A significant event in the European art scene, “The Mould of Time,” has opened in Brugge as part of the Ukrainian Art Week.
This exhibition, organised by esteemed Ukrainian artist Svitlana Lebiga, President of the Cultural Centre of Ukraine in Belgium, in association with Guillaume Van Beckevoort, former Director of O. R. Westhoek Academie Koksijde, marked a poignant milestone, reflecting on ten years of war in Ukraine and the third year of the full-scale invasion by one of the world’s largest and most brutal armies.
Despite the ongoing conflict, Ukraine not only survives and resists the Russian aggressor daily but also continues to create powerful, vibrant, and contemporary art.
Artists, such as Lidia Guzhva, who have experienced the war firsthand offer invaluable insights and emotions through their work, providing a stark contrast to the propagandistic culture promoted by the Russian invaders.
Lidia’s latest exhibition, “The Mould of Time,” presents a profound exploration of war, trauma, and resilience. Lidia Guzhva, not only an artist but also a direct witness to the conflict in Ukraine, brings a unique authenticity to her work, which resonates deeply with viewers.
In addition to her artistic talents, Lidia is also a film director educated at the Filmakademie Baden-Württemberg, which further enriches her narrative and visual storytelling.
“The Mould of Time” is more than an art exhibition; it is a narrative of survival and the human spirit’s tenacity. Lidia Guzhva, who has been on the front lines, uses her art to convey the raw emotions and experiences of those affected by war.
“First of all, I wanted to show my feeling. I’m always trying to make other people feel like I feel,” Lidia Guzhva shared.
Her goal is to make the audience understand and empathise with the Ukrainian experience, bringing the emotions of her homeland to a broader audience.
The exhibition features works from various renowned Ukrainian artists, alongside Lidia Guzhva’s own creations.
One of the most striking installations features the remnants of a Russian rocket, symbolically placed in an “Ocean of Sorrow.”
The “Ocean of Sorrow” installation starkly portrays the daily toll of human lives lost. Using plastic and metal, artist Lidia Guzhva arranges shattered missile remnants over black plastic body bags, vividly representing the grim reality faced by Ukrainians. This work underscores the irreplaceable loss of life and the continuous burden of grief borne by the community.
“Traveler of the Ocean of Sorrow”
“Traveler of the Ocean of Sorrow” by Svitlana Landar features a toy tiger cub circling within a limited radius, symbolising the repetitive and necessary routines of life amidst chaos.
This piece reflects the struggle to maintain normalcy and the hope for eventual peace.It represents the small yet resilient figure of an individual standing against overwhelming odds.
“It symbolises how small we are compared to these huge metal parts, but if you are standing on your feet, you are a hero,” explained Lidia Guzhva.
This artwork embodies the spirit of every Ukrainian enduring the conflict, highlighting their strength and determination
Another significant piece is the “Ukrainian Calendar of Venus of War,” a series of paintings by Ukrainian artist Sergey Zakharov depicting a woman’s portrait for each month. This work aims to showcase the fragility and beauty of the human body amidst the horrors of war.
Lidia Guzhva interprets this as a representation of vulnerability and resilience.
“Despite the injuries, we are still alive. The beauty of the human body symbolises life and silence, a stark contrast to the chaos of war,” she said.
This series underscores the ongoing struggle and the unyielding presence of life even in the darkest times.
Reflecting on the classical ideal of beauty, the sculptural figure of Venus de Milo, we are captivated by its natural elegance despite the absence of limbs. Similarly, this war maims us, severing our limbs both physically and metaphorically—our homes, families, friends, and peaceful lives. Yet, we remain alive and powerful. The beauty of the female body in these paintings metaphorically triumphs over the horrors of death and mutilation, signifying the continuation of life. Conceived as a kind of calendar, it progresses from February to… Victory.
One particularly poignant installation, “Altar to Victory,” encapsulates the sacrifices made for the prospect of victory. Lidia Guzhva describes it as a representation of faith and the heavy price paid for freedom.
“Victory is abstract and far away. This installation speaks about the war sacrifice and the hope for victory. It is also a reminder of the sacrifices that have been made and those yet to come,” she noted.
The installation serves as a tribute to the Ukrainian armed forces and the collective effort to achieve peace.
“Altar to Victory” by Anton Lohov embodies the faith in Ukraine’s triumph and the return to peaceful life. The installation features an angel, survivors, and a poignant internet meme, encapsulating the societal resilience and newfound recognition of the Ukrainian people’s greatness.
The exhibition also features a unique installation resembling a changing room, which Lidia Guzhva refers to as a modern day Ukrainian shrine.
This is a deeply evocative work “The Home Sanctuary of ZSU-ism.” This neologism, emerging during the Russo-Ukrainian War, encapsulates unwavering belief and support for the Armed Forces of Ukraine (ZSU).
The installation gathers personal artifacts symbolising faith in these forces, including wooden carvings by serviceman and artist Dmytro Kolomoitsev, lung flags with texts from Taras Shevchenko’s “Zapovit” by Yana Sokolova, and a portrait of the cat Stepan Pantera by Tanaka Pavlova. These contributions highlight the personal and collective commitment to the Ukrainian cause.
This space includes various religious artefacts and symbols, such as Japanese lucky cats and Soviet memorabilia, symbolising the blend of faith and culture in times of conflict.
Lidia Guzhva emphasises the importance of prayer and belief in the armed forces of Ukraine.
“This is our prayer for our forces, our small part of responsibility,” she stated.
This shrine highlights the spiritual and cultural dimensions of the Ukrainian struggle, reflecting the nation’s diverse heritage.
Among the standout works is the “STOP MOSKAU Button,” a plastic artifact placed on a Soviet-era dressing table. This installation recreates an intimate domestic dimension of faith in the Armed Forces of Ukraine.
Visitors are invited to sit and press the button as many times as they wish, symbolising actions like donations, reposts, or participation in rallies.
This interactive piece allows viewers to engage directly with the sentiment of defiance and support for Ukraine.
“REPOSITORY OF UNLIVED FEELINGS AND EMOTIONS” is an installation that combines metal, glass, plastic, acrylic, paper, and electronics. It includes an audio accompaniment featuring municipal announcements and sirens recorded during the conflict.
Lidia Guzhva’s personal reflections on her emotional numbness since the invasion are central to this work. The installation reacts to its surroundings, symbolising the postponed tears and reflections of those enduring the war, awaiting the moment of victory.
The project “The Mould of Time” has been in development since early 2024, driven by the desire to create a significant and unique project for the 2024 Ukrainian Art Week. The participants include well-known and respected Ukrainian artists who depict the current state of the country in a contemporary artistic form. Notably, two of the most significant contributors are currently in active combat zones.
The developers and artists presenting the project are also military personnel, currently on short-term leave in Belgium.
Curator Lidia Guzhva emphasised that “The Mould of Time” captures the core components of Ukrainian reality, offering the audience a metaphorical space to encounter its extremes.
The exhibition conveys the ambivalent feelings caused by the war, balancing individual vulnerability with collective resilience. It reflects the physical limitations and fragility of the body alongside the spiritual realm where an invisible, abstract faith in victory prevails.
In addition to “The Mould of Time,” the Ukrainian Art Week 2024 also showcases a second project titled “Invisible Connections.” This project, presented by Oleksandr Kudriavchenko and Tetyana Hubina, explores the unseen bonds and relationships that sustain and define human experience, particularly in times of adversity.
The official presentation of the Ukrainian Art Week 2024, including “The Mould of Time,” featured speeches from several notable figures. Svitlana Lebiga, President of the Cultural Center of Ukraine in Belgium and co-organiser of the event, addressed the audience, alongside Nico Blontrock, Alderman of Brugge; Guillaume van Beckevoort, Director of O. R. Westhoek Academie Koksijde; Svitlana Stoyan, PhD, Professor at MBway Lille, France, and Director of the Art Centre “Alter Ego”; curator and artist Lidia Guzhva; and the exhibition participants.
Lidia Guzhva (r) and Svitlana Lebiga, founder and president of the Cultural Centre of Ukraine in Belgium
The presentation of “The Mould of Time” is taking place from 20th to 24th July 2024 at Jan Garemijnzaal, Hallestraat 6, 8000 Brugge, België, offering a poignant exploration of Ukraine’s ongoing struggle and resilience through immersive and evocative artworks.
Read also:
Alexander Kudriavchenko & Irene Ku, 2 Ukrainian artists exhibit in Mechelen, Belgium
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