Opening "WC" (World Changes)

 "WC" (World Changes)

Artists: Anna Glybina, Natalia Fawaz 

It is instantly recognisible that the conceptual framework of the "WC" is determined by the expansion of the "field recordings" practice (rooted in the Gysin/Burroughs cut-up experiments and having gained a somewhat "academic" recognition with the help of contemporary artists/musicians such as Matthew Herbert and Mika Vainio) into visual arts scope. During their recent trip to Istanbul Anna and Natalia, instead of audio recordings, have collected an impressive body of visual narrative (photographic images, sketches, magazine clippings, postcards and flyers) which then served as some kind of visual alphabet for creation and communication of their own "not-so-instant messages" to the audience. Although there is nothing particularly radical to that method itself, there is undoubtedly something fairly thought-provoking (if not even disturbing) about these, so to speak, "messages contents".

In the process of collecting visual material, which built the core of the project, and its subsequent analysis, deconstruction and reassembly, the authors constantly questioned their own artistic taste-forming cultural paradigm (especially Natalia, who was born and rised in Lebanon before her family settled in Ukraine), and decided this time not only to consciously "give in", but push the aesthetic boundaries even further, striving to achieve very rough, raw, vivid, somewhat Basquiat-esque sort of result, and, thus, pretty ruthlessly dissecting the very idea of the existing Ukrainian cultural pattern. That is also exactly why Anna (usually very skillful painter and illustrator) goes for using pretty basic "Instagramm-type" graphic tools, not only radically discarding the themes of technical virtuosity, but, instead, developing the original visual language and creating imagery that certainly reaches beyond the standard westernised type of taste, thereby offering the whole new field of discussion regarding the question of "where the frontiers of Ukrainian cultural identity actually are"?

However, regardless of the outcome of such a discussion (largely dependent on one's own ability to "give in and enjoy"), it is of course entirely up to the spectator to think and decide to what extent Natalia and Anna are the “unreliable narrators” in terms of their own work, and how exactly large is the portion of irony (or even sarcasm) they injected into the mentioned above question by building their Insta-Temple on the imaginary border between the East and the West.

Eugene Taran