https://byulianabychenkova.com byulianabychenkova Tue, 02 Jan 2024 17:09:10 +0000 https://byulianabychenkova.com en https://byulianabychenkova.com/books Wed, 14 Jul 2021 17:39:21 +0000 byulianabychenkova https://byulianabychenkova.com/books <img width="2556" height="1698" width_o="2556" height_o="1698" data-src="https://freight.cargo.site/t/original/i/703b556220b1460d762480366560843f79bdf0f588393489e5380bbb66725af1/messe3.jpg" data-mid="246556754" border="0" src="https://freight.cargo.site/w/1000/i/703b556220b1460d762480366560843f79bdf0f588393489e5380bbb66725af1/messe3.jpg" /> ︎︎︎︎︎︎ Uliana Bychenkova is an artist, curator, graphic designer, and researcher. As a designer, she mainly works with editorial or visual identity projects in the field of culture and art. She has collaborated with: Medusa Publishing House (Kyiv), IST Publishing (Kharkiv), Kyiv Biennial (Kyiv), Visual Culture Research Center (Kyiv), Ukrainian Institute (Kyiv), Museum of Kharkiv School of Photography (Kharkiv), Mystetskyi Arsenal (Kyiv), Technische Universität Dresden (Dresden), Universität Potsdam (Potsdam), Europa-Universität Viadrina (Frankfurt-on-Oder), Freie Universität (Berlin), Bauhaus-Universität (Weimar), Bundeszentrale für politische Bildung (Berlin), Deutsche Gesellschaft für Osteuropakunde e.V. (Berlin), Lithuanian Photographers Union (Klaipeda), Pflaubaum (Vilnus), Konstepidemin (Göteborg), The Union (Oslo), Cicada Press (New York), Media activist collective “Kafe-Morozhenoe” (Vienna), adocs publishing (Hamburg), nGbK (Berlin). <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/37f42a396aca0065bb128788357be85facc98ebe5b4906aa8774ac569d48941b/BELM6061--.png" data-mid="136971665" border="0" src="https://freight.cargo.site/w/1000/i/37f42a396aca0065bb128788357be85facc98ebe5b4906aa8774ac569d48941b/BELM6061--.png" /> ︎︎︎Harkiv photo school, 2020&nbsp; <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2eba78040d8f0e51f24cb50fba2130d21f5f7b0acc1444bb90ef51b173a5b472/red_book-Edit_cover1.png" data-mid="114106417" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/2eba78040d8f0e51f24cb50fba2130d21f5f7b0acc1444bb90ef51b173a5b472/red_book-Edit_cover1.png" />︎︎︎Znak. Ukrainian Trademarks 1960–1980, 2019 (research project by U,N,A collective)<img width="2263" height="1182" width_o="2263" height_o="1182" data-src="https://freight.cargo.site/t/original/i/5a0cb0c6c7bcd9587b83fcca4232e59bb3e06298272271f54672f957a0d8dc5b/BELM5302---.png" data-mid="137055827" border="0" src="https://freight.cargo.site/w/1000/i/5a0cb0c6c7bcd9587b83fcca4232e59bb3e06298272271f54672f957a0d8dc5b/BELM5302---.png" /> ︎︎︎Artistic practice and social change, 2019<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d9a04447d037db3715dffdd775bf66a596560e1300174f55201c37f828979bc4/BELM3982-.png" data-mid="113853508" border="0" src="https://freight.cargo.site/w/1000/i/d9a04447d037db3715dffdd775bf66a596560e1300174f55201c37f828979bc4/BELM3982-.png" /> ︎︎︎Oleh Holosiy, 2019<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2b568033c6e37dbd7adc149d5c6b89c3bda392a2a982f3c9c71fb58cf4e20f50/BELM6071-.png" data-mid="114101670" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/2b568033c6e37dbd7adc149d5c6b89c3bda392a2a982f3c9c71fb58cf4e20f50/BELM6071-.png" /> ︎︎︎Hnilitskiy, 2018 <img width="4272" height="2848" width_o="4272" height_o="2848" data-src="https://freight.cargo.site/t/original/i/b6c2fc28464d6c0d3b8fe46df7fc657da17d70fc73cb07a60ea62c8edf83cb08/UB_G_7.jpg" data-mid="113846700" border="0" data-rotation="180" src="https://freight.cargo.site/w/1000/i/b6c2fc28464d6c0d3b8fe46df7fc657da17d70fc73cb07a60ea62c8edf83cb08/UB_G_7.jpg" /> ︎︎︎Between fire &amp; fire, 2019<img width="2351" height="1568" width_o="2351" height_o="1568" data-src="https://freight.cargo.site/t/original/i/dba73b17f61e0f40984d1be76a481350a03a5bd4d0f846efe71325ef6a742fed/BELM6034.png" data-mid="114105170" border="0" src="https://freight.cargo.site/w/1000/i/dba73b17f61e0f40984d1be76a481350a03a5bd4d0f846efe71325ef6a742fed/BELM6034.png" />︎︎︎Schastlivye padeniya, 2018<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/1c6ad1335c8764d73959af18ba6b618455497593c5a4295d8d4752212a4306b2/BELM5953.png" data-mid="114027746" border="0" src="https://freight.cargo.site/w/1000/i/1c6ad1335c8764d73959af18ba6b618455497593c5a4295d8d4752212a4306b2/BELM5953.png" /> ︎︎︎ Fünf jahre nach dem maidan, 2018 <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/264cd1ad6528e24dbc5e8824e9e0aa19fb536b4f7f25db2130f390736d1a43d4/BELM5907----.png" data-mid="113849361" border="0" src="https://freight.cargo.site/w/1000/i/264cd1ad6528e24dbc5e8824e9e0aa19fb536b4f7f25db2130f390736d1a43d4/BELM5907----.png" /> ︎︎︎Guidebook, 2018 <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/c4c25b8b2d757338c9f5b79343c1b0708add738b54913f436136db0da2bbd8a5/KA18_4-.png" data-mid="114103581" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/c4c25b8b2d757338c9f5b79343c1b0708add738b54913f436136db0da2bbd8a5/KA18_4-.png" />︎︎︎Boychykizm, 2018 <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a218641446c3fb207414104ba6776ebf7a779d73d96958a9936dc3e48d03c1e0/UB_Boychukizm_1.jpg" data-mid="113846676" border="0" src="https://freight.cargo.site/w/1000/i/a218641446c3fb207414104ba6776ebf7a779d73d96958a9936dc3e48d03c1e0/UB_Boychukizm_1.jpg" /> ︎︎︎Poesis–Polis–Praxis, 2017<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cfa6ba4ae2739e205909ff833235a75f6d33d6d171b19a1d674379aa44e512c8/PPP_2-.png" data-mid="114037419" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/cfa6ba4ae2739e205909ff833235a75f6d33d6d171b19a1d674379aa44e512c8/PPP_2-.png" />︎︎︎Judit Batler, 2016<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/0a097eae20c1466ca497bef131bc46d8dbedd3f01e8184a2b0ef5f979b019302/DSC_0014--.png" data-mid="114103848" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/0a097eae20c1466ca497bef131bc46d8dbedd3f01e8184a2b0ef5f979b019302/DSC_0014--.png" /> https://byulianabychenkova.com/Die-Gemutliche-Unheimlichkeit Sun, 26 Jul 2020 11:11:06 +0000 byulianabychenkova https://byulianabychenkova.com/Die-Gemutliche-Unheimlichkeit <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/1ae472dc6515a99a21b99a37675c42021437b62da65777f7ec05dea0c645f78b/2019_Kyiv_.jpg" data-mid="78558911" border="0" src="https://freight.cargo.site/w/1000/i/1ae472dc6515a99a21b99a37675c42021437b62da65777f7ec05dea0c645f78b/2019_Kyiv_.jpg" /> “Die (Gemütliche) Unheimlichkeit”morpho-logical studyinstallation, ceramics, 2017–2019 “The uncanny (Unheimlichkeit) is that which should have been hidden, but revealed itself” — Sigmund Freud uses this quote from Friedrich Schelling in his 1919 article “Uncanny”. The constellation “Violet and Throat, Oyster mushroom and Vagina” reveals itself in a wave-like whirlwind of aggressive decorativeness and conveys morpho-logical greetings to Olga Rapay's library fountain and Judy Chicago's dinner party. It also sends congratulations to the centenary of the jubilee of the term Unheimlichkeit (Uncanny) inviting it to also discover the hidden Cozy (Gemütliche). This work was made for the exhibition ︎︎︎&nbsp;“Cave of the Golden Rose”, Closer Art Center, Kyiv, 2019 ︎︎︎ Publication “Talking to the Golden Rose Cave”, Nastia Theor and Alexei Kuchansky, YourArt &nbsp;︎︎︎ Documentation of the curatorial excursion ︎︎︎ Exhibition catalog <img width="6400" height="8533" width_o="6400" height_o="8533" data-src="https://freight.cargo.site/t/original/i/feab17f7a0c85653d9375c902f1974aec354760683a4a80b3d04e9d771eed917/IMG_5725-.jpg" data-mid="78558914" border="0" src="https://freight.cargo.site/w/1000/i/feab17f7a0c85653d9375c902f1974aec354760683a4a80b3d04e9d771eed917/IMG_5725-.jpg" /> <img width="2000" height="1338" width_o="2000" height_o="1338" data-src="https://freight.cargo.site/t/original/i/de9e2a33857d0fcace377b27115f87c231acd1adb8177a3b50210eea40a03148/7_2019_Kyiv.jpg" data-mid="78558437" border="0" src="https://freight.cargo.site/w/1000/i/de9e2a33857d0fcace377b27115f87c231acd1adb8177a3b50210eea40a03148/7_2019_Kyiv.jpg" /> <img width="8533" height="6400" width_o="8533" height_o="6400" data-src="https://freight.cargo.site/t/original/i/1176b8c4fc5ea986840e699051be81d75aabd27a82f96c916b1def104e30affd/IMG_5709-.jpg" data-mid="78559258" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/1176b8c4fc5ea986840e699051be81d75aabd27a82f96c916b1def104e30affd/IMG_5709-.jpg" /> Photo: Anna Scherbyna, Natalka Dyachenko https://byulianabychenkova.com/SOUNDS Sun, 02 Apr 2023 15:06:33 +0000 byulianabychenkova https://byulianabychenkova.com/SOUNDS <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/731e9ca3367074958be20cca3e821d8a70733da5d9b9f21896926bbdbd79ce33/U22bw_1_2-1000.png" data-mid="230599998" border="0" src="https://freight.cargo.site/w/1000/i/731e9ca3367074958be20cca3e821d8a70733da5d9b9f21896926bbdbd79ce33/U22bw_1_2-1000.png" /> a.k.a:&nbsp; &nbsp;mellimbrosia &nbsp; &nbsp;&nbsp;︎ &nbsp; Uliana BychenkovaBorn 1986, Kerch, UkraineUliana Bychenkova is an interdisciplinary artist &amp; designer, composer &amp; performer, curator &amp; researcher. In Sonic Arts, Uliana is interested in exploring a variety of acoustic and electronic sound objects, overcoming their hierarchies through experiments with modular synthesis, field recordings, improvisation, and collaboration with instrumental musicians, but is particularly fascinated by the voice as a tool in self-discovery as a composer and performer. &nbsp; &nbsp; She focuses on the timbre-oriented aesthetics of New Music; drawing inspiration from the Feminist Musicology and Intermedia Studies; paying particular attention in her practice the relationships of Electroacoustic Composition with different dimensions of the Visual Composition field, among which are the Sound Design &amp; Film Scoring. With a background in noise performance, Uliana studied at the school of Ukrainian composer Katarina Gryvul, where timbre and form were paid the most strong attention. &nbsp; &nbsp; &nbsp; &nbsp; Focusing on the intermedial dimensions of electroacoustics and employing feminist optics, in 2024 she graduated from SeaM (Studio for Electroacoustic Music in Bauhaus University Weimar, M.F.A.), with an electroacoustic score for the short film-performance “Scales” directed by Anna Scherbyna (e-flux Film Award 2024).&nbsp;&nbsp; &nbsp; In 2025, Uliana completed a four-month internship at the experimental free radio Pi-Node in Mulhouse/Paris (France), where her work engaged with noise, poetry, and media literacy, exploring radio art as a political and artistic medium.&nbsp; &nbsp; She is currently a research associate in the Department of Sound and Intermedia at the Gustav Mahler Private University of Music in Klagenfurt am Wörthersee (Austria), where her work focuses on the political dimensions of intermedia practices centred on voice, text, and typography, and on developing feminist artistic research as both a conceptual and methodological framework. <img width="1280" height="1280" width_o="1280" height_o="1280" data-src="https://freight.cargo.site/t/original/i/06e5a889ba73c7d5553790cd79f55f86af1ae0547f970a1b5e093008ae5663b4/photo_2024-06-02-01.18.28.jpeg" data-mid="229152124" border="0" src="https://freight.cargo.site/w/1000/i/06e5a889ba73c7d5553790cd79f55f86af1ae0547f970a1b5e093008ae5663b4/photo_2024-06-02-01.18.28.jpeg" /> photo by eeefff, SeaM, Weimar, 2023 Study for incredibly smart dark kittens 4' 08", fixed media, stereo, 2023︎ listen &nbsp;︎ &nbsp; At this point, I would like to send some greetings to Enola Holmes, Mica Levi, and the indestructible power of horror*, which milk foam ideally possesses!The piece was made to explore the invisible agency of the acoustic potential of everyday objects, imperceptible little things like a needle, a thread, and a porcelain cup. The acousmatic texture of otherwise innocuous objects turns out to be both horror and pleasure. ———*In her Essay “Approaching Abjection” (“Powers of Horror”, 1982), Julia Kristeva describes a curious form of dialogic relationship between object and subject: the mere sight of a harmless material substance (milk froth) provokes a whole series of complex physiological and psychological reactions. Deprived of special symbolic meaning, the foam sets a person in motion solely due to the specifics of its texture:“When the eyes see or the lips touch that skin on the surface of milk—harmless, thin as a sheet of cigarette paper, pitiful as a nail paring—I experience a gagging sensation and, still farther down, spasms in the stomach, the belly; and all the organs shrivel up the body, provoke tears and bile, increase heartbeat, cause forehead and hands to perspire. Along with sight-clouding dizziness, nausea makes me balk at that milk cream, separates me from the mother and father who proffer it. “I” want none of that element, sign of their desire; &lt;...&gt; “I” do not assimilate it, “I” expel it. &lt;...&gt; That detail, perhaps an insignificant one, but one that they ferret out, emphasize, evaluate, that trifle turns me inside out, guts sprawling.” <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/921087f9781989b3f4e69b2ad01ad08cc212754120d524ef9572e3cf78af93d0/Melymbrosia-2000x1000.png" data-mid="173992045" border="0" src="https://freight.cargo.site/w/1000/i/921087f9781989b3f4e69b2ad01ad08cc212754120d524ef9572e3cf78af93d0/Melymbrosia-2000x1000.png" /> The Remembrance of Air&nbsp;4' 50", fixed media, stereo, 2022&nbsp;︎ listen ︎The study was assembled from the sounds of my everyday Weimar life: the space of a building where I live and an area on my way to the grocery store. While working on the collected material, I wanted to indicate the difference between air and underwater environments, and to express such transition processes as diving and surfacing, through different approaches to stereo gestures and speed. Of course, these symbols refer only to the imaginary spaces of human perception, not real physics. The title of the study refers to the work of the feminist philosopher Luce Irigaray “The Forgetting of Air in Martin Heidegger”, which criticizes the tradition of Western metaphysics. Sound as well as Air is an important object of New Materialism, an intellectual space of inclusive sensitivity to the weightless and invisible tissues.&nbsp; <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9090f999104f91fc84e3c16fe06f94eae4f622d0ce506850e44df528a785576d/Uliana-Bychenkova-Weimar-SeaM-2023.png" data-mid="229133958" border="0" src="https://freight.cargo.site/w/1000/i/9090f999104f91fc84e3c16fe06f94eae4f622d0ce506850e44df528a785576d/Uliana-Bychenkova-Weimar-SeaM-2023.png" />photo by Sam Rue, SeaM, Weimar, 2023 Outline Ritornello “Velyki Selmentsi” 13' 38", Sound Essay, fixed media, stereo, 2023&nbsp;︎&nbsp;listen ︎ I had a peculiar listening situation on my way from Ukraine to Germany at the end of February 2022. It took place somewhere on the Carpathian mountain’s serpentine road when we tried to get to the border on a minibus of Polish activists. It was already night when we got closer to the borderline but then our driver realised that we got lost. We tried to search for other border points and the driver was in touch with his Polish colleague by phone. I was sitting near and listening to this sound situation in the middle of the night on a serpentine snow road: the driver tried to spell in the right way the name of the next border point using Polish names to transcribe the Ukrainian toponym “Velyki Selmentsi”. There is something performative in the process of producing a sound essay — a memory lived through bodily effort and bodily inventiveness to express a thought. Observing my own inability to grasp the form of piece, I suddenly came to the conclusion that the elusive contour is its compositional character. However, the very act of groping, of feeling one's perceptual memory, of returning, which refines the contour as much as it loses it, is in itself a rotation, a ritornello of drilling at certain distant point. Dealing with memory, trying to comprehend its aesthetic formula, remembering details that can’t help to build a smooth monolithic monument. Each subsequent memory is a variation of the strokes, hazy, inaccurate and blurred in space. The serpentine shape, which I mysteriously was aspired to, seemed to me the embodiment of lightness — I was imagining a halo of smoke rising up in a spiral, where names like stars under a dome become exact coordinates. But nothing is certain in smoke. Navigation in the space is dramatically unstructured, and some random abstract data can become a coordinate cipher. <img width="2816" height="1408" width_o="2816" height_o="1408" data-src="https://freight.cargo.site/t/original/i/3092ff2e6f851e236b7906acf3de6797f7afe3619e269d3c4e6e2aca2411e3ec/iS-140724-05-1x2-bw.jpg" data-mid="229134355" border="0" src="https://freight.cargo.site/w/1000/i/3092ff2e6f851e236b7906acf3de6797f7afe3619e269d3c4e6e2aca2411e3ec/iS-140724-05-1x2-bw.jpg" />“Sonopticum—Sunday of Sonic Arts”, Weimar, 2024 iSUliana Bychenkova &amp; Leonard Friese live performance, 8' 00", 2024︎documentation︎︎︎ Verbal and non-verbal communication between two voices and two instruments, breathing and non-breathing matter. “I say that that which is is. I say that that which is not also is.” (Monique Wittig, “Les Guérillères”) Performers: Violin: Haonan Guo; Soprano: Uliana Bychenkova; Contralto: Mariam Kunchuliya; Accordion: Leonard Friese. Scales&nbsp;︎ watch ︎︎︎︎︎︎Film Score &amp; Typography directed by Anna Scherbyna (e-flux Film Award 2024) CV Education&nbsp;︎&nbsp;Rodchenko Art School of Photography and Multimedia, Sound Art (2015) / with Andrey Smirnov, Oleg Makarov,&nbsp;Sergey Kasich, Aristarkh Chernyshev, Alexei Shulgin;&nbsp;Gryvul School, Music Production (2022) / with Katharina Gryvul; Concordia University Montréal, Electroacoustic Studies, (2023) / with Kevin Austin, Claire Kenway, Ricardo Dal Farra, Paul Scriver, Jamie Woollard, prof. Eldad Tsabary; SeaM—Studio for Electroacoustic Music, Electroacoustic Composition &amp; Sound Design, Bauhaus University, Weimar, (M.F.A. 2024) / with Tim Helbig,&nbsp;Jascha Hagen,&nbsp;Hans-Martin Robert Rehnig,&nbsp;prof. Maximilian Marcoll; Experimental Radio with Eleftherios Krysalis; Acoustic Ecologies with Marcin Pietruszewski,&nbsp;prof. Kerstin Ergenzinger. Selected events&nbsp;︎&nbsp;Performance “Feminist (Art) Criticism”, TSEKH space, Minsk, 2014 (with Pripoy!); Performance LadiyfestLeipzig, Leipzig, 2017 (with Pripoy!); Performance “Armed and Dangerous”, IZOLYATSIA. Platform for Cultural Initiatives, Kyiv, 2019 (with Anna Scherbyna); DJ set “Work Hard! Play Hard!”, Berlin, 2022; “Variable cloudnes”, Live on the Cashmere Radio, Berlin, 2024; DJ set “Fluesterzimmer N6”, Notenbank, Weimar, 2024; Radio show “SeaM Archive” (Studio for Electroacoustic Music), BAUHAUS-FM (with Jasper Seibert); Festival “Sonopticum­—Sunday of Sonic Arts” HfM Franz Liszt, Weimar, 2024 (with Leonard Friese); Concert “THINGS that COULD happen”, HfM Franz Liszt, Weimar, 2025 (with Marco Shevchenko &amp; Marius Machill). Collaborations ︎&nbsp;girls noise band “Pripoy!” (2013–2017); Zhanna Dolgova &amp; Alexei Kuznetsov (2016–2019); Anna Scherbyna (since 2018); Lucy Ivanova (2021); Leonard Friese (2024); Jasper Seibert (since 2024); Marco Shevchenko &amp; Marius Machill (2025). Educational projects ︎ Seminar “INTERMEDIATION”, Bauhaus University Weimar / Hochschule für Musik Franz Liszt Weimar, Germany, SoSe 2024 (with Leonard Friese); “Feminist Musicology Reading Group”, Bauhaus University Weimar / Hochschule für Musik Franz Liszt Weimar, Germany, 2022–2023. Curatorial projects ︎ Festival “Sonopticum­—Sunday of Sonic Arts” HfM Franz Liszt, Weimar, 2024 (with Jasper Seibert); Concert “THINGS that COULD happen”, HfM Franz Liszt, Weimar, 2025 (with Jasper Seibert).<img width="2467" height="3732" width_o="2467" height_o="3732" data-src="https://freight.cargo.site/t/original/i/05aa7be4779495ad87a5ddf5c2258a4c1d6ae01b13c1f18c162af9a0b934e400/U17.jpg" data-mid="246556635" border="0" src="https://freight.cargo.site/w/1000/i/05aa7be4779495ad87a5ddf5c2258a4c1d6ae01b13c1f18c162af9a0b934e400/U17.jpg" /><img width="904" height="1280" width_o="904" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7afc3b5f1827e8daadf4c790f2475f0b6e5048395da525a0a8002e852103bbf4/photo_2025-04-22-20.23.18.jpeg" data-mid="246556536" border="0" src="https://freight.cargo.site/w/904/i/7afc3b5f1827e8daadf4c790f2475f0b6e5048395da525a0a8002e852103bbf4/photo_2025-04-22-20.23.18.jpeg" /> photo by Irina Butkovskaya, Weimar, 2025 https://byulianabychenkova.com/sound-cv Tue, 02 Jan 2024 17:09:10 +0000 byulianabychenkova https://byulianabychenkova.com/sound-cv <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/5aa82d137403dcfcce2cef7d8d8c00b08876db4c396250a45223c6ecbd57eae8/Uliana-Bychenkova-Weimar-SeaM-2023.png" data-mid="200972957" border="0" src="https://freight.cargo.site/w/1000/i/5aa82d137403dcfcce2cef7d8d8c00b08876db4c396250a45223c6ecbd57eae8/Uliana-Bychenkova-Weimar-SeaM-2023.png" /> Photo: Sam Rye, SeaM, Weimar, 2023 Uliana Bychenkova&nbsp;CV Uliana Bychenkova is an audio &amp; visual artist, designer, researcher and curator. She was born in 1986 in Kerch (Crimea, Ukraine). Living and working in Kyiv (Ukraine) and in Weimar (Germany). As methods, she practices Feminist Artistic Research, the intersection of disciplines, strategic imagination, and tactical inventions, which are formalized through a variety of mediums, including sound performance, ceramic objects, self-publishing, conceptual terms, etc. As a sound artist, Uliana focuses on the timbre-oriented aesthetics of electroacoustic music, conceptual equality of different sonic materials, and the political dimension of spatial compositional gestures. She draws inspiration from feminist musicology studies and the compositional methods of female composers, especially the pioneers of early electronic music. Her current interest lies between intersections of Feminist and Intermedia theories — as a Master student at the SeaM (Studio for Electroacoustic Music Weimar) she is focusing on the relationships of Electroacoustic Composition with different dimensions of the field of Visual Composition, the Sound Design &amp; Film Scoring practices in particular. Education Kharkiv State Academy of Design and Arts, Graphic Arts (2011); Rodchenko Art School of Photography and Multimedia, Media Art, Moscow (2015); European Humanities University Summer School, Artistic Research, Vilnius (2014); Feminist Writing Workshop, Lviv (2020); Bauhaus University, Electroacoustic Composition and Sound Design, Weimar (Since April 2022), Concordia University, Electroacoustic Studies, Montréal (Exchange Semester, Fall 2023). Group projects &amp; collaborations Girls Noise Band “Pripoy!” (2013–2017); Self-publishing initiative “Urbanfeminism” (together with Alexandra Talaver, 2015–2017); Design research trio “U,N,A collective” (together with Nika Kudinova and Alena Solomadina, since 2017). Scholarships, residencies, awards Grand Prix of the Non-Stop Youth Art Festival, Yermilov Center, Kharkiv, 2012; Grand Prix of the competition “Best Book Design", project “Znak. Ukrainian Trademarks of the 1960–1980s” (U,N,A collective), Book Arsenal, Kyiv, 2020; Feminist Research Residence “Dreams of Sisterhood”, LIA, Spinnerei, Leipzig, 2021; Künstlerhof Frohnau Art Residence, Berlin, 2022; Donumenta Artistic Research Residence, Regensburg, 2022. Curatorial projects Exhibition “Coordinate system. Exhibition, discussion, experiment”, YermilovCentre, Kharkiv, 2013 (together with Alina Kleitman); Design research exhibition project “ZNAK. Ukrainian trademarks of the 1960s–1980s”, Mystetskyi Arsenal, Kyiv, 2017 (as part of the U, N, A collective); International feminist art project “Cave of the Golden Rose”, Closer Art Center, Kyiv, 2019 (together with Anna Scherbyna, Zhanna Dolgova, and Valentina Petrova), “Vystavka-Chytanka” (Exhibition-Reading), Artspace Kryla, Kyiv, 2020 (together with Anna Scherbyna); “How do we turn salt into sugar?”, Museum Reinickendorf, Berlin, 2023 (together with Anna Scherbyna). &nbsp; https://byulianabychenkova.com/PRIPOI-ZENSKII-ANSAMBL-SUMOVOI-MUZYKI Wed, 02 Dec 2015 18:41:46 +0000 byulianabychenkova https://byulianabychenkova.com/PRIPOI-ZENSKII-ANSAMBL-SUMOVOI-MUZYKI <img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/907a5c6f16a5b357cf465f8415f748b419d260e1064e5e609ef8b873a0b0a3f9/2016_SpB-.jpg" data-mid="78484840" border="0" src="https://freight.cargo.site/w/1000/i/907a5c6f16a5b357cf465f8415f748b419d260e1064e5e609ef8b873a0b0a3f9/2016_SpB-.jpg" /> Pripoy!&nbsp; girls noise band&nbsp;2013–2017 ︎︎︎ facebook︎︎︎ soundcloud︎︎︎ youtube︎︎︎ vimeo The name of the group is technological and poetic. Literally, “Pripoy” means solder, but also sounds (in russian) like a verb in an imperative mood which means something in between “call to memory!” and “sing it!” — reflection and articulation. To create music, analog synthesis is used, self-assembled&nbsp; sound generators, broken and rebuilt musical toys and other sounding garbage. In addition we use female voice and software sequencers. Sounds are generated in real time and gigs themselves take the form of technological performances. <img width="2000" height="1331" width_o="2000" height_o="1331" data-src="https://freight.cargo.site/t/original/i/3cb3b2dcba08a3e4a8d57c9dd9fad8da2d7ff557d43a59572f3e71e2204a5cc7/pripoy.jpg" data-mid="78393242" border="0" src="https://freight.cargo.site/w/1000/i/3cb3b2dcba08a3e4a8d57c9dd9fad8da2d7ff557d43a59572f3e71e2204a5cc7/pripoy.jpg" /> <img width="1168" height="1688" width_o="1168" height_o="1688" data-src="https://freight.cargo.site/t/original/i/75f691b45e05d20873df9c6a0297209063cb1b2cd6b9016d45e364ca58cb489e/3.jpg" data-mid="78393241" border="0" src="https://freight.cargo.site/w/1000/i/75f691b45e05d20873df9c6a0297209063cb1b2cd6b9016d45e364ca58cb489e/3.jpg" /> https://byulianabychenkova.com/Manifesto Sun, 20 Mar 2022 15:41:45 +0000 byulianabychenkova https://byulianabychenkova.com/Manifesto Manifesto The state of being an artist can justifiably be called a profession, but relatively close to me is also the notion of identity, perhaps because it causes difficulties. While working also as a designer, I almost immediately began to realize that I could not allow myself to behave as an artist in relation to business matters of the applied field. More often than not, I cannot allow myself to be an artist any longer at all. Like many others who overcame the pressure of media narrowness of the post-Soviet academic education, I aimed to experience the widest possible range of art practices. Graphics, painting, sculpture, sound, photography, video, performance, samizdat, artistic research, curatorial practices, and activism — I am still equipped with almost all of these mediums. Training in graphics adjusted my thinking in the optics of reduction, so probably therefore the conceptual approaches are very important for me. My relationship with theory, especially feminist theory, is not very flat. This field encourages me as an artist to start arguments and intervention gestures. Since 2016 in the context of Welcome To The Doll House! games I introduced the notion of Prichuzhdenie (the exact translation of the term into English is still not developed, if you have any ideas I will be glad to hear it!) as an antonym for Otchuzdenie (Marx's term&nbsp;Alienation). In 2019, I created a ceramic work dedicated to the 100 years anniversary of the Freudian term Unheimlichkeit (Uncanny) which attached Gemütliche (Cozy) to it. In 2020 I began to develop provisions for Feminist artistic research as a discipline. In 2021, I wished to establish Silence féminine as a responsive practice for visual feminist artists onto the French concept of the 70s Écriture féminine. Probably the biggest effort of my creative pathway is dedicated to collaboration practice. For about 10 years now, I have been engaged with mainly group and infrastructure projects. I still consider it extremely important, however, I also feel the invigorating challenge of the responsibility of the individual expression as well as the interest in non-targeted artistic designs. There, I am mostly interested in the issue of the establishment of individual practice. What can / should my life as an artist consist of? As it becomes apparent with the physical maturation, not least out of self-case — it should consist of the responsibility for the flow of physical, chemical, emotional reactions in the body, but also of concern for the morpho-logics of your thinking — sensitive study of your own ethical, plastic and other benefits. I am surprised that only now I started to feel the interconnection between the structure of everyday life and artistic practice, the tension from the responsibility to shape the both. The figure of an artist is her bravest private way of space and time arrangement, a defiant challenge to the normality of things, but also an issue of self-discipline in its most fundamental sense. It is fascinatingly interesting how it can be arranged by other, close and distant women. For example, Virginia Woolf’s formula was working with two takes a day: to write two texts at the same time, before lunch and after tea, combining the critical writing with the artistic one. I also like to perform parallel plastic tasks, in such a situation one can productively admire the differentiation of qualities. The status of women and artists as a topic in the local professional sphere worries me and keeps me constantly tensed. The habits of the mind and psyche which I, my friends and enemies, would need to uncover, crack and tame. Role models that we need to become to ourselves, inventing and acting out on the latest politics, which is so much such and of high importance! As the oppression does not soften, yet it becomes more crafty and dubious. We are so closely intertwined with the male subjects in a way that we are sometimes so helplessly immobilized by these laces. I think the potential still lies in the self-study of female artists as a group. In conversation. In ability to untangle wings and teeth for further action and pleasure. What are we so poor about, and what are we so sad? Secondariness, poverty, trash of the post-Soviet land: here are the wrappers of the American feminism of the 70s, there are the French effervescent powders… seduction potion. However, this is also such a political pressure, probably the truest feminist delicacy are the ones that are self-invented! Every new place, every new hour. Kyiv, 2021 https://byulianabychenkova.com/Clara-Josephine-Fraktur-a-Futur-a_e Sun, 20 Mar 2022 18:19:55 +0000 byulianabychenkova https://byulianabychenkova.com/Clara-Josephine-Fraktur-a-Futur-a_e <img width="4374" height="1458" width_o="4374" height_o="1458" data-src="https://freight.cargo.site/t/original/i/2f91e13efadee293752f6105a6c191691fd6f7503983716e1923a9ba7452312f/UB_cr_cover-2.png" data-mid="136985189" border="0" src="https://freight.cargo.site/w/1000/i/2f91e13efadee293752f6105a6c191691fd6f7503983716e1923a9ba7452312f/UB_cr_cover-2.png" /> Clara, Josephine, Fraktur*a, Futur*a This publication is produced within the residency exchange framework of the Dreams for Sisterhood project initiated by Method Fund. The project is implemented in partnership with Open Place (Kyiv), the city of Leipzig, Bureau for Cultural Translations (Leipzig), Institute of Political Narratives (Leipzig), Leipzig International Art Programme, and Kyiv Biennial. The project is supported by the Ukrainian Cultural Foundation, the Memory, Responsibility, and Future Foundation (Berlin) — within the Culture for Change programme, Goethe-Institut Ukraine, the state administration of Saxony and Leipzig. It’s dated to the 60th anniversary of sister city arrangements between Kyiv and Leipzig.Not only the Future is Female but the Past is also Female History is not a fact but only a story, a narrative that is not neutrally embodied. Thus, not only new can be female but old can also become a new—and female—narrative. I combined my interest in the origins of book design with the framework suggested by the residency’s theme—reactualisation of female movement history in Leipzig—and I imagined a bibliographic alternative, which is a gesture that symbolically compensates for under-representation and an exercise in book cover historical styling. Important to me, Luce Irigaray’s ideas about feminine morpho-logic [1] in creative work are usually interpreted in the context of language (écriture féminine), while artistic research touches upon the area of visuality. Design and applied arts matter to me as a feminist artist in how they are connected to everyday life: they shape it and act as agents of my own routine. In the history of design, we not only deal with a non-neutral tone of narratives but we also deal with real artefacts: can we argue with them? Artefacts document the conditions in which they were created, or constraints in those conditions—and such a deficiency is able to heat up political issues and fuel the passionate construction [2] of feminist artistic research. The City of Women in Women’s House, in Women’s Room, in Leipzig From the starting point of travelling to Leipzig, I was curious about feminist graphic designers as the modern context which I only could fantasize about. Also, I was rather anxious about the celebrated book tradition which I fetishized more than imagined in reality. At the intersection of book and gender history, I found two insanely interesting spaces here that are located in the past: Women’s Pavilion (Haus der Frau, literally translated as Women’s House) and Women’s Room (Frauenzimmer). <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/6d586c0866b33eb7c89a3eca8718fbc9bcf00339694696e6454675f80fda1519/UB-1.png" data-mid="136985190" border="0" src="https://freight.cargo.site/w/1000/i/6d586c0866b33eb7c89a3eca8718fbc9bcf00339694696e6454675f80fda1519/UB-1.png" />Image 1. Cover of the exhibition catalogue. Das Haus der frau. Die Frau im Buchgewerbe und in der Graphik. Source. Plan of the book fair pavilion Das Haus der frau. 1914. Source Before World War One, Leipzig’s book industry employed around 10% of citizens and the number of publishers was getting close to 1,000. In May 1914, the first international book fair was held in Leipzig, gathering participants from over 30 countries. For this event, Berlin-based independent architect Emilie Winkelmann built the Women’s House as part of the project called Women in Book Trade and Graphic Art. This project, created under the patronage of the princess and artist Mathilde of Saxony, showed the accomplishments of women in new female book professions: photographers, illustrators, type designers, layout designers, and writers. To me, it seems like a tremendous precedent even from today’s perspective. The Academy of Fine Arts Leipzig was the first German institution to allow women to study (starting from 1905). Only 9 years had passed from that moment to the book fair. In a detailed catalogue, we can see 19 female type artists, 13 of whom were from Germany and 5 were based in Leipzig. It’s not easy to find their work now but the book fair documentation speaks for itself. Thinking of how utopian that looks from today’s perspective, I remembered another literary and visual monument, The Book of the City of Ladies (Le Livre de la Cité des Dames), written in 1405 by Christine de Pizan, known as the first professional female writer in history. In the book, there’s a metaphorical city for women that is being built under the supervision of three allegorical female figures: Reason, Rectitude, and Justice. &nbsp;<img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/473976e615cf48656669e20491fc37cff94e46d7514aa53d4dcf53514b6565e4/UB-2-.png" data-mid="136985191" border="0" src="https://freight.cargo.site/w/1000/i/473976e615cf48656669e20491fc37cff94e46d7514aa53d4dcf53514b6565e4/UB-2-.png" />Image 2. Photo of the the book fair pavilion Das Haus der Frau in the exhibition catalogue. Source / Christine de Pizan, Le Livre de la Cité des Dames. Illustration to the book. 15th-century manuscript. Paris, Bibliothèque nationale de France. Source When looking at this building, American projects of the 1970s come to mind—Womanhouse and Women’s Building that paved the way for institutionalising feminist artistic practices. These projects also dealt with applied arts, feminist graphic design, and alternative education. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/f6531806e6aa49876338240fd8081ccc8ca5080bbf4070cc47821641974461eb/UB-3-.png" data-mid="136985192" border="0" src="https://freight.cargo.site/w/1000/i/f6531806e6aa49876338240fd8081ccc8ca5080bbf4070cc47821641974461eb/UB-3-.png" />Image 3. Book cover. Leipziger Briefsteller für Frauenzimmer als eine Anleitung zu eine guten, schriftlichen Vortrage in Briefen. 1799. Source: Die Sammulung Krein, Bestseller — Briefsteller, Guttenberg-Museum, 2021. Before World War Two, there was a whole graphic quarter in Leipzig—Grafisches Viertel. It was actively involved in publishing but then was almost fully destroyed. After the war and the division of Germany, a lot of printing enterprises moved to the West where there was another book fair capital, Frankfurt am Main, while Leipzig remained the major book city in the GDR. When I travelled to the international book fair in Frankfurt, that also happened this October, I came across the Gutenberg Museum’s booth and encrountered a book about the culture of letter writing, Bestseller — Briefsteller. This publication included a cover of the book published in Leipzig in 1799, Leipziger Briefsteller für Frauenzimmer als eine Anleitung zu eine guten, schriftlichen Vortrage in Briefen—it’s a guidebook on how to write letters to effectively present yourself addressed to either women or women’s room. The fact that the words “woman” and “women’s room” are practically synonyms in German confused and intrigued me. Literally, “Frauenzimmer” combines the words “women’s” and “room”: following Virginia Woolf’s thought expressed in her pioneering essay A Room of One’s Own, these are two concepts important to feminist theory and politics. Reflecting on this word, I found it more related to the concept of Unheimlichkeit introduced by Sigmund Freud because it represents various tones of feminine chaos and horror: recklessness, abstrusity, woman’s purse mess, womb, closet, and frantic collective female practises. Emerged to label domestic spaces, over time the word “Frauenzimmer” got transformed into a generic term and later gained specific misogynistic implications. Given that in modern German, this word is considered outdated and is used quite rarely, it accumulated some contradictory conjectures, which inspired me to reappropriate it by using it as a collaborative worskshop’s title. Leipziger Frauenzimmer is a modest gesture in the memory of the intimidating Das Haus der Frau. The text on the workshop’s poster—just like the one on the cover it refers to—is typed in the typeface Fraktur, who is a figure with a fate no less notorious than this word. So we have to revisit her past. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/c30dcc6248f3125231247d71fc3c69c2683a6fd72b580bf519c73a77059ea679/UB-4-.png" data-mid="136985193" border="0" src="https://freight.cargo.site/w/1000/i/c30dcc6248f3125231247d71fc3c69c2683a6fd72b580bf519c73a77059ea679/UB-4-.png" /> Image 4. Uliana Bychenkova, posters of the collaborative workshop Leipziger Frauenzimmer. Photo: Saki Hoshino, Uliana Bychenkova. From the feminist perspective, a collaborative workshop is self-education together. But conducting a workshop for students of one of the oldest and most star-studded book art schools—Academy of Fine Arts Leipzig (Die Hochschule für Grafik und Buchkunst, HGB)—where Jan Tschichold was studying and teaching and Albert Kapr was a rector, looked like a pretty daring idea or even an intervention, which I chose to perform on my own territory. I invited students to my studio by using an internal student email list. I prepared information on women connected to important political issues of the city and collected copies of old publications for inspiration and imitation of a specific style. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/1155b8f7c0ff3c75f8402a6c93c6dad2c0a0084abd7aaa2241986eb8d449f0e6/UB-6-.png" data-mid="136985195" border="0" src="https://freight.cargo.site/w/1000/i/1155b8f7c0ff3c75f8402a6c93c6dad2c0a0084abd7aaa2241986eb8d449f0e6/UB-6-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/fc9f0536c0f612fcbf7ab3ffc5b32cb94e56f21cea7e813b5b9aa5ff19fa4c10/UB-5-.png" data-mid="136985194" border="0" src="https://freight.cargo.site/w/1000/i/fc9f0536c0f612fcbf7ab3ffc5b32cb94e56f21cea7e813b5b9aa5ff19fa4c10/UB-5-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/0cb7415e883339a6e2fe85d55046d301c3bb724ecb5468cc3601133e2c50f77f/UB-9-.png" data-mid="136985198" border="0" src="https://freight.cargo.site/w/1000/i/0cb7415e883339a6e2fe85d55046d301c3bb724ecb5468cc3601133e2c50f77f/UB-9-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/06f4908fd7aa60ccdbafcc6173512531660ce51228e3a570b230d033d0147788/UB-8-.png" data-mid="136985197" border="0" src="https://freight.cargo.site/w/1000/i/06f4908fd7aa60ccdbafcc6173512531660ce51228e3a570b230d033d0147788/UB-8-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/6a8e8d09b5ecd1325599a88f03b32b8704a76bb3e36cceba27ad95c1b800a190/UB-7-.png" data-mid="136985196" border="0" src="https://freight.cargo.site/w/1000/i/6a8e8d09b5ecd1325599a88f03b32b8704a76bb3e36cceba27ad95c1b800a190/UB-7-.png" /> Image 5. Uliana Bychenkova, Eunjung Hwang, Yola Brormann. Collaborative workshop with HGB students in the artist’s studio at the Spinnerei residency. Photo: Ramona Schacht. The challenge of creating an alternative bibliography lies not only in learning the details of female history and history of graphic design (people and events, compositional structures and typography) but also in experiencing these histories formally and meaningfully, finding connections inside them and inspiration for solidarity so that you can suggest fictional paths of an alternative graphic art space. Naturally, this is not the only challenge in feminist artistic reconstruction: political tribulations of German typography create lots of ambiguities. <img width="2916" height="1458" width_o="2916" height_o="1458" data-src="https://freight.cargo.site/t/original/i/d61cc95f7f781e5067f272ea30d6306ca9c102b0ac7e28422581783f2d5e9361/UB-17-.png" data-mid="136985208" border="0" src="https://freight.cargo.site/w/1000/i/d61cc95f7f781e5067f272ea30d6306ca9c102b0ac7e28422581783f2d5e9361/UB-17-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/35289f5a9fd649337a8dc80e04989c03e2864dcd206f6a8ea521cd5883c5555b/UB-20-.png" data-mid="136985202" border="0" src="https://freight.cargo.site/w/1000/i/35289f5a9fd649337a8dc80e04989c03e2864dcd206f6a8ea521cd5883c5555b/UB-20-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/a92e460b3a5c8736cca29f6f95f3685c24fe952310a5d98a2aed6230b7cee26f/UB-18-.png" data-mid="136985200" border="0" src="https://freight.cargo.site/w/1000/i/a92e460b3a5c8736cca29f6f95f3685c24fe952310a5d98a2aed6230b7cee26f/UB-18-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/b6b53ab62dd6bd9f06778100ca7b51261971890856c794cb90e2a9762ea8e7ac/UB-19-.png" data-mid="136985201" border="0" src="https://freight.cargo.site/w/1000/i/b6b53ab62dd6bd9f06778100ca7b51261971890856c794cb90e2a9762ea8e7ac/UB-19-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/b940b8ae5cc78e9ecee791e0eed61af4747a09b4d56602be37d4cd6a8708bbfb/UB-21-.png" data-mid="136985203" border="0" src="https://freight.cargo.site/w/1000/i/b940b8ae5cc78e9ecee791e0eed61af4747a09b4d56602be37d4cd6a8708bbfb/UB-21-.png" /><img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/cd242efcedddedd1535c745376c4c63f39ad95529142ab463542264e88708a5f/UB-22-.png" data-mid="136985204" border="0" src="https://freight.cargo.site/w/1000/i/cd242efcedddedd1535c745376c4c63f39ad95529142ab463542264e88708a5f/UB-22-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/23d57134ded479553c4ae2f15d40976968e90363b16faf7f9418121ce6fce8d1/UB-23-.png" data-mid="136985205" border="0" src="https://freight.cargo.site/w/1000/i/23d57134ded479553c4ae2f15d40976968e90363b16faf7f9418121ce6fce8d1/UB-23-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/8795fc71efa6149eb9fda579356f64210f07ec359ecd638512f79d1852a21778/UB-24-.png" data-mid="136985206" border="0" src="https://freight.cargo.site/w/1000/i/8795fc71efa6149eb9fda579356f64210f07ec359ecd638512f79d1852a21778/UB-24-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/1ea742b376541df81025bd156165f7aecae9448ff90014b03e4911489bee7b7d/UB-25-.png" data-mid="136985207" border="0" src="https://freight.cargo.site/w/1000/i/1ea742b376541df81025bd156165f7aecae9448ff90014b03e4911489bee7b7d/UB-25-.png" /><img width="2000" height="1000" width_o="2000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/fd353c9e3bf3eaa0f6f56094fe7a7dc9854d302e436734a8eae775067b77edb5/UB-26-.png" data-mid="136985209" border="0" src="https://freight.cargo.site/w/1000/i/fd353c9e3bf3eaa0f6f56094fe7a7dc9854d302e436734a8eae775067b77edb5/UB-26-.png" />Image 6. Samples of old German publications (1900–1990). The book cover design is usually based on compositional principles inherent to a given time and location, on fonts that are relevant to a given context, and sometimes on images or decorative elements. But the most responsible task is always associated with typeface. There’s a belief that typeface designers can hardly sit through a historical film because of incongruity. However, I’m more intrigued by other, possible style paths, which is a valid research area in typography: it means considering the suspended lines of form development not as dead-end paths but as authentic aesthetic treasures that can be cultivated in today’s life. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/1e0c568bcc3faa9f167daf2ddb55228f1e04dafe5bb5c67388c7f9b44335d4ef/UB-14-.png" data-mid="136985213" border="0" src="https://freight.cargo.site/w/1000/i/1e0c568bcc3faa9f167daf2ddb55228f1e04dafe5bb5c67388c7f9b44335d4ef/UB-14-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/2ad32a4683891d8147553d3bed25b1447382d87105df6616d863a7f2759457ec/UB-12-.png" data-mid="136985211" border="0" src="https://freight.cargo.site/w/1000/i/2ad32a4683891d8147553d3bed25b1447382d87105df6616d863a7f2759457ec/UB-12-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/0f31311a12d77b2789e7dbb763350e411a9c079d4e818dde8ddad52c7c0dc213/UB-11-.png" data-mid="136985210" border="0" src="https://freight.cargo.site/w/1000/i/0f31311a12d77b2789e7dbb763350e411a9c079d4e818dde8ddad52c7c0dc213/UB-11-.png" /> <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/b514b95c1c9b9196d6363ee15d2bba0ac2e721d1252c8e996860b712d655040e/UB-13-.png" data-mid="136985212" border="0" src="https://freight.cargo.site/w/1000/i/b514b95c1c9b9196d6363ee15d2bba0ac2e721d1252c8e996860b712d655040e/UB-13-.png" /> Image 7. Samples of modern feminist non-fiction publications, women's biographical and fictional literature. From a fracture to a curve, and back, and back Aesthetics has many times become a stumbling point in the history of German typography, revealing contradictory but undeniable precedents that show the potential of the form. The first printed book in Europe was typed in 1454 using a variation of the German gothic typeface Textura, which means “fabric.” The later, more ornate, professional version of this typeface was developed by the 16th century: it was called Fractura, which can be translated as “fracture.” As an apologist of German literature and a reformer, Martin Luther believed that separating from the Catholic church would be more effective with the reformation of writing and its effect on publications and calligraphy practises. Opposed to the curly nature of Italian form, the German gothic writing style was thus seen as “an island of broken script in a sea of curves.” [3] It sounds like typography is comparable to tone quality and all that is similar to language wars. For example, Otto von Bismarck claimed that he wouldn’t read a German book typed in a “non-German” typeface, by which he clearly meant the Roman Antiqua. Roman typefaces were settled in the foreign literature niche that was rapidly gaining more importance. The quarrel called the “Antiqua-Fraktur dispute” went on for a long time at the turn of the 20th century, shifting the blanket’s texture towards one side or another, annoying scholars, publishers, and all the others. It was happening up until January 1941, shortly before World War Two, when the issue was finally resolved to the benefit of Antiqua: an official decree forbad using Fractura which was claimed to represent “Jewish letters” that, according to Nazis, contradicted the “German idea.” At the same time, Jews themselves were not allowed to use Fractura since 1937, when the typeface was defined as the embodied heritage of Germanness. According to a typeface historian, founder of the Book Institute, teacher, and rector at Die Hochschule für Grafik und Buchkunst Albert Kapr, who put a lot of effort into exploring the background behind Fractura exclusion, this decision was defined by pragmatic reasons needed for establishing communication on occupied territories [4]. Unlike Bismarck, Hitler was worried that the universal nature of the Roman typeface would come in handy for the Third Reich if German became an ultimate European language in a hundred years. However, typefaces based on the German gothic form were utilized for agitational purposes during the first years of Nazi reign, and covers of the two-volume Mein Kampf (1925–26) were designed with Fractura, establishing its aesthetical connection to Fascism. Despite that, Hitler wasn’t known as a Fractura advocate—on the contrary, he found it to be hopelessly provincial and old-fashioned for the era of progress and, as he said in the Reichstag in 1934 [5], not suitable even for expressing “female beauty and male strength.” <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/b05589d39debdad1924d5a83a70fd94e81d03004613e5fff869ee71806bdf812/UB-27-.png" data-mid="136985214" border="0" src="https://freight.cargo.site/w/1000/i/b05589d39debdad1924d5a83a70fd94e81d03004613e5fff869ee71806bdf812/UB-27-.png" /> Image 8. Cover of the first edition of Mein Kampf, 1925. At the end of the day, who is this hegemonic Roman figure who replaced Fraktur? Is it Antiqua, which means “a serifed typeface” now, or just the Latin script? If Antiqua is translated as “ancient,” does that mean it’s Greek? Speaking of character construction, all of these are a single heroine, but the Roman typography had been making headway at the turn of the century, losing serifs or transitioning to a new typeface form, grotesque. But is it a question of how fast it progressed? Monumental writings with no serifs were present in ancient times and even preceded serifed scripts. The Doric and the succeeding Ionic order in Ancient Greek architecture differ in having pilasters in column construction and serifed letters, which possibly makes serifs a question of an aesthetic choice within an ensemble of the form. Grotesques have been used in the typesetting to highlight parts of newspaper announcements or advertising boards since the end of the 19th century: they caught people’s attention by their unusual look. However, they didn’t represent a novel typography but rather a fairly ancient one, Doric [6] (the first English grotesques were considered to belong to this typeface group). At the same time, it’s clear that compact lettering was by its spirit much closer to a new architecture, which also contributed to the growing popularity of grotesques. In fact, sans-serifs (which means “without serifs”) imply not only the lack of serifs but also alternative means of form-making. The universalist idea of a graphic Esperanto that was aspired in the 1920s, seen as a salutary opposition to all types of national ornamental elements, was replaced by Geometry, a new practical and allegorical figure. The time was ripe for neither written nor drawn but designed construction based on graphic primitives.&nbsp; <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/ee44d20727ab420c6cb6bbc796f09eff4e3b90023334416c2fe7d204b00cc5f6/UB-28-.png" data-mid="136985215" border="0" src="https://freight.cargo.site/w/1000/i/ee44d20727ab420c6cb6bbc796f09eff4e3b90023334416c2fe7d204b00cc5f6/UB-28-.png" />Image 9. Table from the edition New Typography by Jan Tschichold, 1928. After graduating from the Leipzig Academy of Graphic Arts and Book Production, Jan Tschichold visited the first Bauhaus exhibition in Weimar in 1923 and became interested in modernist aesthetics. In four years, he opened his own exhibition called New Typography, and one year later, in 1928, he published the same-name manifesto, encouraging to use grotesques exclusively and back away from symmetrical composition adopting asymmetrical alignment instead. He was also accusing all historical national writing systems of nationalism (including both the Cyrillic script and Fraktur). At the same time, he complained about the imperfections of grotesques that were in use, claiming that they should be significantly further developed. He also made a complimentary reference to Paul Renner’s typeface Futura as a “significant step forward.” [7] A well-known geometric grotesque called Futura (which means “future”) was presented to the public in 1927 by Paul Renner, the same year Jan Tschichold’s exhibition took place. The following lives of two designers had been in sync in major milestones and circumstances: both Renner and Tschichold worked at the printing school in Munich and emigrated to Switzerland in 1933, after being arrested on accusations of cultural Bolshevism. But in 1931, a few years after publishing his radical ode to grotesques, Tschichold started using serifed typefaces again, and later on, he passed the same strictures on his avant-garde statements, finding plastic principles of modernist typography to be militarist and fascist, and claiming his own judgment on national scripts to be Europe-centric. At the time New Typography was published, its legendary author was only 26 years old, but the book is still getting published and translated as a globally influential practical guide and historical document that had radically shifted the classical graphic design paradigm into the modernist one. Clara, Josephine, Fraktur*a, Futur*a Getting back to human heroines, I was marveled by one insignificant coincidence. Two famous Leipzig-born women who made their names in politics and music share the same first and middle names: Clara Josephine Zetkin and Clara Josephine Schumann. By marking their surnames with the capital letter, I had the courage to put their names in a single conceptual and graphic space for a dialogue we can only imagine. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/a54c52053169b4a8025498c03301c77157ef62e1025147c8a59a48e6b65b260a/UB-29-.png" data-mid="136985216" border="0" src="https://freight.cargo.site/w/1000/i/a54c52053169b4a8025498c03301c77157ef62e1025147c8a59a48e6b65b260a/UB-29-.png" /> Image 10. Uliana Bychenkova wearing a jacket with replicated books hidden in it. Leipzig, 2021. Photo by Ramona Schacht. The story follows three aesthetic and temporal eras represented by classical, modernist, and postmodernist imitation exercises—books which I carried to the Leipzig University Library (Bibliotheca Albertina) in stash pockets of a man’s jacket. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/2b219e4538132a8b6811d23324a2ffc789834e2c39e043eb95fb33f62d6cbe81/UB-30-.png" data-mid="136985217" border="0" src="https://freight.cargo.site/w/1000/i/2b219e4538132a8b6811d23324a2ffc789834e2c39e043eb95fb33f62d6cbe81/UB-30-.png" /> Image 11. Exercise 1. I slightly amended an austere composition based on central-axial symmetry by doubling ampersands to accentuate the dialogue. The Leipziger Fraktur typeface used here is a digital creation by Peter Wiegel which is based on the research of over a hundred book copies published in Leipzig before the 1941 reform. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/c9ba7797982f4178de398b7467e16e5b75ec34c72f53db094c04aa07753e84c7/UB-31-.png" data-mid="136985218" border="0" src="https://freight.cargo.site/w/1000/i/c9ba7797982f4178de398b7467e16e5b75ec34c72f53db094c04aa07753e84c7/UB-31-.png" /> Image 12. Exercise 2. Mimosa was a symbol of international women’s day in the USSR, which also was supposedly dedicated to Clara Zetkin’s birthday. I like this flower, but up until now, I haven’t thought if there’s any connection between its shape and the symbolism of a soviet holiday. Was this flower with little bulbs that doesn’t have a typical calyx-shaped structure purposefully chosen to be a socialist flower of the new femininity? Was international female solidarity seen as a cloud constellation of yellow grains? I decided to apply the geometric expressiveness to a notionally modernist cover sketch by combining a mimosa with the Five Years Later typeface developed at the Typefaces of the Temporary State and based on the first Futura sketches, rejected by its creator. Amusing geometric vagaries were eventually smoothed out, but it’s interesting to explore the transitional stages of form development. <img width="1000" height="500" width_o="1000" height_o="500" data-src="https://freight.cargo.site/t/original/i/9d2d33926b5fd31717d7d13ecb8a7ec0046c25e1c078016a0bc980e7fa13ea4c/UB-32-.png" data-mid="136985219" border="0" src="https://freight.cargo.site/w/1000/i/9d2d33926b5fd31717d7d13ecb8a7ec0046c25e1c078016a0bc980e7fa13ea4c/UB-32-.png" /> Image 13. Exercise 3. The postmodern paradigm in graphic design is, amazingly enough, historically connected to real female names. At the end of the 20th century, women had been becoming designers increasingly more confidently and massively. What’s especially important, they were getting established in the profession and taking their places in the public history of formal developments. A digital typography pioneer Zuzana Licko, the “Queen of New Wave” April Greiman, the first female partner at the prestigious Pentagram studio Paula Scher, and other American female designers brought new deviations from the old rules of “new typography” in the 1980–90s. Digital practices allowed not only for ultra-efficient structuring but also for the new expression whose major feature was a totally filled surface. The book space of reading and imagery makes another bold leap into the space of virtuality—agile, raw, and layered. The third exercise’s heroine is Lenora, the modern-day Antiqua inventively and with interest to historical forms developed by Superior Type. The abundance of typographic curves mixes up the entire cover. I chose her when searching for expressive ampersands and because of developing an accidental personal sympathy while working with her. Translation: Anastasiya Osypenko Bibliography [1] Luce Irigaray, Je, Tu, Nous: Toward a Culture of Difference, trans. Alison Martin, (New York: Routledge, 1993), p. 59 [2] Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective”, Feminist Studies, Vol. 14, No. 3 (Maryland, College Park: Feminist Studies, Inc., Autumn, 1988), p. 585 [3] 99 percent invisible, episode №390 “Fraktur”, (February 18, 2020) https://99percentinvisible.org/episode/fraktur/ [4] Albert Kapr, Fraktur: Form und Geschichte der gebrochenen Schriften (Mainz: H. Schmidt, 1993), p. 81. [5] Völkischer Beobachter Issue 250, (September 7, 1934). [6] Денис Машаров, лекция «Эволюция гротесков», (Санкт-Петербург, Школа шрифтового дизайна, 2016), видео, 4:50, https://youtu.be/6ljfKwlf2EA [7] Ян Чихольд, Новая типографика. Руководство для современного дизайнера, пер. с нем. Л. Якубсона (Москва: Изд-во Студии Артемия Лебедева, 2011), стр. 76. I want to thank many people for communication and support: Maryna Vinnik, Asia Bazdyrieva, Ramona Schacht, Katharina Köhler, Olga Vostretsova, Kristina Semionova, Kati Liebert, Saki Hoshino, Ivan Melnychuk, Anna Grinkevych, Lada Nakonechna, Yevgenia Belorusets, Anna-Louise Rolland, Eunjung Hwang, Yola Brormann, Susanne Strätling, Carolin Krahl, Melina Weissenborn. I would also like to mention some sources as a bibliography list, not quoted but used as objects of inspiration, “fellow things”:<img width="1400" height="700" width_o="1400" height_o="700" data-src="https://freight.cargo.site/t/original/i/5a0eb417d37c588f72d9855e8b5260a54421dab4b8bc813c1bdaf43f8aa449b2/UB-14.png" data-mid="136985220" border="0" src="https://freight.cargo.site/w/1000/i/5a0eb417d37c588f72d9855e8b5260a54421dab4b8bc813c1bdaf43f8aa449b2/UB-14.png" /> Image 14. List of publications: Varvara Stepanova, “Genossen, bringt Eure Hämmer, um das neue Wort zu schmieden,” Tusche auf Papier, 1919. Abb. 82 aus: Susanne Strätling: Die Hand am Werk. Poetik der Poiesis in der russisen Avantgarde. München 2017, S. 293; Die Sammulung Krein “Bestseller — Briefsteller,” Guttenberg-Museum, 2021; Stephanie Jacobs, Patrick Rössler “Jan Tschichold — ein Jahrhunderttypograf? Blicke in den Nachlass,” Deutsches Buch- und Schriftmuseum der Deutschen Nationalbibliothek, Leipzig, 2019; Manon Bruet, Julia Andréone, “A studio visit: Ines Cox,” Revue Faire №18, Paris, 2019; Karel Martens “Tokyo Papers,” Roma Publications, Amsterdam, 2020; Nina Paim, Corinne Gisel, Emilia Bergmark, “Taking a Line for a Walk,” Spector Books, Leipzig, 2016; Anja Kaiser, Rebecca Stephany “Glossary of Undisciplined Design,” Spector Books, Leipzig, 2021. <img width="2100" height="700" width_o="2100" height_o="700" data-src="https://freight.cargo.site/t/original/i/23c780b9fffce5da63b319b5f0fcceff6219cdce9939018ffdbc752e03b1c5ce/UB_CR_cover-2-.png" data-mid="136985221" border="0" src="https://freight.cargo.site/w/1000/i/23c780b9fffce5da63b319b5f0fcceff6219cdce9939018ffdbc752e03b1c5ce/UB_CR_cover-2-.png" /> https://byulianabychenkova.com/HPS Sun, 18 Jul 2021 22:40:41 +0000 byulianabychenkova https://byulianabychenkova.com/HPS <img width="1000" height="1188" width_o="1000" height_o="1188" data-src="https://freight.cargo.site/t/original/i/1d624ad5ab93dcd8837ac8ad8134fae22f3441f3df3925dc614b0674d5c29c99/red_book-Edit_cover1.jpeg" data-mid="114106515" border="0" src="https://freight.cargo.site/w/1000/i/1d624ad5ab93dcd8837ac8ad8134fae22f3441f3df3925dc614b0674d5c29c99/red_book-Edit_cover1.jpeg" /> <img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/7639c5e3391e552fd46962dc2e8dc8786afb1052f72e6adb57f72c4ecf27a2e6/2-scaled.jpeg" data-mid="114106502" border="0" src="https://freight.cargo.site/w/1000/i/7639c5e3391e552fd46962dc2e8dc8786afb1052f72e6adb57f72c4ecf27a2e6/2-scaled.jpeg" /> <img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/a7dd00b2997833e0a001758b03cd177f260714c70de03d12c2b8ef8d138d52b3/3-scaled.jpeg" data-mid="114106503" border="0" src="https://freight.cargo.site/w/1000/i/a7dd00b2997833e0a001758b03cd177f260714c70de03d12c2b8ef8d138d52b3/3-scaled.jpeg" /> <img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/381b805a18ed6442067d12eaf1204740dd754591487e3cb699d8d0866f1374c4/4-scaled.jpeg" data-mid="114106504" border="0" src="https://freight.cargo.site/w/1000/i/381b805a18ed6442067d12eaf1204740dd754591487e3cb699d8d0866f1374c4/4-scaled.jpeg" /> <img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/eabf3547a634ee5605af89d237d75c2c62a558042461fe077e08e9e21dde408c/5-scaled.jpeg" data-mid="114106505" border="0" src="https://freight.cargo.site/w/1000/i/eabf3547a634ee5605af89d237d75c2c62a558042461fe077e08e9e21dde408c/5-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/f437701a4c5db873e35d175c97c98d96a199335abbd370c18bf31be099e4f9f9/6-scaled.jpeg" data-mid="114106506" border="0" src="https://freight.cargo.site/w/1000/i/f437701a4c5db873e35d175c97c98d96a199335abbd370c18bf31be099e4f9f9/6-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/97f3dc5b3ec58944209a134fcbcf887c3664e4e53bac229d403535cb631e4d6a/9-scaled.jpeg" data-mid="114106507" border="0" src="https://freight.cargo.site/w/1000/i/97f3dc5b3ec58944209a134fcbcf887c3664e4e53bac229d403535cb631e4d6a/9-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/7b813faad92065df835de5155073b4bf467a8ec95dc82e37b926f6df73066abf/11-scaled.jpeg" data-mid="114106508" border="0" src="https://freight.cargo.site/w/1000/i/7b813faad92065df835de5155073b4bf467a8ec95dc82e37b926f6df73066abf/11-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/8a5cb1179f7139c07be0c4a1ca91464c70148857081fd78e72a75e5e1cbfa577/12-scaled.jpeg" data-mid="114106509" border="0" src="https://freight.cargo.site/w/1000/i/8a5cb1179f7139c07be0c4a1ca91464c70148857081fd78e72a75e5e1cbfa577/12-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/d81f19d027e9f9b82f43c11c352ff4c3f8953fa393209f90f3e8e6453505a752/15-scaled.jpeg" data-mid="114106510" border="0" src="https://freight.cargo.site/w/1000/i/d81f19d027e9f9b82f43c11c352ff4c3f8953fa393209f90f3e8e6453505a752/15-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/d41842ac1c4493fd701d00d129c55c53d095194288f027005d98ffdad263a60d/16-scaled.jpeg" data-mid="114106511" border="0" src="https://freight.cargo.site/w/1000/i/d41842ac1c4493fd701d00d129c55c53d095194288f027005d98ffdad263a60d/16-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/59421fab24c7d1adc340f3cd67105c2c64eaba395fd7e4d52886531b59113057/22-scaled.jpeg" data-mid="114106512" border="0" src="https://freight.cargo.site/w/1000/i/59421fab24c7d1adc340f3cd67105c2c64eaba395fd7e4d52886531b59113057/22-scaled.jpeg" /><img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/6f43a8e7eae35f746d951a6daee3a1bcb843be657ed53e9fb6c6f72fd387a203/26-scaled.jpeg" data-mid="114106513" border="0" src="https://freight.cargo.site/w/1000/i/6f43a8e7eae35f746d951a6daee3a1bcb843be657ed53e9fb6c6f72fd387a203/26-scaled.jpeg" /> <img width="2560" height="1830" width_o="2560" height_o="1830" data-src="https://freight.cargo.site/t/original/i/453396cc5eac1b43498586b68a1a55e37d0f39f184e78379ad93d76067fea803/27-scaled.jpeg" data-mid="114106514" border="0" data-scale="87.5" src="https://freight.cargo.site/w/1000/i/453396cc5eac1b43498586b68a1a55e37d0f39f184e78379ad93d76067fea803/27-scaled.jpeg" /> https://byulianabychenkova.com/Urbanfeminism Sun, 18 Jul 2021 22:12:17 +0000 byulianabychenkova https://byulianabychenkova.com/Urbanfeminism <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/252f24d3df5854223033ab4c754c52239ff941784bf21ae7af9897b3939bc1e4/UF-4--.png" data-mid="114105947" border="0" src="https://freight.cargo.site/w/1000/i/252f24d3df5854223033ab4c754c52239ff941784bf21ae7af9897b3939bc1e4/UF-4--.png" /> <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/20da8ee60bfee32e478beaf6747ed3153e8658153fa035138d5605c4664c4e94/UF-2.png" data-mid="114105944" border="0" src="https://freight.cargo.site/w/1000/i/20da8ee60bfee32e478beaf6747ed3153e8658153fa035138d5605c4664c4e94/UF-2.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/eea359b9c7e699b139e847dfaf0b77b761c9a60f6fa4a85d45e31e6773bdfe90/UF-3-.png" data-mid="114105945" border="0" src="https://freight.cargo.site/w/1000/i/eea359b9c7e699b139e847dfaf0b77b761c9a60f6fa4a85d45e31e6773bdfe90/UF-3-.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/41c0502704f595335d3079316b9d2fffaa3f526152d6fc7b8a5a7ed6f9941c09/UF-4-.png" data-mid="114105946" border="0" src="https://freight.cargo.site/w/1000/i/41c0502704f595335d3079316b9d2fffaa3f526152d6fc7b8a5a7ed6f9941c09/UF-4-.png" /> <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2ca9d378ef315c89ddc545aabebd9103b30fba3271a92e229455e6b424e2bc75/UF-5.png" data-mid="114105948" border="0" src="https://freight.cargo.site/w/1000/i/2ca9d378ef315c89ddc545aabebd9103b30fba3271a92e229455e6b424e2bc75/UF-5.png" /> https://byulianabychenkova.com/Hnilitskiy Sun, 18 Jul 2021 19:53:52 +0000 byulianabychenkova https://byulianabychenkova.com/Hnilitskiy <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/1c7cf863578d13aaea468534efc6edfd97a7ec07fa8c2e83d09cbb27737d8367/UB_G_1.png" data-mid="114102550" border="0" src="https://freight.cargo.site/w/1000/i/1c7cf863578d13aaea468534efc6edfd97a7ec07fa8c2e83d09cbb27737d8367/UB_G_1.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/eaa4e5040068424d06947382f4827f2aadf7860660010268215849d0452dd7f7/UB_G_7.png" data-mid="114102559" border="0" src="https://freight.cargo.site/w/1000/i/eaa4e5040068424d06947382f4827f2aadf7860660010268215849d0452dd7f7/UB_G_7.png" /> <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2c5e35352afb795bb1f0d652f190d6b3c1fe51cacc9bbe72a8615be239ab36d1/UB_G_2.png" data-mid="114102552" border="0" src="https://freight.cargo.site/w/1000/i/2c5e35352afb795bb1f0d652f190d6b3c1fe51cacc9bbe72a8615be239ab36d1/UB_G_2.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d58af50fafc9988ebd2017b0f28b8be922df3e5828ae87f38f263628a6bb5d14/UB_G_3.png" data-mid="114102554" border="0" src="https://freight.cargo.site/w/1000/i/d58af50fafc9988ebd2017b0f28b8be922df3e5828ae87f38f263628a6bb5d14/UB_G_3.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/24d6283625571b2b4e259195c8d4f08f4a1cca89abae2186b797a1053a0d2c76/UB_G_4.png" data-mid="114102556" border="0" src="https://freight.cargo.site/w/1000/i/24d6283625571b2b4e259195c8d4f08f4a1cca89abae2186b797a1053a0d2c76/UB_G_4.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/0d6a8ce412bc79aa429e0a81776f008a92ff17e79311ef1607cdb7a7ae06f743/UB_G_6.png" data-mid="114102558" border="0" src="https://freight.cargo.site/w/1000/i/0d6a8ce412bc79aa429e0a81776f008a92ff17e79311ef1607cdb7a7ae06f743/UB_G_6.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/fa04d46c68089a5078f9f82709d41c5a7f5a54d7ad010b0ece41b148b69ef93b/UB_G_5.png" data-mid="114102557" border="0" src="https://freight.cargo.site/w/1000/i/fa04d46c68089a5078f9f82709d41c5a7f5a54d7ad010b0ece41b148b69ef93b/UB_G_5.png" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/1884ec850976c409fc02e00ef96c2acb1a0657f3067bedfcd6c7b5ab7d4009be/BELM5995.png" data-mid="114102579" border="0" src="https://freight.cargo.site/w/1000/i/1884ec850976c409fc02e00ef96c2acb1a0657f3067bedfcd6c7b5ab7d4009be/BELM5995.png" />photo: Maksym Bilousov