contend with the realities of a country at war. \u201cI am constantly thinking how some artists in peaceful political climates can play freely,\u201d says Dallas-based Ukrainian curator Lilia Kudelia, who has curated several recent exhibitions for the gallery. \u201cAt the same time, in other parts of the world artists are grappling with what it feels to be alive in this brutal new century.\u201d \u201cPeople want to live as normal a life as possible,\u201d Max Voloshyn says.\u00a0When the couple decided to reopen the Kyiv gallery in April 2023, they did so not to make money, he says, but rather \u201cto support the local community and people in Ukraine by continuing our programme\u201d. \u201cAll this raising money through selling art, it\u2019s not about charity,\u201d Kadan adds. \u201cNo, it\u2019s very practical self-defence. We don\u2019t just do it for others \u2014 we do it for ourselves.\u201d\u201cIt sounds crazy,\u201d Max admits, \u201cbut in the country during war, we can still sell art.\u2009Ukrainians are so great and resilient, we believe in our culture and we believe we need to support artists in Ukraine and galleries that still operate.\u201dWhen they started attending fairs in 2016, he says, \u201cit was very difficult. Because almost no Ukrainian galleries participated in fairs anywhere, no one knew any galleries from Ukraine. So people didn\u2019t know if ours was a good gallery or not.\u201d\u00a0This month in New York, Voloshyn will be the first gallery from Ukraine to participate in Frieze, where Kadan will have a solo show, Kyiv Siren, in the fair\u2019s Focus section. At the Independent art fair, they will present Albanian artist Abi Shehu alongside Ukrainian filmmakers Yarema Malashchuk and Roman Khimei, who have documented the experiences of Ukrainian children who were returned home years after being deported to Russia. Though Max Voloshyn acknowledges that not knowing how collectors, institutions and the press will respond \u201cis always a risk\u201d, he thinks \u201cnow it\u2019ll be a little bit easier for galleries from Ukraine to apply to participate\u201d.\u00a0\u201cWe want to speak through art and bring what is happening in Ukraine to a global discourse,\u201d Julia Voloshyn adds. \u201cAnd we think it\u2019s very important for artists, for us as a gallery, and for Ukraine as a country.\u201dvoloshyngallery.artFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning\u00a0\u00a0\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.When Russia launched its full-scale invasion of Ukraine in 2022, Voloshyn gallery in Kyiv became a refuge for its artists and employees. The space had served<\/p>\n","protected":false},"author":1,"featured_media":298677,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-298676","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/298676","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=298676"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/298676\/revisions"}],"predecessor-version":[{"id":298678,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/298676\/revisions\/298678"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/298677"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=298676"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=298676"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=298676"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}