Author of Changes. Interview with curator Rainald Schumacher

Recently in Kiev the exhibition "AND NOW? THE POWER OF ART", Ukrainian Art in a Moment of Crisis, Reflection and Mourning was opened. The project is focussed on a small group of contemporary artists, among them are Anatoly Belov, Daniil Galkin, Ksenia Hnylytskaya, Leshia Khomenko, Mariia Kulikovskaya, Volodymyr Kuznetcov and Sergey Popov. All oft them are part of the promising younger generation which might shape significantly the visual culture of the coming years. I talked with Rainald Schumacher, curator of the exhibition and tried to find answers to some very relevant questions: What is the state of contemporary art in the Ukraine? What role can contemporary art play in a society which tries to overcome the old and out-dated political structures to create a transparent, open minded and forward thinking new political system? Rainald Schumacher acts as director of Office for Art in Berlin. The office is specialized on curatorial projects, art historical research, critical writing and the advise for setup and running of private and corporate collections. His professional experience starts in the nineties in the studio of Gerhard Richter in Cologne.

Yana B.: Dear Rainald, What appealed to you in accepting this project and what were your reservations?

Rainald S.: The exhibition ‘And Now? The Power of Art’ which was opened in Lavra City Gallery, is not meant as a single event. It was planned as a distinctive starting point to a series of exhibitions at Lavra over the coming years, which will focus on contemporary Ukrainian artists and introduce also some challenging international artists to the local scene. This long perspective is really important. I have some reservations – and many of the artists made me aware of such problems ­– that usually there is not a very transparent differentiation between private and public financial means in Ukraine. The people in power and in public responsibility have to be controlled in general and also the situation at Lavra – as a City Gallery and a possible space for private galleries has to be clarified.

Yana B.: Do you see that Ukrainian Art being an international trend in the future?

Rainald S.: I was travelling to Kiev in the past 5 years not very often, mostly for some openings at PinchukArtCenter and used these visits for doing some research in galleries based on pre-information via internet. Somehow my intention was to understand the background, the historical framework and the actual situation for artists in the Ukraine and why so few of them have received some international intention – or the ones that did seemed to me not really important. Yes, for the moment Ukraine is hot news and some exhibitions will be done focussing on the Ukrainian contemporary scene. But, to be realistic, that does not mean that the situation in the Ukraine is really changing. Collectors are missing who support young artists by buying their works, galleries are missing and who else could establish an international presentation of the artists based on such low local support. Last not least institutions are missing, which collect seriously and help to produce new work and educate the public. So if things do not begin to essentially change it might be the same sad story as in other countries behind or in front of the former iron curtain: western galleries will pick up some artists, integrate them into their program and the local and Ukrainian scene does not change a lot. So my intention with this project is to initiate a change in the country and to start to mediate content of art to the general public.

Yana B.: What does it mean for you to curate a project in Ukraine? Do you investigate any other emerging markets?

Rainald S.: My Office for Art in Berlin is, together with Nathalie Hoyos, currently responsible as curators for ACT Art Collection of Deutsche Telekom, which is a quite young collection since 2010 concentrated on contemporary art from Eastern Europe. These countries might be ‘emerging markets’ for their art scene, but mostly the art history of this whole area is re-written. We do realize that there was much more than just the official art and that there have been quite many silent connections to the Western art. So basically I try to get a better understanding of this important part of Europe.

Yana B.: Were you afraid of criticism coming from colleagues because of your close cooperation with the Ukrainian art market in the current tense political situation. As we know many curators were forced to abandon some of the major cultural events under the pressure of different actions. (f.e. Boris Groys and Maria Lind, Georg Schöllhammer and Hedwig Saxenhuber)

Rainald S.: The project started before the first steps of the revolution on Maidan were even made. Since September 2013 I was travelling quite regulary to Kiev and had a chance to experience the Maidan in very different stages – also shortly before the deadly events and later as a site of a tragic battlefield, where you could burst into tears…It was always very clear for me to try to proceed and to stress the importance of visual art especially in a time when the human face turns into the mask of a murderer…I do not think that my colleagues were forced to abandon under these revolutionary actions – but instead forced to withdraw, because the institutional structures they had to work with, were part of a dictatorial regime, which did not allow the curatorial freedom and even censored work. For example one work by Volodymyr Kuznetsov, Judgment Day, who participates in And Now? The Power of Art, was painted over without permission shortly before Putin and Yanukovych opened the exhibition Great and Grand in Kiev. And it is until now that he never heard an excuse….

Yana B.: You labeled the exhibition "And Now? The Power of Art", it covers so many different mediums. Why do you specifically emphasize the black and white aesthetic?

Rainald S.: That is by coincidence, it was not planned – But I like it very much…

Yana B.: How many artists did you contact or wanted to invite while preparing the exhibition? Did any of the artists decline your invitation?

Rainald S.: As I mentioned before, there are more exhibitions planned and I will continue with my research, it is just a beginning. I have to make contact with many more artists. Yes, some artists are sceptical and very critical about the possible role of Lavra, but the good thing is that we are in discussion and that we might be able to define the position of Lavra together with the artists.

Yana B.: This project was planed as a workshop of contemporary art between the art, the artists and public. Did you achieve these results?

Rainald S.: There were many moments of valuable discussions between the artists and myself. I still have to understand and to realize much better the complete different situation towards Western countries what it means to be an artist in the Ukraine, and in particular the situation in the post-revolutionary period, which has a lot of open opportunities to make significant changes in society. We are only at the beginning of a longer process and must establish structures and tools to enhance the dialogue with the public. We have to think about lectures, talks and discussions, social networks to initiate a communication about contemporary art and to attract the general audience.

Yana B.: How do you handle the situation when you have the feeling that the work of an artist is not going to be as strong?

Rainald S.: Most artists are very open to hear some sceptical thoughts about their work. It can also happen, that my reception of a work is changing and I start to see and understand it in a different light. But there is a difference between personal tastes and favorites and the curatorial responsibility. Sometimes an artwork which I do not favour personally might be a really important art work, so it cannot be excluded.

Yana B.: Could you explain why the Manifesta'14 does not intend to respond to provocation on political grounds? (boycott and petition)

Rainald S: At Manifesta 10 with my Office for Art we are responsible for a survey program of international time-based-media (video/film) by artists from the 1960s on. We still think that art is an important bridge for a dialogue on many issues, which have a significant impact on a society, and you cannot limit art to some actual political situation. If an artist wants to react to such a situation, he has to take part as every social person in real action as an activist. Yes, there was and is art on the Maidan, but the revolution was not won by art. It is tragic, yes, but people who brought food, fought against the brutal force, lost their lives and their health, people who helped in the hospitals… These are and have been the relevant actions. Not that art has to disappear and to step aside, but the dictatorship of weapons, brute force and intimidation. As the title of this exhibition in the Ukraine says: The Power of Art. I am believing in it, I am convinced that it changes the mind of the people. You need such change to act differently and more reasonable.

Yana B.: We will highly appreciate your advice for young Ukrainian curators. How we have to develop our potential?

Rainald S.: Experience many artworks in real, try to see and experience sea lot, compare yourself with it, wait for a response in yourself, balance it with the situation in a society, do research, look into the past and into the small streets beside the main road…

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