Art exhibition 100% civil

100% civil

The art exhibition 100% civil is part of Baltic Glory 19. It opens in Loviisa, Finland on 3rd of August 2019. With artists from Finland, Russia, Sweden and Ukraine it seeks creative expressions in the struggle against war and militarism. During the year following the end of Baltic Glory 19 the exhibition will tour the involved countries. If you want to see the exhibition in your city please contact curators Darya Apochonchich, Alexandra Orlova and Kikka Rytkönen.

Dana Kavelina

”Banner № 2”

 Ukraine, Kiev, 2019

Textile, acrylic

”The banners that I draw for March 8 in Ukraine is each time a test for freedom of my political position. Last year, the banner was destroyed by police and the organizers of the march were sued for insulting national symbols. This year I was fired from work because of my banner (it is important to clarify that I worked at a studio that shoots children’s cartoons). You can seize the space for your statement, but you must be prepared to be punished if this statement does not fit into the dominant political narrative. This year’s banner is about woman’s reproductive labor, woman’s invisible service to the apparatus of war, and also gender-based violence, which intensifies along with the militarization of society. War generally exists by means of woman’s body.”

Dana Kavelina

”We are silent about red colors”

 Ukraine, Kiev, 2019

Vintage photos, thread

”Black and white photography is itself a frozen memory, an evidence of the past world, a fact. Red invades black and white and resews the fact, red is a bloodline that black and white film does not fixate, a red thread is the basis of the story missed in black and white photograph. War invades our intimate space, war is passed over in silence when it comes to the family photo albums, it gnaws our past, falsifying the fact of a past-without-war.”

Darya Apakchonchich

”Levels”

Russia St. Petersburg, autumn 2017

photo prints

”Autumn floods in St. Petersburg are marked with special commemorative plates. but how to measure other dangerous elements? level of indifference, level of poverty, level of loyalty, level of readiness for war, level of helplessness, level of trust in the leader.”

The Monsters/ Darya Apakchonchich

Street poem ”Teeth of war”.

Russia St. Petersburg,2019

photo prints, objects

”It draws on the ancient myth of Cadmus, who slew a dragon and sowed a field with its teeth. Up sprang armored soldiers, the teeth of war (most of this army promptly slew one another). The Monsters have seeded multiple locations in St. Petersburg with tiny plaster soldiers.”

0 Soldiers, teeth of war are we,
Grown in slop shown on TV,
We went to fight in a distant zone,
Because there’s no more

1 I am the golden tooth of war.
I’m beautiful and precious.
dictators spend all the state money
to show off how I shine in their jaws

2 I am a tooth of war. I was told:
look, the war gives a lot of benefits.
I fought and killed, and
I was paid for it with a whole bunch of golden shit

3 we are teeth of war.
the state raised us,
the state sharpened us,
the state bit with us.
and then the state said:
these are not my teeth,
they are not there and never ever were

4 I am a tooth of war,
filled and naked,
to the war I marched,
back from it I crawled

Alexandra Orlova

Traces of War

Russia St. Petersburg, 2018-19

tracing paper, zine

”The drawings of performances were made for the publication of the paper “Anti-war art performances in Russia 2014-2018” in Luhansk Taras Shevchenko university’s Annual University Journal (nowadays the university is located in Starobelsk, Ukraine). The report first was presented at the 34th Nordic Ethnology and Folklore Conference in the Uppsala. The zine ’Traces of War’ was made for 100% CIVIL exhibition in Almintalo, Loviisa, Finland in 2019. Co-operating with: Aseistakieltäytyjäliitto, Baltic Glory- rauhanharjoitus, Loviisan Rauhanfoorumi. 100 % CIVIL – art exhibition is part of Trans Folk Final Destination -exhibition. TransFolk Kucku 2018-19 is co host for the event.”

Elizaveta Savolainen

Ryijy

Russia Moscow, 2019

burlap, oil color, glue, fabric

”Ryijy – is an appeal to the Finnish tradition of tapestry making. Once my father said that every Finnish woman should make at least one ryijy in her life. My ryijy is rather specific…
All nations were born in blood… nowadays the world is a result of postcolonial, postwar and post-communist age when borders were cut like a knife. Fragmented identities, combinations of constructs and myths have built our map and relations between us. Without bloodshed value of liberty and right of self-determination is not appreciated, with bloodshed people have trauma, constituting past and present… Fanatic belief in ideas become the motivation of legal aggression, but finally, it’s belief to collage of pieces of colored textile. I’d like to emphasis the importance of understanding and reflecting own self-identity and constantly recheck who am I? In what I believe? Whether the colored fabric is worth the killing – too many ruins and too much violence already has been in history.”

Max Stropov

Heroes

Russia St. Petersburg, 2015-16

Colored prints

”Series made for the mobile anti-war exhibition NE MIR [NOT PEACE] (2015-16)
The basis of the series is Soviet propaganda posters. If the images of soldiers on the posters of the World War II are still quite individual, then later, together with the mythologization of the war itself, the “great victory” etc. everything begins to be typified, and the average image of a warrior-hero, “defender” etc. is being formed. Finally, this image begins to remind of its own reproduction, everything becomes so canonically identical: the same uniform, the same position, the same composition. The only exception – but also the continuation of this general logic of mythologization – is the nowadays Russian poster “the politeness takes cities”, in which the facelessness of the “hero” reaches its apogee. His face is completely hidden – it’s even worth believing that there’s no face at all. All this for some reason in nowadays political context of Russia is called “politeness” (first of all, this “politeness” refers to the annexation of Crimea, when Putin called “polite men” Russian military forces that invaded the peninsula with no identity signs on their uniform) – however, it is no coincidence, because the creation of a militaristic myth is the euphemization of violence, the (polite) silence about dirt and blood, which constitute the “essence” of war.”

inscriptions:

the joy of victory is rape
and such is the bitterness of defeat

we fight the evil
children, women, and old men just occur on our way

I am the war
I’ve got no face

boom! bang! flop!
(when words are not enough)

good death is
when you take someone else with you

I’ve got nothing
to talk with you about

for motherland
I’ll kill you

I know
what shit man is made from

my name is death
I am your rapist

Anastasia Vepreva

From ”Battle scenes”

Russia St. Petersburg, 2015-16

Drawing

”The real picture of the war is the field after the battle with the exhausted wounded fragile people who want almost nothing – only the end of this madness.”

Roman Osminkin

The Artist And War

Russia St. Petersburg, 2015

Prints

”The essay was first delivered on September 5, 2015 during the “How to think against the War” conference that took place in the Akademie der Künste der Welt / Köln.”

 

Anton Romanov

”Identity Map / Hate Speech”

Ukraine, Kiev, 2016

Prints

”’Identity Map / Hate Speech’ is a common search for one’s own identity and familiarity with the identity of others, an attempt to take responsibility for the hate speech that we use when we identify others.”

Anton Romanov

”NoPlay”

Ukraine, Kiev, 2017

Prints

”’NoPlay’ is a search for a theatrical figure in a war-torn country. Creating text for theater that should never be staged.”

Serhii Zakharov

The Hole (graphic novel)

 Ukraine, Donetsk – Kiev, 2015

Photo prints of the drawings

”With a growing level of our civilization culture the role of non-violent resistance will be more and more important. What form can it have? How effective it could be? How can an artist defend his citizen self identity? The graphic novel “Hole” is a artistic verdict of the so-called Donetsk People’s Republic and Luhansk People’s Republic made by a Donetsk citizen. The art project “Murzilka” created by him in the summer of 2014 filled Donetsk with caricatures of representatives of the occupying power. Zakharov was captured, held in the basement, imitated execution several times. Coming out of the dungeons, the artist drowned what happened to him and other prisoners. The graphic works reflect the chronicle of the occupation of artists native city and the days of the captivity of the artist. The works demonstrate the emotional state and expectations of a part of the population of the region, are an attempt to understand the realities of the new imposed being.”

Alexander Mamon

The last days of Kharkiv

Ukraine, Kharkiv, 2018-19

Photo prints

”This is part of the series of photos about Ukraine, suburbs and deserted places. Pursuing the theme of post-apocalyptic landscapes, I travel through the cities of Ukraine to explore and document abandoned places.”

Kikka Rytkönen

From the series “Demilitarized Galaxy”

photo prints

Finland, Helsinki, 2017

”Pictures are from a series of antiwar and for nuclear disarmament -actions. Activist at work.

Mearings, action in Burghfield A.W.E. – Nuclear Weapon factory, Great Britain.

Blockade of Coulport, Nuclear submarine depot, Scotland.

Jane and Dagmar ready for daily happening in Dumbarton, Disarmament Camp, Scotland.”

Kikka Rytkönen

Woman’s sheet

Finland, Helsinki, 2017

Textile

Meena Lindroos

”Necessities, Al Beitira”

Finland, Kerava, 2017

Oil painting

”The painting is based on video footage of the Al Beitira refugee camp set up by the Saudi Federation in October 2018 in the Lahij area. People had fled the Huthi rebels’ attacks on Hodeida. However, the camp was maintained only by its inhabitants and there was virtually no food or water available. Health care was inadequate. The fighting in Yemen has later shifted from Hodeida to another country and there is no relief from the humanitarian crisis.”

Elin Lundell

I deal with my anger towards militarism by embroidering

Sweden, Skärholmen, (2014 – ongoing)

Photos of the embroidering

”I deal with my anger towards militarism by embroidering. Embroidery is a slow process of making one stitch at a time. By doing this I stitch in all my anger in the piece of fabric I use, and when I’m finished, I hang the embroidery out in a public space to tell its message to the world. The streets are my gallery and the needles my only weapons. Here, I offer a selection of embroideries that I have made during the past years.”

Elin Lundell

The Society for the Preservation of the Memorial of Bofors

The Memorial of the Unknown Civilian

Photos

Sweden (2014 – ongoing)

”The memorial of the unknown civilian was founded in 2014 and is located in Bofors’ industrial area outside Karlskoga, Sweden. In this industrial area industrial both BAE Systems Bofors and Saab Bofors Dynamics are located – two companies that manufacture weapons which are then exported from Sweden for use in armed conflicts all around the world. BAE Systems Bofors manufactures parts for the GPS-controlled grenade Excalibur, which is then shipped to the USA for assembly. Excalibur was used, for example, by the US Army during the Iraq war – despite the fact that Sweden are not supposed to export weapons to countries involved in armed conflict! The name of the Memorial of the Unknown Civilian is a paraphrase of the “Tomb of the Unknown Soldier" which is a memorial and symbolic grave for all soldiers killed in a specific war. With the Memorial of the Unknown Civilian, instead of paying homage to fallen soldiers, we want to remember all civilians killed in armed conflicts, especially those killed with weapons manufactured on Swedish soil. The industrial area is considered to need "enhanced protection", and is therefore protected by a special law which prohibits people from entering the area without permission. The activists who built the memorial in 2014 were sentenced to fines for unlawful intrusion, but they and other activists have continued to repeatedly enter the area to take care of the memorial and maintain it as a monument of the damage that the weapons produced in the area do. The Society for the Preservation of the Memorial of Bofors aims to care for and pay respect to the Memorial of the Unknown Civilian and was founded on 30/11 2014. The society consists of activists, and it is open for anyone who wants to join in on the maintenance of the memorial. https://www.facebook.com/minneslund/”

Evi Pärn

Different Tongues, One Nation

Estonia, Tallinn, 2008-19

Prints

”Different tongues meet in a kiss expressing love and passion. In this act, both sides are equal, no matter their social status. In order to feel comfortable in our societal environment, we should really communicate with people around us. In times when fear is transmitted through the mass media, societies increasingly crumble into different social groups. I believe that we should first of all keep our humanity, mutual love and respect, and shouldn’t brew hatred towards those with different languages or cultures. What is happening now is the result of the ruling establishment’s actions. No nation should live in isolation or oppression caused by its government. I wish to express the idea that good relations are possible and, as long as fears, stereotypes and propaganda are forgotten, can be thoroughly enjoyed. The attitude to this approach can differ but basically it gives us an opportunity to break vicious circle of evil and fear. A scared person is easily persuaded to act in a way s/he would never act when in his or her right mind.
My work neither criticizes the existing approaches nor tries to confront them. It is rather a possible solution to a problem everyone faces. My work is a slogan, a symbol of openness and intertwinement of two cultures today.”

 

Paola de Ramos

”Running, no way. I haven’t done anything. Why run?”

Correr nada. Não fiz nada. Correr pra quê?’

Kites for Peace. In memory of children murdered by Brazilian Military Police (Polícia Militar)

Brasila-Great-Britain, London. 2019

Drawings

”This work is for all Brazilian children who were brutally killed and are still treated as criminals by Military Police. Military Police (Polícia Militar) is a police commanded by Brazilian Military Forces to enforce the law into Brazilian civilians. It was created on Military Dictatorship time and still have a great presence, specially in the favelas (slams) in Brazil. The title ”Running, no way. I haven’t done anything. Why to run?”, it was the last words of Kauan, 12 years old, killed by Military Police while he was buying a snack with his friend. More than thousands of stories like that are happening in Brazil. Also, kites are symbol of childhood and freedom, but as well in the favelas, drug dealers use children to fly kites as a way to communicate when the police arrives in the favela territory. The kites represent this hopeful freedom of all those children who died and live in between the violence of drugs dealers and Military Police in Brazil.”

Annika Rauhala

video

Viesti Venäjälle / Message to Russia

(about Finnish an international war, missile, training near Russia )

Finland, Helsinki, 2019

 

Dana Kavelina

Cartoon, animation

«About Mark Lvovich Tulpanov Who Spoke With Flowers»

Ukraine, Kiev, 2018-19

 

Natasha Tzeluba/ Anna Ten

video Performance/action

«warless»

Ukraine, Kiev, 2017

”The military conflict and war have become a part of Ukrainian everyday life, a subject of conversation and a polylogue. It is like an object flying above people’s heads, creating various feelings from anger to almost ironic awkwardness and uncomfort. The performance about war is as absurd, awkward and useless as its subject. The public is offered different vision of war in everyday life context : street, bar, massage salon …”