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Anatomy Of Simulacrum

December 13, The Modern Art Research Institute opened the project "Anatomy of Simulacra"

According to the curators Andriy Sydorenko and Iryna Iatsyk, simulacra are similar to biological beings, they can be studied, like genetically modified organisms, which have their own unique phenotype and anatomy.

"Scientific, technological and social progress is accompanied by millions of books, texts and formulas. This archive of information is ordered like genetic codes, which contains the method of organization and interaction of various organs and cells of a living organism. But the evolution of the technogenic world goes much faster than the evolution of life on Earth, that’s why in addition to new devices and know-how, we can observe countless tons of technological garbage and gigabytes of refuted theories and myths which are filling the environment. What we now consider to be the newest achievements and current knowledge may become secondary and hopelessly outdated tomorrow — so that’s how simulacra are born. However, usually we are not aware of them, only when something new, more reliable, refutes them as truth. This happens all the time, so, there is every reason to believe that humankind is existing among simulations, another words, among knowledge and beliefs that will be refuted or modified in the future.

The term "simulacrum" can be found even in the Renaissance for example it was used by Marsilio Ficino philosopher who translated Plato on Latin. But the real revival term received in the twentieth century in the philosophy of French poststructuralists. Jean Baudrillard treat simulacrum as not just an imitation that copies or distorts the truth, but an imitation, which is more convincing than the truth.

This paranoid interpretation conceals distrust toward the mass-media, which, competing for popularity, become an instrument for producing spectacular news and fake sensations. Thus, deep analysis of personal and historical changes are give up to consumer thinking and hyperreality - the illusory world in which the meaning of conscious existence is imperceptibly lost.

In Baudrillard’s optics, reality is embraced by simulacra - but this is not an argument in favor of idealizing past eras, on the contrary, rather a reminder that the fundamental understanding of simulation is happening today" (conception by Andriy Sydorenko).

Project partners: ABRAMOVYCH.ART, ArtHuss, BROVDI.ART,

Zenko Foundation.

Project manager: Igor Abramovich.

Curators: Andriy Sydorenko, Iryna Jacyk, Oleksandra Khalepa.

Project participants: Ale Na, Yulia Belyaeva, Iryna Berezhko, Tetyana Boguslavska, Maria Bondarenko, Bondero, Oleksandr Bugay, Alla Volobueva, Iryna Vorona, Anton Gauk, Maryna Gromenko, Andriy Dostlev, Serhiy Zapadnya, Hamlet Zinkivtsi, I Daria Koltsova, Sergei Kornievsky, Elena Kuznetsova, Olga Kukush, Anton Logov, Victoria Likholot, Alexander Lyapin, Roman Minin, Zoya Orlova, Françoise Oz, Bogdan Perevertun, Eduard Potapenko, Rodion Prokhorenko, Yudmila Rashtanova, Lyudmila Rashtanova Lilia Timakova, Mykhailo Tyutyunnyk, Diana Faksh, Olena Khomyakova, Mykita Tsoi, Ihor Chekachkov, Oksana Chepelyk, Valentyn Chornyi, Margarita Sherstyuk, Kateryna Shiman, Albina Yaloza.



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