Oksana Chepelyk (Ukraine),

Lado Lomitashvili (Georgia)

Location: Art Center at Almaty Arena

Residence dates: 14.08–03.09.2017 

The project was implemented within the framework of the ART PROSPECT Residency program
General partner: International organization CEC ArtsLink

The ART PROSPECT Residency program provides opportunities for artists and curators to conduct research, create new work, collaborate with the local arts community, and create special projects in partnership with local arts organizations in Armenia, Azerbaijan, Belarus, Georgia, Kazakhstan, Kyrgyzstan, Moldova, Tajikistan, Ukraine, and Uzbekistan. Each two-four week residency is individually designed to enable visiting artists and curators to learn about the local arts community, develop their own work, and share information about their work and culture with local audiences.

Lado Lomitashvili (Georgia)

Residency: Eurasian Cultural Alliance, Almaty, Kazakhstan

Dates: August 14 – September 3

Lado Lomitashvili lives and works in Tbilisi, Georgia. He is currently studying in the Architecture Faculty at Tbilisi State Academy of Arts (TSSA). He works in a range of techniques and media: painting, photography, book illustration, sculpture and installation. In his abstract works, architecture and product design are substantial elements. His functionless sculptural objects stress their own roles and structures. He mostly works with materials like iron, wood and fabric. Lado Lomitashvili has been a regular participant in exhibitions both in Georgia and abroad in recent years.


Project: With his architectural background and a special interest in the public space, Lomitashvili is interested in getting acquainted with Kazakhstan, its culture, and historical architectural and spatial artefacts in close collaboration with the local community. As an emerging artist, he also considers it very important to engage in an exchange of experience with colleagues at an international level.

Oksana Chepelyk (Ukraine)

Residency: Eurasian Cultural Alliance, Almaty, Kazakhstan

Dates: August 14 – September 3

Oksana Chepelyk is a contemporary Ukrainian artist. She followed her studies at the Art Institute in Kyiv with post-graduate work in Moscow and Amsterdam University and new media studies at the Banff Centre for the Arts, Canada. She also completed a post-doctoral programme at the Bauhaus in Dessau, Germany and a Fulbright Research Program at UCLA. She has exhibited widely internationally, including at  MOMA (New York); ART FAIR (Stockholm); MCA (Zagreb); Deutsches Historisches Museum (Berlin); ISEA 2000 (Paris); Kunsthistorisches Museum (Vienna) and has received a number of prestigious international awards.  In 2003 Oksana Chepelyk became leading researcher at the Modern Art Research Institute of Ukraine and since 2007 has been art-director of the International Festival of Social Sculpture. In her work Oksana uses installation,video, new media, performance, photography and public art. Her works raise problematic questions about the functioning of the social environments at a time of paradigmatic changes in the global world.


Project: During her residence in Almaty, Oksana Chepelyk plans to continue her “City Code” research. The city as a neural network, the new nervous system of the urban landscape, requires identification of its words, signs and images. In Almaty, the artist intends to collaborate with local partners and communities to create her own vision of one of the eight districts of Kazakhstan’s cultural capital by video mapping the “City Code”. This work will be presented in the public art programme of the annual Festival of Contemporary Art ARTBAT FEST, dedicated to the city of Almaty, its spirit and citizens. 


The letter or letters standing for a chemical element 2017


The installation The letter or letters standing for a chemical element combines nine sculptural objects. Part of the works are related to diagrams as facts, ornaments as a culture or symbols as basis.


Sometimes it is more convenient to start making completely random assumptions. There is a part of you forcing you to do things you don't want to do, or a part stopping you from doing things you want to do. You can believe as if the difficulty is that two or more parts are in the conflict. Each part has a valid function and a valid way of accomplishing its function, but they step on each other's toes. So it's not that one part is "making you do it"; it's that two varying parts are doing something useful, but the way they act is creating conflict between each other.


There is also a signal, which only has a meaning in terms of the frame or context in which it appears. Changing the frame in which a person perceives events in order to change the meaning. When the meaning changes, the person's responses and behaviors also change.


City Code


Realized within the framework of ArtsLink residence in the Art Prospect program, this project develops my “City Code” exploration. A city as a neural network, a new nervous system of the city landscape – this requires its own system of names, symbols and images. The project consists of 2 parts: Calabi-Yau manifold installation and “City Code” video installation. The installations in this experiment incite a dialogue between the concepts of spatial experience.


“City Code” is dedicated to Almaty, its spirit and its citizens. I was interested in the parts of the city that contained valuable and meaningful history for its inhabitants. It is a visual study of the city’s specific geography within a broad range of relationships. It poses questions regarding the functioning of the social space during paradigm shifts.


The “CITY CODE” project’s idea of collision marries the science of physics with its exploration of the universe, space and time, and the social space with its civilizational cataclysms affecting the world, while also referring to the scientific term of the event horizon. It operates with such concepts as Time, space, science, public space, history, and new technologies. The project touches upon events that had happened in urban landscapes that have influenced the history of development. It explores the canonical places in the XX-XXI-century cities. Creating a structure that refers to the Calabi-Yau manifold, which is an algebraism surface in the 5th degree equation (an idea that is embodied in a spatial model) appeals to the concept of time where linearity is obsolete. The past did not just end, but it is constantly re-actualized. The project proposes to define Almaty’s role in this process.


If Thomas Weiler and Chiu Man Ho’s latest theory is accurate, the Large Hadron Collider – the world’s largest particle accelerator – could be the first machine capable of creating elementary particles that can jump back in time. The project shows space-time through a video panorama, consisting of 24-60 video fragments, which spin in the art collider, activating the mechanism of audio-visual jumps, where certain fragments could be replaced by archived videos with consequent visual transmutations (term coined by Marie Curie).


In this project, paradoxically fragmented urban landscape forms an immersive environment, in which the panoramic experience transmits the key thoughts about the historically existing space-time. The interaction between micro- and macro-systems, between physical and social worlds explores the variety of modern and historical events.


Panoramic presentation of the best-known dramatic political events: Almaty’s Independence Square, the scene of the Jeltoqsan event in 1986. By including Almaty into the global vernacular, the project forms a global understanding of the modern Kazakhstani history, while at the same time reevaluating the understanding of local events as worldwide-historical events.


The point of using a mosaic panorama for an urbanistic media experience is to envelop the viewer into a visual experience, thus letting them live through every moment, dive into the reality created through multidimensional planes, collisions of past and future.


“City Code” presents the 20th century’s most dramatic political turning points using touch-screen imagery. This adds an element of gameplay, while also brining the viewer closer to the particular dramatic moment.


The elements of fragmentation and segmentation in the video are an intentional allusion to quantum theory. A mathematical object, which in essence is warped space that takes on unexpected paths – through multidimensionality to complex n-dimensional spaces (manifolds). N-dimensional Calabi-Yau manifold is a complex Riemannian manifold that represents the additional dimensions of space-time that are a projections of the string theory. According to the superstring theory, every point of our 4-dimensional space is joined by the 6-dimensional Calabi-Yau manifold – a complex Riemannian manifold that represents the additional dimensions of space-time.

In “The Gay Science” Nietzsche exclaims his famous “Long Live Physics!” – constantly reminding us that the physical world is everything we have, and that we need to acquiesce to its randomness, and to guarantee that our ethical principles are based on this physical world.


The project emphasizes spatial structure to produce this experience: philosophical and physical critical mass and an amalgam of conditions that transpire to be new, incredible, and improbable. Did the people’s expression of will become ornamental decoration?


By appealing to the idea of the collider in physics, the “City Code” project poses a question: are people elementary particles in the collider of global powers, or is the energy of collaboration capable of generating new knowledge, new ways of thinking and new ways of existing in the world; insisting that “a different world is possible”?


© 2018 by International festival of contemporary art ARTBAT FEST