{"id":3912,"date":"2022-08-11T16:15:06","date_gmt":"2022-08-11T13:15:06","guid":{"rendered":"https:\/\/pastfutureart.org\/?p=3912"},"modified":"2023-06-09T17:47:36","modified_gmt":"2023-06-09T14:47:36","slug":"trees-of-memory","status":"publish","type":"post","link":"https:\/\/pastfutureart.org\/en\/trees-of-memory\/","title":{"rendered":"Trees of Memory: Roots and Runners"},"content":{"rendered":"\r\n
\r\n
\r\n
\r\n \n\"\"\n\n\n \n\"\"\n\n\n <\/div>\r\n\r\n
\r\n
\r\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

TREES OF MEMORY:
\nROOTS AND RUNNERS<\/span><\/span><\/strong><\/h1>\n <\/div>\r\n
\r\n

Babyn Yar, 2020, photo by Yevgen Nikiforov for Zaborona.com<\/span><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/section>\r\n\n\n\r\n

\r\n\r\n
\r\n
\r\n\r\n
\r\n

The Art & Science exhibition “Trees of Memory: Roots and Runners” and an accompanying public program took place in 2021 in Poland in partnership with the Ukrainian Institute and the Laznia Center for Contemporary Art. The project is dedicated to the Babyn Yar tragedy. It aims at elaborating current artistic practices of working through the traumatic past.<\/p>\n <\/div>\r\n \r\n \r\n <\/div>\r\n <\/div>\r\n\r\n<\/section>\r\n\r\n\n\n\r\n

\r\n\r\n
\r\n
\r\n\r\n
\r\n

TREES OF MEMORY: ROOTS AND RUNNERS.\u00a0THE EXHIBITION<\/span><\/strong><\/h2>\n

 <\/p>\n

13 AUGUST \u2014 30 SEPTEMBER<\/p>\n <\/div>\r\n \r\n \r\n <\/div>\r\n <\/div>\r\n\r\n<\/section>\r\n\r\n\n\n\r\n

\r\n\r\n
\r\n
\r\n\r\n \r\n
\r\n

Laznia Centre for Contemporary Art<\/a>, Gda\u0144sk, Poland<\/p>\n

Curators:\u00a0Oksana Dovgopolova, Kateryna Semenyuk<\/strong><\/p>\n

Artist:\u00a0Olga Kisseleva<\/strong><\/p>\n

Project manager:\u00a0Kateryna Kornysyuk<\/strong><\/p>\n

The exhibition is implemented through the\u00a0Visualise<\/a>\u00a0programme of the Ukrainian Institute.<\/p>\n <\/div>\r\n

\r\n

At the end of September 1941, more than 33,000 Kyiv Jews were shot in Babyn Yar. The ravine became the site of a multi-layered tragedy, claiming the lives of Jews, Roma, prisoners of war, the mentally ill, and enemies of the Nazi regime. In the postwar years, Babyn Yar experienced a regime of organised forgetting, confronted with the desperate efforts to preserve the memory of those who respected the dignity of the dead.<\/p>\n

After World War II, trees rose silently on the slopes for decades. Covering the tragedy site, they seemed to heal the wounds inflicted on the world by humans. The trees are metaphorical memory capsules that touch yesterday with their roots and tomorrow with their runner. From roots to runners, messages are conveyed from the past to the present. The past is always near, it speaks to us in a language that must be recognised.<\/p>\n

People cannot hear the “voices of trees,” but contemporary technologies aid us. The artist Olga Kisseleva, jointly with the engineer Christof Petio from The French National Centre for Scientific Research (CNRS) and the team of the Sorbonne University, scanned the electromagnetic pulses of the trees in Babyn Yar and created their graphic representation. In the 4-channel video installation, the visitor can see a visualisation of “voices” and the portraits of black poplar and maple.<\/p>\n <\/div>\r\n \r\n <\/div>\r\n <\/div>\r\n\r\n<\/section>\r\n\r\n\n\n\r\n

\r\n
\r\n
\r\n
\r\n
\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n
\r\n \r\n \n\"\"\n\n\n\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n\r\n
<\/div>\r\n <\/div>\r\n\r\n