Vita Buivid. The distance is… photo sculpture, sound. 2020
My perception of art in general and of my own art practice has entirely transformed since I’ve moved to the Netherlands and started education at the Dutch Art Institute in 2018. Currently, I am working on the research on social and political aspects of ageing with a representation of it via contemporary art practices, including photography, video and also writing. It became more critical during my study at the DAI. Also, writing always been the core element of my practice. The background of philological education was positively influencing the way of presenting ideas adding text to other disciplines. It ties together photography, painting and installation into a continuous process. It was always essential for me to find a form, where the structure is looking for appearing as the way to build knowledge and to get the result. And I found it now, combining video with a massive volume of text, where the text becomes not only equal for the image but also taking a leading position, forming a brand-new form of a visual essay (see video1 and 2 in portfolio). Considering feminism an entry point to my artistic practice, thinking within image and text, I continue exploring my artistic position while examining social and political aspects. How recorded action becomes a document? Or art? How to integrate something autonomous into a bigger structure? What are the ways for the performativity of writing, and what are the limits of it? I intend to address all those questions and to rethink them theoretically and conceptually and turn them into art praxis.
About the Artist
Vita Buivid was born in Dnepropetrovsk (USSR, now Ukraine). Worked with animation and painting. Graduated from the Dnepropetrovsk State University in 1988, moved to Leningrad (now St. Petersburg, Russia) in 1989. Graduated from the Dutch Art Institute and currently lives and works in Amsterdam (Netherlands). Is engaged in contemporary art since the late 1980s, initially photography and photo-based art. In the early 1990s begins to add to her work watercolour, textiles, collage and oil, not limited by pure print. Since 1990 taking part in numerous exhibitions in Russia and worldwide. In 1994, Vita received a Grant from the Bureau of the Russian culture «Circ» in Amsterdam and worked on a project regarding the influence of Dutch art on Russian culture. With the support from Rutgers University, she travelled to New York to work on a photo project, but also was influenced by fashion photography and started to work with local fashion magazines on her return to Russia. In 2000 got a grant from la Mairie de Paris and spent three months in Cité des Arts residence working on project “Paris. Red” and produced limited edition artist book.
Shortlisted for Kandinsky Prize in 2009 and 2017, and Sergey Kuryokhin Modern Art Award in 2012 and 2013. In 2016, Vita's retrospective exhibition took place at the Moscow Museum of modern art, which occupied all five floors of the Museum building in Ermolaevsky lane. In 2017 she participated in the parallel program of the Venice Biennale of contemporary art with the project “Nevsky prospect” in Pallazzo Bembo. She is considered to be one of the forward-thinking feminists in Russian art. The most famous project in recent years has been a series of «How I Spent My Summer», nominated for a Kandinsky Prize in 2009. In this specific project, the artist appears in the role of Russian Martha Rosler, colliding the collage images of peaceful relaxation with a military invasion.
Main exhibitions in Russia and worldwide include the State Russian museum (St. Petersburg); the State Pushkin Museum of Fine Arts (Moscow); Moscow House of photography; «Personal Structures», European Cultural Centre, Palazzo Bembo (Venice, 2017); «Der Klare Blick», Pop/off/art gallery (Berlin, 2012); «Divergence. Form at Midland Atelier», Form project (Australia, 2012); Fotofest-2012, Huston, USA; «Photoquai: World visual arts Biennale» (Paris, 2007); «Manly», Art in General gallery (New York, 2000) and others. Works are in private and museum collections, such as Moscow House of Photography; The State Russian Museum, St. Petersburg; RuArts Foundation, Moscow; Museum of Contemporary Art Kiasma, Helsinki; Museum of Fine Arts, New Mexico; The Forbes Collection, Navigator foundation, Boston; Mőlndal commun collection, Sweden; Harry Ransom Center at the University of Texas, Austin and others.