Curatorial notes
Editor: Here we have Oleksandr Aksinin's 1981 ink drawing and print, "Exlibris of Vera Labunska." It's got this dreamlike quality, with figures riding these strange creatures on what looks like a carousel, all rendered in meticulous detail. How do you interpret this work, especially given its time? Curator: It’s fascinating how Aksinin blends playful imagery with a distinctly unsettling tone. Consider the political context of 1981, the late Soviet era, especially in Ukraine where Aksinin was active. Surrealism often became a coded language, a way to critique the absurdity and oppression of the system without directly confronting it. Do you think this image hints at such social commentary? Editor: I can see that. The figures seem trapped, circling endlessly, which could be a metaphor for the stagnation of Soviet life. But why choose the format of an exlibris, a bookplate? Curator: Exactly! The exlibris, traditionally a mark of ownership and intellectualism, becomes subverted here. Whose books did this artwork grace? Perhaps a member of the intelligentsia who was finding solace or escape in literature from the increasingly stifling reality. The fantasy becomes both a personal refuge and a quiet form of rebellion. It uses recognizable forms to create an estranging experience that speaks directly to the mood and anxieties of the intelligentsia at that time. Editor: That makes so much sense! It’s not just a fantastical image, but a commentary embedded in the art world. I learned so much about how artists navigate oppressive systems! Curator: Indeed. Art is always speaking within a specific social and institutional landscape. Thinking about how power structures shape art production makes looking so much richer.
