31 December 1953 – was born in the town of Taldy-Kurgan, Kazakhstan
1974-1979 – studied at Kharkiv Institute of Applied Arts (professor B.V. Kosarev)
1985-1988 – Post Graduate of Creative Studio of the Academy of Arts of the USSR (Academician, professor S.A. Grigoryev)
1997-till now – Vice-President of the Academy of Arts of Ukraine
2001 – till now - Founder and Director of the Modern Art Research Institute of the National Academy of Arts of Ukraine
2002 – till now – Professor of Kharkiv Academy of Design and Arts
National Artist Union of Ukraine, member
Academician of the National Academy of Arts of Ukraine
During their life people have to confirm their identity a number of times. For the first time this idea crossed my mind in the Army, where my experience as a raw recruit began. We were brought to a camp in the forest, left our luggage, got undressed and went into a barracks. We had our heads shaved and took a shower. All that time we had to listen to orders. We were at a loss. Coming inside, pushing each other, we were handed our uniform. At the other side of the barracks we found ourselves in lines. With horror we started to realize that all our past which seemed so beautiful now - parents, friends and the whole world - was left far away. We could not count for any support in the camp. The only thing important now was if your body could survive, run, jump and shoot. We had to turn over a new leaf. Nobody was interested who you were and less what you did before. Of importance now was if you were the person who you seemed to be, if you can survive in your new family. A test of authenticity began here. Every time we find ourselves in a new environment we go through this process of AUTHENTICATION.
The grain which gave growth to the concept of the project "The Millstones of Time", is the amateur photography of the totalitaristic times, which by insident came into hands of the artist. There was pictured the scene of the group "work-therapy" in the correctional institution. In fact, the filling of the picture by certain historical meaning would destroy the most precious it contains - the illusionary of the presented, its constructive absurdity. The picture appeared out of the oblivion, as if simply to sow doubts about the possibility of the photographic evidence as a true "image of the reality". In fact, the possibility of the photographic similarity turns to be its intrinsic subjectivity, which prevents the restoration of the real scequence of the events. According to the principal of supplementation, the reconstruction of the event requires the comparison of the image, fixed on the film, to the other, completely opposite look at the same object - thus, the testimonies of witnesses must be at least two. This discrepancy in the conditions of the true imaging of the reality makes the researchers accepting the "surrealness" of the photographic images, which reflex nothing, but creating the separated world of their own, wich does not correspond to the real . It is characterized by the special authenticity of the unreal. Rephrasing R. Barth, the picture is the undeniable evidence of the fact that the event took place - the doubtful seems only the fact that this place exists indeed...
The project "Millstones of Time", kept in neoclassic trend, the splashes of which with certain regularity happened both in modernism and postmodernism, can not but arouse associations with "Lord's Supper" by Leonardo. First of all the noticeable is similarity of compositional schemes. However, this is the only point at which the typological affinity might be found. In his Milan masterpiece the great genius followed his own principle that might be formulated as "one wall, one space, one scene". The special feature of the project "Millstones of Time" (though it doesn't contradict overall contemporary tendencies) – is its work in process. This in particular becomes obvious in its ability to gain different modifications depending from concrete exhibitional space without losing its main concept, as well as in presupposed consistent flexibility of perception of all its media components. For example, the view of its Venice version is greatly dictated by spatial discreteness – it is located in two autonomous halls, at different levels. This supports the fair thesis that the integrity of Optics of the "current moment" is rather the totality of fragments understood in the process, in movement of feelings, and modeled by thinking, imagination, nostalgically seeking the unity and coherency. That's why the examination of semantic dramatic composition of this project through the prism of triad "space-time-movement", as well as through complicity, contiguity of different media seems quite natural.
The mane theme of the art works by Victor Sydorenko is the problem of the personal identification in the post totalitarian modern society. The artistic works, impressing the viewer by the wide range of such art genres as painting, sculptures, video and photo, do not only expose the spectrum of his artistic interests, but define general vectors of the active creative field. The authors strategy is consequently unfolded through the image of the "man in pants" in order to investigate the impact of the recent history onto the modern reality and the perspective of its repetition. Step by step the author investigates stages of the personality existence: beginning from the reflection in the monolith hierarchic social system up to the apprehending as the measure and the aim of all the transformations. Such approach was reflected in the "Millstones of Time" (Venice biennale 2003), "Authentification" (Kyiv, Utrecht, Paris), and to some extent provocative mobile installation in the urban environment "Depersonalization" (2008) and the new projects "Levitation" and "New Arc".
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