Alina Kleytman
Endless Shine of Human Violence
"Endless Shine of Human Violence" rispecchia un dolore prezioso e luccicante insieme al desiderio di ricostruirsi senza cancellare nulla, il simbolo poetico di una sofferenza tanto tangibile quanto delicata. gli artefatti sono la trasmutazione del devasto, constatazione di una realtà tragica: la violenza è un'attitudine che fin da sempre ha caratterizzato la natura dell'essere umano. l'opera vuole essere un'ulteriore rimarcazione di questa verità, così come del fatto che le immagini della distruzione sono talmente spaventose che faremmo di tutto per non vederle, per riassemblarle.
Alina Kleytman, Endless Shine of Human Violence, 2022, Belvedere di Cigognola, Cigognola (PV), Lombardia. Ph. Henrik Blomqvist
Alina Kleytman (Kharkiv, Ukraine, 1991) is an artist, a curator, a sculptor and a tutor. For now, sculpturing is in the middle of her practice. Alina is working on a few projects around this medium. From the beginning of russian aggression towards Ukraine Alina’s film has been participating in different festivals, programs and exhibitions, focused on the support of Ukraine and the extension of Ukrainian discourse in the world.
In 2019-2020 she provided mentorship for the long-term project Coming Out of Isolation 2.0 aimed at the elimination of discrimination, xenophobia and prejudice towards members of the LGBT+ community in Ukraine, initiated by IZOLYATSIA and supported by the Human Rights Fund 2019.
Since 2020 she is a curator of the independent art space Dzherelo (Kyiv, Ukraine), that concentrates on activating the public discussion around the topic of being in the urban space through a series of public shows, discussions and lectures within the exhibition cycle The bodies in the city and Mold-kid. Alina has curated various queer shows such as the QUEER CABARET at the ISKRA festival as well as the show presenting results of the Coming Out of Isolation 2.0 residency project. In April 2021 she won the prize “Women in Arts” (category: the woman in the visual art), an independent award by UN Women and the Ukrainian Institute. She is a two-time winner of the PinchukArtPrize: in 2015 she won the special prize for the work Super A and in 2018 – the audience prize for the work Ask your Mom.
Since 2021 she has been a curator and an author of ideas for such projects as Once upon a queer (Ukraine/Poland), Look at me I’m the worst (Ukraine/Germany).
Cigognola is an Italian town of about 1,300 inhabitants in the province of Pavia. This area lies in the green heart of the Oltrepò Pavese, partly perched on a hill, partly extended along the valley “Vallescuropasso”. The Municipality is made up of three hamlets: Cigognola, the capital, Vallescuropasso and Vicomune. In addition to the many charming pathways and routes through nature, there are three of the place’s most characteristic and emblematic symbols: the Viale delle Rimembranze, the Parish Church of San Bernardo Abate and the Castle.
Dating back to an even earlier period, the Castle of Cigognola is mentioned for the first time in documents of the thirteenth century. In the Middle Ages, the Rocca was the subject of dispute between various families, such as the Sannazzaro, the Beccaria and the Visconti, with the aim of transforming itself into a real humanistic court of the Renaissance. In the eighteenth century, the Rocca was passed on to Barbara D’Adda and then to her son, Alberico Barbiano di Belgiojoso. With Napoleon, the property was passed on to the Gazzaniga and finally to the Bricchetto Arnaboldi family. In the nineteenth century, Don Carlo Arnaboldi Gazzaniga, as was the custom at that time, remodeled the structure in a neo-Gothic style by adding Ghibelline battlements, coats of arms and different kinds of decorations. In the 1900s, in the literary salon of Mimmina Bricchetto Arnaboldi, you could come across literary personalities such as Montale, Quasimodo, Croce and Bacchelli.