The work explores the constructivist period of Ivan Kavaleridze's 1920s work. It was then that Kavaleridze worked on the creation of the first monuments of Taras Shevchenko and "experimental", "installation-associative" films.
The not embodied idea of the cubist mausoleum of Shevchenko in Kaniv, the first in history full-figure monuments to the "kobzar" in Romny and Poltava, the lost constructivist monument of the poet in Sumy are images of the non-canonical constructivist Shevchenko, who was left on the periphery of Ukrainian cultural memory, in the shadow of a socialist realistic sorrowful Shevchenko "wrestler" or pathetic folklore Shevchenko "father".
Drawing attention to the motifs of materiality, nonlinearity, rhythm, non-anthropomorphism, which are important for constructivism, we attempt, on the example of Shevchenko by Kavaleridze, to reveal the conflict between the plot and form, real and mythologized in the image of Shevchenko, and in (auto)biography of Kavaleridze by himself.
Studied Cultural Studies at National University of Kyiv-Mohyla Akademy. Carnegie Fellow at Columbia University. Worked as a translator and film critic. Since November 2011 works as a researcher at Oleksandr Dovzhenko National Center. Co-author of the "Atomopolis. Assembling Utopia" (2016) and "Lviv-Intervision" (2018) footage films.
Studied engineering, film studies and contemporary art. Co-founder of the "Cineticle" - online magazine about independent films. An employee of Oleksandr Dovzhenko National Center in scientific and software department, nowadays.