The catalogue introduces 7 selected artists of Contemporary Art, such Ivano-Frankivsk dwellers as Anatoly Zvizhynski, Rostyslav Koterlin, Volodymyr Mulyk, Vesela Naydenova, Yaroslav Yanovsky, Myroslav Yaremak and Igor Pereklita. The main point of the catalogue is about names and things belonging to phenomenon specifically reproduced in the up-to-date visual art in town, which is a component part of the “Stanislav phenomenon” that had been taken shape for 1990’s.
Underground exhibitions and projects for the last decade of the 20th century and for the beginning of the 21st centuries: “Provincial addition #2” (1991), “Ruberoid #1” (1992), “Zaimpreza” and “S’об’єкт” (1993) by M.Yaremak. R.Koterlin’s actions “Meditations at a clash” (1995) and “Homo Chronicus” (1996), such as permanently acting “theory” of A.Zvizhynsky as “Tender Terrorism” (since 1996), magazine “In the End of the Ends” (1999, 2000, 2002), project “Landscape by Y.Yanovsky, compositions of ironic women portraying by V.Naydenova and I.Pereklita, modern “folk” by V.Mulyk, − they all expose periodical events which have unblocked atmosphere of the limited and stony provincial surroundings.
In the period of 1989-1997 an international biennale of modern art “Impreza” promised to become a consolidated and united factor for the artists in Ivano-Frankivsk. The compositions of M.Yaremak and Y.Yanovsky were rewarded with diplomas by the organizing committee and the exhibition jury. A.Zvizhynsky was a master of some programs. And the others authors of catalogue were just participants. At the same time biennale hastened appearance of the alternative forms and means of art reflection.
After 1993 there are retracing some attempts of social adaptation of new-type programs in the relations between reproducer and potential recipients in a broad sense: Myroslav Yaremak’s idea called “cOBJEKT” is an attempt to create an art territory with the clearly described aesthetic , advertising and pragmatic functions which would go out of the gallery-shop’s limits. An unfinished action of the same author of the composition “Alternative major” (1994), in an urban way orientated exhibitions “Our Town” (1998-2003) and a representation-dialogue “Gifts from Yaremak”(2000), taking the given problematic points out of the art limits, they tried to mobilize the facing actions on a place where could be seen a vista for total realization of an idea “turning Ivano-Frankivsk into town”(European one).
In 1990s Rostyslav Koterlin presented other ways of interaction with society. Refined metaphysics of his conceptual projects retraces allusions and fears of „Man of Time” before Chronos and Tanatos. Three years before jubilee calendar date has come a mail-art action “Year of 2000 has begun”(A.Zvizhynski is a companion) in postcard form being sent to all representatives of the nation of different interests and ages in Ukraine and abroad made up to neutralize imposing linear time in a way of not noticing it. In the artifacts of a painter such as “Meditations at a clash” (1995), in an installation project of the united exhibition “The seventh Window”(1995), “Homo Chronicus”(1996) where stable eternal stuffs clash with synthetically gained complexes and mythological parts of an oppressed consciousness. There has consistently been making an attempt of theoretical grounds of his art ideas proposing. In 1999 and 2000 Koterlin published the edited copies of magazine “The End of the Ends” (publishing house “Lileya-NV”, Ivano-Frankivsk, Ukraine) dedicated to the problematic points of modern visual culture.
Image: Vesela Naydenova. "Gypsy time". Oil on canvas. 50x70 cm. 1996.
