Myroslav Kulchytskiy was born in Uzhhorod in 1970.
Artist, curator, iconic figure of Ukrainian media art.
The first curator of the Museum of Odesa Modern Art. Participant of numerous exhibitions in iconic locations of Europe. Myroslav himself characterized his artistic method as a public experiment: a kind of shared practice with the viewer, a cure for the blurred vision.
Participant of numerous exhibitions in prestigious locations in Europe and Canada.
Most of the time he worked in co-authorship with Vadym Chekorskiy, who was born in the same year. This duo created the most famous works of Odesa video art.

“Environment of Capitulation. Stalingrad near Berlin ” – a video installation by Myroslav Kulchytskiy and Vadym Chekorskiy.

Visitors have to pass through a large square hall under the sound of gunshots and explosions. The walls and ceiling of the room are black. This dark, almost mystical space creates an atmosphere of concern and anxiety. Famous large identical photos of a Soviet soldier firing a machine gun are placed on the walls from the floor up.

The distance between photos is no more than two meters. Four strong spotlights illuminate the center of the hall. In the center stands a ladder on which fragments of a German officer’s uniform are haphazardly thrown.

One of the key elements of this installation is a television set that is located on a ladder and on which porn of a blond man and a brunette woman is played continuously. The figures of the porn actors on the screen and the machine gunner in the photo are made of large pixels, which do not allow you to see the images nearby, but do not interfere with looking at them from a distance.

This provocative piece by the Odesa duo calls into question traditional ideas about strength, power, peoples, human being and their role in the historical context. The authors use the effect of a pixel picture to remind that the image is better seen from a distance, and the facts are understood after time. Maybe it’s time to think about the past honestly? Then, in the case of a conversation about the results of the Second World War, the eternal terrible questions are arisen: who had won and who had capitulated? The whole installation works as a metaphor and problem of collapse and surrender, not only military, but also cultural. The viewer witnesses the disintegration and transformation of historical memory, which loses its ideological integrity, transforms into a set of fragments and turns into a new, often paradoxical, reality.