{"id":121851,"date":"2025-04-29T17:37:53","date_gmt":"2025-04-29T15:37:53","guid":{"rendered":"https:\/\/tie2.lt\/?p=121851"},"modified":"2025-04-29T21:44:27","modified_gmt":"2025-04-29T19:44:27","slug":"faith-in-art-has-a-religious-character-evgen-karas-about-the-90s-war-and-the-future-of-the-ukrainian-art-scene","status":"publish","type":"post","link":"https:\/\/tie2.lt\/en\/faith-in-art-has-a-religious-character-evgen-karas-about-the-90s-war-and-the-future-of-the-ukrainian-art-scene\/","title":{"rendered":"“Faith in art has a religious character.” Evgen Karas about the 90s, war, and the future of the Ukrainian art scene"},"content":{"rendered":"

By Veronika Synenka \/ Tie2.lt<\/em><\/p>\n

Evgen Karas is an art expert, collector, founder, and permanent director and curator of one of the first private galleries in Ukraine \u2014 the Karas Gallery. He witnessed the birth of the art scene in the 1990s, lived through the boom of the 2000s, and is now observing its transformation after 2022. This conversation offers not only eyewitness recollections but also a sober reflection on why we continue to live in a state of anticipation and what to rely on when all that remains is faith.<\/em><\/strong><\/p>\n

Evgen, you\u2019ve been involved in art for over thirty years. How would you describe who you are today? A gallerist? An institution? An observer?<\/strong><\/p>\n

A gallerist in Ukraine is simultaneously an observer and a gallerist. I have vast experience \u2014 over thirty years in this field. And in any case, people identify me as a gallerist. Though today I\u2019m probably more of a passive gallerist, without public exhibitions. Several team members are in the Armed Forces. The gallery is working internally on projects. Our last project was in Cologne in February this year.<\/p>\n

What was Ukrainian art like in the 1990s when you started? And what do you think is the most fundamental change since then?<\/strong><\/p>\n

In the ’90s, nobody knew what contemporary art was. Ukrainian contemporary art conditionally began in the late ’80s. Back then, there was no formal education related to gallery practice. I don’t know if there is adequate education now, but what I see in Ukrainian art management is often very poor. I have an art education, and my gallery work in those days was purely intuitive. We, who started in the ’90s, formed our ideas about galleries through communication with artists, who already had collaborations with European galleries. I didn\u2019t travel abroad myself until the early 2000s. Artists traveled more since the late ’80s and brought back knowledge and ideas.<\/p>\n

The legal system was still post-Soviet. So was the situation in general. Many artists were actively working. There was competition \u2014 post-totalitarian socialist realism (the National Artists’ Union and the artistic combine) versus the new, contemporary art, which people didn\u2019t want to accept because it was unfamiliar in form and content. There were only a few key venues \u2014 \u201cBrama\u201d on Sofiivska Square, run by a U.S. embassy staff member, and the Soros Center for Contemporary Art (SCCA), which operated from 1993\u20132008 and supported the development of visual art.<\/p>\n

Artists with Soviet education \u2014 academies, institutes \u2014 later began transforming the art scene. They got information wherever they could: magazines from Hungary or Poland \u2014 \u201cSztuka Polska\u201d, \u201cDomus Design\u201d \u2014 all in black and white. Information was scarce. Many artists passed through Moscow, lived and worked in squats. Kyiv had neither institutions nor support.<\/p>\n

Art materials were expensive, so artists mixed paints with hardware store ones, bought in bulk. They painted three-meter canvases in a few days. Everything was very DIY, bold, raw, and powerful \u2014 this defined the style. Contemporary art prices were extremely low. I remember selling a work by Oleg Tistol in 1995 for $1,500 \u2014 legendary at the time. Today it might cost $15,000.<\/p>\n

There were only about 50\u201370 young strong artists speaking the language of contemporary art in the whole country \u2014 and everyone knew them by name. Documentation was zero. Sales had no paperwork. Photos were taken on slides. Catalogs were too expensive to make. So much was lost, and many works were taken abroad \u2014 we don\u2019t even know where they are.<\/p>\n

By the mid-90s, there were almost no galleries. But major foreign companies \u2014 advertising, audit, legal \u2014 came to Kyiv. Their executives visited exhibitions. I met many of them, including ambassadors and cultural attach\u00e9s. There was communication, but no documentation of the art life. The 90s were vivid, but almost nothing remains. Everything was based on hope. And hope still exists \u2014 for a national museum of contemporary art, for better legislation, for a strong middle class that would buy art. But all of this is still \u201csomeday.\u201d<\/p>\n

People came to the gallery business from various fields. Some were artists like me. Others from philosophy, humanities, etc. Many dealt in antiques \u2014 because there was money and demand. Ukrainian contemporary art collectors were almost nonexistent, maybe 10%. The rest were foreigners. Ukrainian collectors only began appearing in the late 2000s, and that\u2019s when prices rose. The legal environment improved slightly, but not fundamentally. Artists weren\u2019t taught to be adaptive \u2014 and still aren\u2019t. They\u2019re talented but often like \u201ccosmonauts,\u201d not knowing how to function in the art market. That hasn\u2019t changed.<\/p>\n

What drives the Ukrainian art scene today? What inspires you, and what concerns you?<\/strong><\/p>\n

Today most artists exhibit in museums rather than galleries. Since 2022, museum collections have been hidden or moved abroad for safety. Galleries have either closed or are working in private mode. Museums have functioning infrastructure but lack collections and art marketing.<\/p>\n

Artists are now more educated, travel more, and have more experience. In the ’90s it was a closed club \u2014 today it\u2019s an industry. Many have exhibited abroad and established positions before the COVID lockdown. Some even managed to stay there. In the mid-2000s, only a handful of Ukrainian artists had works in prestigious museum collections or participated in international forums. Now dozens have international careers and work with renowned curators and institutions.<\/p>\n

But now a new issue \u2014 many want to be \u201cEuropean artists,\u201d and in this, identity can get lost. Identity is now more important than ever. Ukraine\u2019s experience \u2014 war, loss, danger \u2014 provides material that Europe doesn\u2019t have. They simulate experience, we live it. That gives us an advantage.<\/p>\n

What is the role of art during war? Should it speak politically, or be a space of quiet and personal reflection?<\/strong><\/p>\n

Art has always been about individual experience \u2014 more than global issues. The artist\u2019s experience is key. You can\u2019t \u201cbuy\u201d music or film, but you can<\/em> buy visual art. That gives it spreadability, marketability, and potential \u2014 if the state doesn\u2019t hinder it. Visual art is universally readable and quickly perceived \u2014 a few minutes are enough. You can\u2019t do that with a novel or film or concert. I\u2019m not downplaying literature, film, or theater \u2014 but visual art has that unique immediacy and universality.<\/p>\n

So yes, art is important \u2014 even in a positive propaganda sense. It carries both individual and generalized messages. The individual is from the artist; the generalized comes from the gallery or curator, based on their ideological or social mission.<\/p>\n

Today, culture is often seen as secondary. What needs to change to shift that mindset in Ukraine?<\/strong><\/p>\n

We need a national cultural policy that makes art pervasive, fashionable, and popular. The professional community \u2014 gallerists, theorists, curators, museum workers, educators, artists \u2014 has already done everything. Now the \u201cbaton\u201d is with the state. Only the state can make art profitable. Big projects, too. They need to be marketable, and that requires state marketing. Every gallery or museum has limited capabilities. The state has much more \u2014 media, laws, cultural strategy.<\/p>\n

So we need: 1) state-driven marketing; 2) legal support. Current legislation exists, but it\u2019s not helpful. Why? I\u2019m not sure \u2014 or maybe I know, and I don\u2019t like the answer.<\/p>\n

That there\u2019s still no national contemporary art museum or center \u2014 that\u2019s telling. It shows either a lack of understanding of culture\u2019s importance or simply weakness. Almost all major art initiatives in Ukraine are privately funded. That\u2019s not a result of policy \u2014 it\u2019s personal initiative. That\u2019s not good, but it\u2019s the reality.<\/p>\n

You\u2019ve worked independently for many years. What\u2019s the cost of that freedom?<\/strong><\/p>\n

For anyone in art \u2014 a gallerist, critic, curator \u2014 it\u2019s always a bit of a\u2026 well, not struggle, but a constant effort to figure out how to realize your vision within the given constraints. It takes constant extra effort.<\/p>\n

Do you believe in the possibility of a sustainable art market in Ukraine? What stands in the way?<\/strong><\/p>\n

If I didn\u2019t believe in it, I wouldn\u2019t be doing this. That hope has a religious<\/em> character. Without it, there\u2019s no point. I believe in it. So do those around me. Art without faith is impossible.<\/p>\n

I truly believe the state will eventually realize the need to create some kind of \u201ccultural duty-free,\u201d a cultural offshore zone \u2014 to accelerate growth. We can\u2019t catch up to Europe \u2014 not institutionally, not in monuments, not in museum collections worth hundreds of millions. Only a legal leap \u2014 a cultural offshore \u2014 can speed us up. Comparing our infrastructure to Europe\u2019s is pointless. They\u2019ve had centuries. We\u2019ve had decades, at best.<\/p>\n

What is a sign of \u201creal\u201d art for you today? What themes or approaches speak to you?<\/strong><\/p>\n

Everyone has their own version of \u201cauthenticity.\u201d If you ask ten experts, you\u2019ll get ten answers. Mine are intuitive \u2014 a mix of experience and exposure. I\u2019ve traveled many times yearly to festivals, biennales, galleries. That mix \u2014 education, exposure, imagination \u2014 shapes my sense of quality. In a field without objective metrics, expert opinion \u2014 blending intuition and subjectivity \u2014 defines authenticity. Art\u2019s quality isn\u2019t in weight or size.<\/p>\n

Which Ukrainian artists do you think speak convincingly about the present?<\/strong><\/p>\n

Honestly, that question implies a thematic answer \u2014 but that\u2019s misleading. Still life or landscape can be deeply thematic or tragic. So it\u2019s not about subject matter<\/em> \u2014 though content, form, and language matter.<\/p>\n

There\u2019s demand for leftist ideas \u2014 defending life, individual rights, clean air and water, etc. Some artists respond with their own messages. But one must be cautious \u2014 it\u2019s easy to simulate those ideas. Artists who recognize this demand can fake it. The key is to intuitively and experientially sense the difference. Expectations are high. Artists here \u2014 in Ukraine \u2014 are emotional, sensitive beings. They can truly feel pain, suffering, tragedy, life, and death.<\/p>\n

Can you name any specific artists?<\/strong><\/p>\n

I\u2019d rather not. I don\u2019t want to do promotion. And it\u2019s serious. Naming names means taking responsibility. It\u2019s better not to. Even if someone tries, they\u2019ll end up misleading \u2014 even unconsciously. A gallerist or curator will name those they work with or want to promote. So it\u2019s not just subjective \u2014 it\u2019s inevitably biased.<\/p>\n

How do you see Ukrainian art in ten years?<\/strong><\/p>\n

Definitely strong. Definitely interesting. I hope artists will have more resources<\/em>. Now they have almost none. By resources, I mean: large studios, quality materials, the means to create, store, and exhibit work. Infrastructure. I always say: Ukrainian art now is sketch<\/em> art. Its scale often depends on the doorframe \u2014 what can be carried out.<\/p>\n

And finally \u2014 in short: why do we need culture today?<\/strong><\/p>\n

It ties back to a previous point \u2014 culture is the only way to reproduce both personal and collective messages, curatorial and ideological, including those related to state policy. It\u2019s a powerful resource that simply cannot be replaced. Behind every president, prime minister, taxi driver, firefighter, and cleaner \u2014 stands national culture and art. That\u2019s how it is.<\/p>\n

The article is part of the project “Cultural Bridge: Lithuania\u2013Ukraine,” which is partially funded by the Media Support Fund.<\/em><\/p>\n

\"\"<\/p>\n

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