OLENA CHERVONIK juxtaposes disparate critical interpretations of Vanessa Beecroft's performances.  

OLENA CHERVONIK sees how artist Kiki Smith deconstructs the myth of the human body and creates a new understanding of physicality.  

KATERYNA BOTANOVA explores whether football fans can become contemporary art neophytes.  

MYKOLA SKYBA attempts to predict Arsenale's future and its potential impact on Ukrainian art institutions.  

OLENA CHERVONIK sees the demonstration of otherness as the essence of contemporary art.  

MYKOLA SKYBA traces the National Art Museum’s unconventional experience.  

OLESYA OSTROVSKA-LYUTA examines why support of CCA Foundation by the artistic community is an important symbolic gesture.  

TAMARA ZLOBINA argues that a small art institution can have a grand mission.  

YANINA PRUDENDO traces the main stages of the 20-year history of Ukrainian media art  

NIKITA KADAN reconsiders the relationship between the contemporary artist and the post-Soviet museum.  

KATERYNA BOTANOVA explores the artist’s willingness to leave his “golden cage” and start a dialogue with real life.  

OLESYA OSTROVSKA-LYUTA predicts the future of Western art by looking into the post-Soviet past.  

DARYA TRUSOVA measures the voltage across the Ukrainian art criticism network using a financial voltmeter.  

NATALIA MARYANCHYK provides an alibi for the non-commercial activities of art journalists and offers a range of evidence.  

DARYA BADER claims that the blogosphere will cultivate a new generation of journalists and art critics.  

MARIA KHRUSHCHAK proclaims the manifesto of the Ukrainian art historian who has become an art blogger.  

ANDREY BOBORYKIN imagines the possible obstacles in the creation of a unified online platform for art criticism in Ukraine.  

LIZAVETA GERMAN together with students of art history and theory departments reveals the fundamental difference between the role of the art historian and art critic.