The works of Sofiia Yesakova are inspired by statistical diagrams, information technology and constructivism. She also uses the technique of icon painting for her paintings, without figuration or religiosity, with gesso, many layers of gelatine and wood. In Cargo 200 Experimental projections on surfaces 5.8. Yesakova creates a seven metre long architectural wall intervention. In it, she refers to Malevitch's black square; in contrast to minimalist abstraction, her work is a carrier of almost unbearable emotionality. The work deals with war as a phenomenon: Cargo 200, the military's term for transports of fallen soldiers back home, in a zinc container. The black square here is the place of burial, seen from above. Yesakova's meticulous painting is situated in the field of tension between abstract form and oppressive context. It is a work of remembrance and mourning. By devoting herself to violence with almost mathematical precision, Yesakova makes the unbearable visible.  

Is it possible to fill these gaps created by the lack of answers to some of the questions of our history? "The subject hastens to fill these gaps with the appropriate ideas, to fill the gaps with sometimes even inappropriate pieces of the mosaic." Jacques Lacan War memorials give the impression of something depressing and coldly detached, but have regained topicality through the disputes between various groups about history. Who will be remembered and how. The exhibition shows works from the series Cargo-200, whose working surface is prepared as in icon painting, but without concrete body images, only with schemes. This installation is about the phenomenon of war as a whole, not just about current events. Evil, that's always the others, you would never use that to describe yourself. Solo exhibition

The site-specific installation is built on contradictions. Sensual experience of being and indifferent calculation. According to statistics, 90% of the data existing now in the information space were produced in the last 2 years. Every day new symptoms of information overload are discovered. Truth in the stream of noise becomes barely visible, it becomes more and more difficult to analyse "true" or "false" ideas. Disorderly consumption of news leads to information blindness. The main task of the thinking individual is to escape from the affective impact and manipulation of new media on consciousness. Solo exhibition Curated by Erik Haemers

In the exhibition you can see a total installation, combining a variety of materiality and technical artistic approaches into a single space to convey the tense expectation of disaster that is imminent. The result is a multi-layered audio-visual "Landscape". A poetic installation build on feelings of growing anxiety and a melancholic, somewhat nostalgic state. At a time of escalating wars, as well as the habituation to endless violence, the aim of this artistic statement is to revive humanistic values in a new post-apocalyptic reality, as well as accents on collective and individual memory. There has been an undeniable progress in cruelty, and mass self-deception is already leading to universal catastrophes, which we are witnessing. At the same time, isolated concepts characterise those visions of a positive future that are most widely accepted in Western societies today: fake and superficial collective happiness, totalitarian utopia. Utopian thought is also closely linked to notions of isolation and insularity.We see a dynamic situation of transition from an authoritarian to a totalitarian regime of social control. Mutual suspicion interferes with the relationship between the authorities and the citizen.  With artists Sophie Constanze Polheim, Nina E. Schönefeld, Jinseok Lee, Polina Shcherbyna, Sofiia Yesakova   Curated by Sofiia Yesakova

All of this is polifoniia. Polifoniia is a theatrical installation, polifoniia is making a camouflage net together, polifoniia combines performances, talks, music, voices of people who talk about their lives. Polifoniia is a safe space, a festival of getting to know each other. But polifoniia is also the changing rhythm between everyday life and daily rocket attacks, between the desire for light-heartedness and the flood of hourly news. You can hear stories that reflect the familiar and the horrific. Stories from people who directly experience the Russian war of aggression against Ukraine - in their own homes, at the front, on the run.

With their visual and symbolic language, the artists Polina Shcherbyna and Sofiia Yesakova refer to the cyclical recurrence of world-historical events. The themes of violence and resistance are inherent in the human experience of life. Our ability to adapt to the senselessness of war and tragedies of any scale contradicts our knowledge of their destructive consequences. Catastrophes leave their scars on the human soul. Jinseok Lee completes the body of the exhibition with his work "Metamorphosis and Apocalypse". In it, he reflects on the course of a life characterised by constant torment, which only finds its liberation in self-responsibility. Lee thus refers to his literary role models, the forerunners of existentialism Franz Kafka and Søren Kierekegaard. with artists Polina Shcherbyna, Jinseok Lee, Sofiia Yesakova

The new day begins in the middle of the night. When we wake up in the morning, there is this brief moment in which memory still seems absent and only the feeling of expectation is present. It is fleeting and, in case of doubt, will never be fulfilled - yet this one-sided promise of a truth that has not yet arrived forms an essential cornerstone of human resilience.Important philosophers have tried to establish applicable rules for promises. Immanuel Kant argued that promises should always be kept, while some consequentialists argue that promises should always be broken when doing so would bring benefits. In contrast to Kant, some Rossians hold that morality cannot be fixed in terms of right and wrong. In certain circumstances, it may be more advantageous to break a promise than to keep it.This exhibition moves along these moral principles, while the works on display express, promise or break promises for a better present than the current one in various ways.The examination of Viktor Petrov's installations suggests foggy, associative fragments of memory.  with artists Göksu Baysal, Kim Bode, Raphaël Fischer-Dieskau, PY Koller, Viktor Petrov, Aline Schwörer, Polina Shcherbyna, Sofiia Yesakova

curated by Nicola E. Petek

The Address is pleased to present at its headquarters the collective exhibition Memories we have forgotten. The artworks, carefully selected and displayed within the gallery, will be visible from February 10th to March 27th, 2024. They are the result of a meticulous exploration that digs beneath the surface of the apparent reality of everyday life, revealing the hidden depths of one’s being. This allows the emergence of fears, sensations, emotions, and free impulses to manifest in an “other” and personal dimension. The diachronic form and rhythm in which the exhibition journey is conceived enable a dialogue and confrontation between artist and spectator within the context of a moving temporality, inevitably uneven and fragmentary. Buñuel, a protagonist of the manifesto featuring the famous eye-cutting scene from Un Chien Andalou, asserted that “memory is constantly contaminated by imagination and dreams.” Nothing could be truer. The exhibition is conceived as pure dramaturgy, a collection of works in which the three artists, despite being geographically distant, constantly relate and confront each other while maintaining their autonomy in the concept of reconstructing the image of oneself and one’s lived experiences.

ROUND TRIP is a connection and exchange project among independent art spaces in Milan and Berlin. Round Trip elevates many diverse artistic approaches, practices and connections possibilities. Most importantly, it is a testament to the irreplaceable role that independent spaces play in fostering experimental artistic development and the expansion of public discourse. Round Trip wants to build an international network of artists, artistic spaces with the research they develop and promote. Fluid and ever-evolving, it will expand and grow to honor its core values. FLUIDUM is the expression of all the stories of this journey, a Latin word, a bridge between the Italian and German languages that express the idea of freely adapting, molding, and welcoming the new. A collective fluid merging different attitudes and approaches with a shared awareness of the cultural value of artistic research. After the first exhibition in Berlin at Pavillon am Milchhof, a larger selection of spaces from both cities takes place in this upcoming step. Through the exhibition of artists’ works, there is the opportunity to present the aim of each project in dialogue with a completely new context and setup.  

This exhibition explores the impact of digital, visual dominance in our modern society and reveals the complexity of manipulation. Engage with the significance of optical contrasts, focus on current and future perspectives, risks, and strategies in terms of visual dominance. The exhibition will be interactive and shows digital mixed media works as well as audio visual experiences. With artists Simón Jaramillo Vallejo | Sofiia Yesakova  | Tobias Kurpat  | Greta Schulz  |  Dagmar Schürrer  AS__EM gallery; Leipzig, DE  

Sofiia Yesakova and Polina Shcherbyna are an artist duo, which works in painting as an object. Their artistic practice is related to various aspects of the visual language of the iconographic tradition. The two artists use symbols and images that borrow forms from the past through layers of history. Through this system, they want to establish a dialogue with the future, signifying the cyclical nature of events in world history. Through the layers of history they both use symbols and images that are borrowed of the past forms. With this system, they want one establishing a dialogue with the future that means standing the cyclical nature of events in world history. This project reflects on the tragedy of timelessness that humanity receives not for the first time. Both artists in their works explore traces of suffocation of the socio-political machine that make us adapt to any pain. Perhaps in the awareness of cyclicity lies the way out of the circle of eternal repetitions in history.

Time is Running Out. An art exhibition on the essence of existence. The fleeting essence of it is a constant reminder as we rush through life. The urgency of the ticking clock encourages us to delve into our purpose and motivations, igniting a desire for meaningful transformation before the final day arrives. But when does that day start and when does it end? Will we elevate the importance of our lives and embrace change being influenced by our past? Or shall we remain complacent, assuming that time stretches endlessly before us? Are we ready to confront the undeniable expiration date that graces us all? These might be some contemplations we all have as we navigate our brief existence in time. As we confront these introspective inquiries, the fear of being forgotten looms. Striving for recognition, the notion of legacy becomes doomed. Even in a world where ignorance mingles with genuine concern, the persistent march of time cannot be denied. with artists Agnieszka Sowisło-Przybył, Anna Borowy, Anne Bengard, Benyamin Reich, Dr. Banner, Dr. Molrok, Ducotekens, Gentaro Masuda, Humza Rana, Jaron Gyger, Jiwa, L. Giuseppe Gennaro, Max Grote, Michel Niknafs, Mischka, Max Ruebensal, Nicolas Crocetti, Roman Manikhin, Roland Beier, Sofiia Yesakova, Sven Vollbrecht, Thomas Kierok

Homoöstase is an exhibition bringing together diverse practices, each in their own way exploring how emotions contaminate the core of materials or the apparent rigidity of minimal forms. While the body may initially seem absent, it nonetheless hides within the strict lines of the exhibited works. This body, eager to emerge, remains subject to processes of regulation and control, interacting upon and within itself.

with artists Pierre Allain, Maxime Chabal, Olga Mathilde Gärtner, Viktor Petrov, Stina Elisabeth Stühmer, Sofiia Yesakova, Jannis Weu

curated by Maxime Chabal, Stina Elisabeth Stühmer

War can never become commonplace, but for many, awareness of what is happening in Ukraine is long gone from what it once was. For our last HAUNT Table of this year, we therefore want once again bring the focus precisely back on this issue. We are therefore particularly proud that the Ukrainian artist Sofiia Yesakova will be realizing a pop-up exhibition in our pavilion to mark the occasion. The multi-disciplinary artist uses the language of minimalism, with a focus on expressing thoughts and emotions. In recent months, the war in her home country has also left its mark on Yesakova's artistic practice.  curated by Nicola E. Petek frontviews at HAUNT

How does one approach the future after a failed love, a loss of home, a rejection, the experience of war? The aim of the exhibition is to show how fundamentally subjective circumstances as well as one's own origin can affect the respective working process in relation to cross-cultural themes. This spring Kunstverein Meißen is focusing on the theme of resilience, which shows how differently the ability to recognise opportunities and perspectives for one's own work process in a personal/collective crisis manifests itself. While ‘When the Firebird flies' conveys artistic strategies of resilience and initiates an artistic discourse, curator tours and workshops are intended to create additional offers for practical, cross-generational engagement with art and thus contribute to cultural education in rural areas. *In Slavic mythology and folklore, the firebird is a magical and prophetic glowing or burning bird from a distant land that is both a blessing and a harbinger of disaster for its captor.

Noise provides unwanted information in digital images. It creates artefacts, unrealistic edges, invisible lines, corners, blurred objects. In other words, unwanted information in digital images. Noise is chaos. A cacophony of events that the human brain does not want to recognise. The word noise emerged at the end of the 19th century to describe interference caused by signal transmission over long distances. Digital noise equals image noise equals media noise. In this exhibition, artists work to reproduce the human perception of the information noise we see during war. In the 21st century, chaos replaces enlightenment, noise replaces information. Where nothing can be heard and identified as true, everything can be talked about. Text: Guido Walter   With artists Sofiia Yesakova, Minor Alexander

The works of Sofiia Yesakova are inspired by statistical diagrams, information technology and constructivism. She also uses the technique of icon painting for her paintings, without figuration or religiosity, with gesso, many layers of gelatine and wood. In Cargo 200 Experimental projections on surfaces 5.8. Yesakova creates a seven metre long architectural wall intervention. In it, she refers to Malevitch's black square; in contrast to minimalist abstraction, her work is a carrier of almost unbearable emotionality. The work deals with war as a phenomenon: Cargo 200, the military's term for transports of fallen soldiers back home, in a zinc container. The black square here is the place of burial, seen from above. Yesakova's meticulous painting is situated in the field of tension between abstract form and oppressive context. It is a work of remembrance and mourning. By devoting herself to violence with almost mathematical precision, Yesakova makes the unbearable visible.  

Is it possible to fill these gaps created by the lack of answers to some of the questions of our history? "The subject hastens to fill these gaps with the appropriate ideas, to fill the gaps with sometimes even inappropriate pieces of the mosaic." Jacques Lacan War memorials give the impression of something depressing and coldly detached, but have regained topicality through the disputes between various groups about history. Who will be remembered and how. The exhibition shows works from the series Cargo-200, whose working surface is prepared as in icon painting, but without concrete body images, only with schemes. This installation is about the phenomenon of war as a whole, not just about current events. Evil, that's always the others, you would never use that to describe yourself. Solo exhibition

The site-specific installation is built on contradictions. Sensual experience of being and indifferent calculation. According to statistics, 90% of the data existing now in the information space were produced in the last 2 years. Every day new symptoms of information overload are discovered. Truth in the stream of noise becomes barely visible, it becomes more and more difficult to analyse "true" or "false" ideas. Disorderly consumption of news leads to information blindness. The main task of the thinking individual is to escape from the affective impact and manipulation of new media on consciousness. Solo exhibition Curated by Erik Haemers

In the exhibition you can see a total installation, combining a variety of materiality and technical artistic approaches into a single space to convey the tense expectation of disaster that is imminent. The result is a multi-layered audio-visual "Landscape". A poetic installation build on feelings of growing anxiety and a melancholic, somewhat nostalgic state. At a time of escalating wars, as well as the habituation to endless violence, the aim of this artistic statement is to revive humanistic values in a new post-apocalyptic reality, as well as accents on collective and individual memory. There has been an undeniable progress in cruelty, and mass self-deception is already leading to universal catastrophes, which we are witnessing. At the same time, isolated concepts characterise those visions of a positive future that are most widely accepted in Western societies today: fake and superficial collective happiness, totalitarian utopia. Utopian thought is also closely linked to notions of isolation and insularity.We see a dynamic situation of transition from an authoritarian to a totalitarian regime of social control. Mutual suspicion interferes with the relationship between the authorities and the citizen.  With artists Sophie Constanze Polheim, Nina E. Schönefeld, Jinseok Lee, Polina Shcherbyna, Sofiia Yesakova   Curated by Sofiia Yesakova

All of this is polifoniia. Polifoniia is a theatrical installation, polifoniia is making a camouflage net together, polifoniia combines performances, talks, music, voices of people who talk about their lives. Polifoniia is a safe space, a festival of getting to know each other. But polifoniia is also the changing rhythm between everyday life and daily rocket attacks, between the desire for light-heartedness and the flood of hourly news. You can hear stories that reflect the familiar and the horrific. Stories from people who directly experience the Russian war of aggression against Ukraine - in their own homes, at the front, on the run.

With their visual and symbolic language, the artists Polina Shcherbyna and Sofiia Yesakova refer to the cyclical recurrence of world-historical events. The themes of violence and resistance are inherent in the human experience of life. Our ability to adapt to the senselessness of war and tragedies of any scale contradicts our knowledge of their destructive consequences. Catastrophes leave their scars on the human soul. Jinseok Lee completes the body of the exhibition with his work "Metamorphosis and Apocalypse". In it, he reflects on the course of a life characterised by constant torment, which only finds its liberation in self-responsibility. Lee thus refers to his literary role models, the forerunners of existentialism Franz Kafka and Søren Kierekegaard. with artists Polina Shcherbyna, Jinseok Lee, Sofiia Yesakova

The new day begins in the middle of the night. When we wake up in the morning, there is this brief moment in which memory still seems absent and only the feeling of expectation is present. It is fleeting and, in case of doubt, will never be fulfilled - yet this one-sided promise of a truth that has not yet arrived forms an essential cornerstone of human resilience.Important philosophers have tried to establish applicable rules for promises. Immanuel Kant argued that promises should always be kept, while some consequentialists argue that promises should always be broken when doing so would bring benefits. In contrast to Kant, some Rossians hold that morality cannot be fixed in terms of right and wrong. In certain circumstances, it may be more advantageous to break a promise than to keep it.This exhibition moves along these moral principles, while the works on display express, promise or break promises for a better present than the current one in various ways.The examination of Viktor Petrov's installations suggests foggy, associative fragments of memory.  with artists Göksu Baysal, Kim Bode, Raphaël Fischer-Dieskau, PY Koller, Viktor Petrov, Aline Schwörer, Polina Shcherbyna, Sofiia Yesakova

curated by Nicola E. Petek

The Address is pleased to present at its headquarters the collective exhibition Memories we have forgotten. The artworks, carefully selected and displayed within the gallery, will be visible from February 10th to March 27th, 2024. They are the result of a meticulous exploration that digs beneath the surface of the apparent reality of everyday life, revealing the hidden depths of one’s being. This allows the emergence of fears, sensations, emotions, and free impulses to manifest in an “other” and personal dimension. The diachronic form and rhythm in which the exhibition journey is conceived enable a dialogue and confrontation between artist and spectator within the context of a moving temporality, inevitably uneven and fragmentary. Buñuel, a protagonist of the manifesto featuring the famous eye-cutting scene from Un Chien Andalou, asserted that “memory is constantly contaminated by imagination and dreams.” Nothing could be truer. The exhibition is conceived as pure dramaturgy, a collection of works in which the three artists, despite being geographically distant, constantly relate and confront each other while maintaining their autonomy in the concept of reconstructing the image of oneself and one’s lived experiences.

ROUND TRIP is a connection and exchange project among independent art spaces in Milan and Berlin. Round Trip elevates many diverse artistic approaches, practices and connections possibilities. Most importantly, it is a testament to the irreplaceable role that independent spaces play in fostering experimental artistic development and the expansion of public discourse. Round Trip wants to build an international network of artists, artistic spaces with the research they develop and promote. Fluid and ever-evolving, it will expand and grow to honor its core values. FLUIDUM is the expression of all the stories of this journey, a Latin word, a bridge between the Italian and German languages that express the idea of freely adapting, molding, and welcoming the new. A collective fluid merging different attitudes and approaches with a shared awareness of the cultural value of artistic research. After the first exhibition in Berlin at Pavillon am Milchhof, a larger selection of spaces from both cities takes place in this upcoming step. Through the exhibition of artists’ works, there is the opportunity to present the aim of each project in dialogue with a completely new context and setup.  

This exhibition explores the impact of digital, visual dominance in our modern society and reveals the complexity of manipulation. Engage with the significance of optical contrasts, focus on current and future perspectives, risks, and strategies in terms of visual dominance. The exhibition will be interactive and shows digital mixed media works as well as audio visual experiences. With artists Simón Jaramillo Vallejo | Sofiia Yesakova  | Tobias Kurpat  | Greta Schulz  |  Dagmar Schürrer  AS__EM gallery; Leipzig, DE  

Sofiia Yesakova and Polina Shcherbyna are an artist duo, which works in painting as an object. Their artistic practice is related to various aspects of the visual language of the iconographic tradition. The two artists use symbols and images that borrow forms from the past through layers of history. Through this system, they want to establish a dialogue with the future, signifying the cyclical nature of events in world history. Through the layers of history they both use symbols and images that are borrowed of the past forms. With this system, they want one establishing a dialogue with the future that means standing the cyclical nature of events in world history. This project reflects on the tragedy of timelessness that humanity receives not for the first time. Both artists in their works explore traces of suffocation of the socio-political machine that make us adapt to any pain. Perhaps in the awareness of cyclicity lies the way out of the circle of eternal repetitions in history.

Time is Running Out. An art exhibition on the essence of existence. The fleeting essence of it is a constant reminder as we rush through life. The urgency of the ticking clock encourages us to delve into our purpose and motivations, igniting a desire for meaningful transformation before the final day arrives. But when does that day start and when does it end? Will we elevate the importance of our lives and embrace change being influenced by our past? Or shall we remain complacent, assuming that time stretches endlessly before us? Are we ready to confront the undeniable expiration date that graces us all? These might be some contemplations we all have as we navigate our brief existence in time. As we confront these introspective inquiries, the fear of being forgotten looms. Striving for recognition, the notion of legacy becomes doomed. Even in a world where ignorance mingles with genuine concern, the persistent march of time cannot be denied. with artists Agnieszka Sowisło-Przybył, Anna Borowy, Anne Bengard, Benyamin Reich, Dr. Banner, Dr. Molrok, Ducotekens, Gentaro Masuda, Humza Rana, Jaron Gyger, Jiwa, L. Giuseppe Gennaro, Max Grote, Michel Niknafs, Mischka, Max Ruebensal, Nicolas Crocetti, Roman Manikhin, Roland Beier, Sofiia Yesakova, Sven Vollbrecht, Thomas Kierok

Homoöstase is an exhibition bringing together diverse practices, each in their own way exploring how emotions contaminate the core of materials or the apparent rigidity of minimal forms. While the body may initially seem absent, it nonetheless hides within the strict lines of the exhibited works. This body, eager to emerge, remains subject to processes of regulation and control, interacting upon and within itself.

with artists Pierre Allain, Maxime Chabal, Olga Mathilde Gärtner, Viktor Petrov, Stina Elisabeth Stühmer, Sofiia Yesakova, Jannis Weu

curated by Maxime Chabal, Stina Elisabeth Stühmer

War can never become commonplace, but for many, awareness of what is happening in Ukraine is long gone from what it once was. For our last HAUNT Table of this year, we therefore want once again bring the focus precisely back on this issue. We are therefore particularly proud that the Ukrainian artist Sofiia Yesakova will be realizing a pop-up exhibition in our pavilion to mark the occasion. The multi-disciplinary artist uses the language of minimalism, with a focus on expressing thoughts and emotions. In recent months, the war in her home country has also left its mark on Yesakova's artistic practice.  curated by Nicola E. Petek frontviews at HAUNT

How does one approach the future after a failed love, a loss of home, a rejection, the experience of war? The aim of the exhibition is to show how fundamentally subjective circumstances as well as one's own origin can affect the respective working process in relation to cross-cultural themes. This spring Kunstverein Meißen is focusing on the theme of resilience, which shows how differently the ability to recognise opportunities and perspectives for one's own work process in a personal/collective crisis manifests itself. While ‘When the Firebird flies' conveys artistic strategies of resilience and initiates an artistic discourse, curator tours and workshops are intended to create additional offers for practical, cross-generational engagement with art and thus contribute to cultural education in rural areas. *In Slavic mythology and folklore, the firebird is a magical and prophetic glowing or burning bird from a distant land that is both a blessing and a harbinger of disaster for its captor.

Noise provides unwanted information in digital images. It creates artefacts, unrealistic edges, invisible lines, corners, blurred objects. In other words, unwanted information in digital images. Noise is chaos. A cacophony of events that the human brain does not want to recognise. The word noise emerged at the end of the 19th century to describe interference caused by signal transmission over long distances. Digital noise equals image noise equals media noise. In this exhibition, artists work to reproduce the human perception of the information noise we see during war. In the 21st century, chaos replaces enlightenment, noise replaces information. Where nothing can be heard and identified as true, everything can be talked about. Text: Guido Walter   With artists Sofiia Yesakova, Minor Alexander