{"id":33762,"title":"Max in the army [series]","dimensions":"400 х 200 cm","date_begin":"2022-01-01","material":"Acrylic on canvas ","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the Artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"max-in-the-army","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/462/medium_500/2022_WFF_TEN_F003.JPG?1668781078","cached_actor_names":"Леся Хоменко /  Lesia Khomenko","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Painting","nl":"Schilderij","fr":""},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/462/large/2022_WFF_TEN_F003.JPG?1668781078","poster_credits":"© Lesia Khomenko. Photo: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eThe impossible image. Khomenko paints from forbidden photographs taken by her husband. Four monumental paintings of volunteering soldiers: an IT-engineer, a chemist, a lawyer, and an artist. Photographs have become a dangerous tool of communication, sharing might give the enemy intelligence for an attack.\u003c/p\u003e\r\n\r\n\u003cp\u003eWhile the photograph risks revealing too much information, it fails to touch reality all together. The real image of war cannot be expressed, a photograph remains a vague, accidental and partial impression of the real. Khomenko\u0026#39;s paintings expand the photograph, they include the impossibility of the image itself while making the protagonists larger than life. They are heroes to all Ukrainians, nameless and undepictable.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe starting point for the \u003cem\u003eMax in the army\u003c/em\u003e series by Lesia Khomenko was a photo portrait of her husband, Max Robotov, made after he joined the army and she with her daughter evacuated from Kyiv. \u0026quot;For me it was like teleporting my husband, an attempt to make him closer\u0026quot;, says the artist.\u003c/p\u003e\r\n\r\n\u003cp\u003eNow that Khomenko has established this teleportation channel between herself and the war, she keeps it open. She continues to depict her husband\u0026#39;s military comrades, using the pictures taken by him in the army. For Lesia, this collaboration is a way to be involved in her husband\u0026#39;s struggle, and also a way for the couple to maintain an artistic dialogue as they would have done previously, in spite of Max\u0026#39;s new military reality.\u003c/p\u003e\r\n\r\n\u003cp\u003eWorking on this series Khomenko reflects on the role and status of the image, which in the context of war literally became a lethal weapon. Is it possible to disarm it through painting and transform it into something else \u0026mdash; a love letter perhaps?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eThe impossible image. Khomenko paints from forbidden photographs taken by her husband. Four monumental paintings of volunteering soldiers: an IT-engineer, a chemist, a lawyer, and an artist. Photographs have become a dangerous tool of communication, sharing might give the enemy intelligence for an attack.\u003c/p\u003e\r\n\r\n\u003cp\u003eWhile the photograph risks revealing too much information, it fails to touch reality all together. The real image of war cannot be expressed, a photograph remains a vague, accidental and partial impression of the real. Khomenko\u0026#39;s paintings expand the photograph, they include the impossibility of the image itself while making the protagonists larger than life. They are heroes to all Ukrainians, nameless and undepictable.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe starting point for the \u003cem\u003eMax in the army\u003c/em\u003e series by Lesia Khomenko was a photo portrait of her husband, Max Robotov, made after he joined the army and she with her daughter evacuated from Kyiv. \u0026quot;For me it was like teleporting my husband, an attempt to make him closer\u0026quot;, says the artist.\u003c/p\u003e\r\n\r\n\u003cp\u003eNow that Khomenko has established this teleportation channel between herself and the war, she keeps it open. She continues to depict her husband\u0026#39;s military comrades, using the pictures taken by him in the army. For Lesia, this collaboration is a way to be involved in her husband\u0026#39;s struggle, and also a way for the couple to maintain an artistic dialogue as they would have done previously, in spite of Max\u0026#39;s new military reality.\u003c/p\u003e\r\n\r\n\u003cp\u003eWorking on this series Khomenko reflects on the role and status of the image, which in the context of war literally became a lethal weapon. Is it possible to disarm it through painting and transform it into something else \u0026mdash; a love letter perhaps?\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp\u003e\u003cbr /\u003e\r\nDas unm\u0026ouml;gliche Bild. Khomenko malt nach verbotenen Fotos, die ihr Mann aufgenommen hat. Vier monumentale Gem\u0026auml;lde von freiwilligen Soldaten: ein IT-Ingenieur, ein Chemiker, ein Anwalt und ein K\u0026uuml;nstler. Fotografien sind zu einem gef\u0026auml;hrlichen Kommunikationsmittel geworden, das dem Feind Informationen f\u0026uuml;r einen Angriff liefern k\u0026ouml;nnte.\u003c/p\u003e\r\n\r\n\u003cp\u003eDas Foto birgt die Gefahr, dass zu viele Informationen preisgegeben werden, aber es ber\u0026uuml;hrt die Realit\u0026auml;t nicht in ihrer Gesamtheit. Das wirkliche Bild des Krieges kann nicht ausgedr\u0026uuml;ckt werden, eine Fotografie bleibt ein vager, zuf\u0026auml;lliger und partieller Eindruck der Realit\u0026auml;t. Khomenkos Gem\u0026auml;lde erweitern das Foto, sie beziehen die Unm\u0026ouml;glichkeit des Bildes selbst ein und machen die Protagonisten \u0026uuml;berlebensgro\u0026szlig;. Sie sind Helden f\u0026uuml;r alle Ukrainer, namenlos und unberechenbar.\u003c/p\u003e\r\n\r\n\u003cp\u003eAusgangspunkt f\u0026uuml;r die Serie Max in the Army von Lesia Khomenko war ein Fotoportr\u0026auml;t ihres Mannes Max Robotov, das entstand, nachdem er der Armee beigetreten und sie mit ihrer Tochter aus Kiew evakuiert worden war. \u0026quot;F\u0026uuml;r mich war es, als w\u0026uuml;rde ich meinen Mann teleportieren, ein Versuch, ihn n\u0026auml;her zu bringen\u0026quot;, sagt die K\u0026uuml;nstlerin.\u003c/p\u003e\r\n\r\n\u003cp\u003eNun, da Khomenko diesen Teleportationskanal zwischen sich und dem Krieg hergestellt hat, h\u0026auml;lt sie ihn offen. Sie f\u0026auml;hrt fort, die Milit\u0026auml;rkameraden ihres Mannes darzustellen, indem sie die Bilder verwendet, die er in der Armee gemacht hat. F\u0026uuml;r Lesia ist diese Zusammenarbeit eine M\u0026ouml;glichkeit, am Kampf ihres Mannes teilzuhaben, und auch eine M\u0026ouml;glichkeit f\u0026uuml;r das Paar, trotz der neuen milit\u0026auml;rischen Realit\u0026auml;t von Max einen k\u0026uuml;nstlerischen Dialog aufrechtzuerhalten, so wie sie es fr\u0026uuml;her getan h\u0026auml;tten.\u003c/p\u003e\r\n\r\n\u003cp\u003eBei der Arbeit an dieser Serie denkt Khomenko \u0026uuml;ber die Rolle und den Status des Bildes nach, das im Kontext des Krieges buchst\u0026auml;blich zu einer t\u0026ouml;dlichen Waffe wurde. Ist es m\u0026ouml;glich, es durch die Malerei zu entsch\u0026auml;rfen und in etwas anderes zu verwandeln? Einen \u0026nbsp;Liebesbrief vielleicht?\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":4606,"name":"Lesia Khomenko / Леся Хоменко"}]}