Ksenia Malykh

I define myself as an art historian, curator and manager. I studied the theory and history of art at the National Academy of Fine Arts and Architecture in Kiev. After working in several art galleries in Kiev and preparing large exhibitions, I moved my interest towards small solo shows that I started at the Closer Art Center.

Then, together with my colleague, the musician and jazz promoter Olha Bekenstein, I set up a non-profit cultural organization in which we carried out educational projects – lectures on the history of art and music. Several years after I decided to immerse myself in research, I started working on the ResearchPlatform of PinchukArtCentre, where I am still working today.

Here my main responsibility is the administration of the platform and research direction. When I am trying out different roles (art historian, curator, manager, researcher) I am constantly changing perspectives on viewing the artistic processes. But at the same time I am a part and in the midst of the artistic organisms (including artists, critics, institutions, etc.) that create local contemporary art scene.

Selected Projects:









Pavilion of Ukraine at the 58th International Art Exhibition – La Biennale di Venezia
The Shadow of Dream* cast upon Giardini della Biennale curated by OPEN GROUP, 2019
General Manager

As stated by Open Group: “Such histories inflect our experience as Ukrainian artists, however they do not wholly define us. The story of the shadow of the Dream passing over the Giardini della Biennale may pass into myth via retellings in the pavilion and the media, but we consider this to be constituent of the dynamic corpus of our curatorial proposition”.
*Designed in Kyiv by the Antonov Design Bureau. Intended primarily to transport cargo for the Soviet space program, including multiple-launch Buran spacecraft and components for Soviet Energia rockets. With a maximum takeoff weight of 640 tons, it is largest and the heaviest aircraft in the world.









Research platform PinchukArtCentre, Kyiv
Since 2016 Head of department
Researcher, Co-curator of exhibition

The Research Platform is a fundamentally open platform to build out partnerships both in and outside Ukraine sharing knowledge and expertise on archiving and Ukrainian art.









Shukhliada expositional environment, 2018
Yaroslav Futymskyi

Yaroslav Futymskyi in his artistic practice occasionally refers to the landscape. This time the landscape is located on the outskirts of the small town of Poninka in the Polonne Raion of Khmelnytsky Oblast – the place where the artist was born and where his family lives. The landscape, in this case, is not an object but rather the contextual environment where a workers’ strike was once attempted and immediately quashed. In 1905, workers at the paper mill, the principal employer in Poninka, tried to hold a meeting outside the village, in the forest along the river. This purely urban practice of trade union struggle was carried out here in an unnatural background and immediately failed.









The Soot
Daniil Revkovskiy and Andrey Rachinskiy
ArtSvit Gallery, Dnipro, Ukraine, 2018

For more than a year artists have been researching industrial cities of the Dnipropetrovsk region: their history, architecture, social processes over the last decade. They chose the city of Kamenskoe as a typical Ukrainian post-industrial city with typical problems. Kamenskoe (until 2016 – Dneprodzerzhinsk) is just one of the number of cities in the Dnipropetrovsk region with the poor ecological condition and a regular outflow of the population due to the decline of the industry. It is an industrial city with unpopulated wide avenues and squares, formed by large city-forming enterprises: “DMK”, “PCH”, “DneproAzot”. Repeatedly, residents demanded that Kamenskoe must be granted the status of an ecological disaster.


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