Stanislav Turina ‘This Heaven Knew Nothing About Me […] Nail Print’

24-4-2026 - 28-6-2026

Galeria Labirynt

O wystawie

‘This Heaven Knew Nothing About Me
or
A Few Life-Size Ideas for an Exhibition,
or
Between Earth and Earth,
or
This Exhibition Gave Me Nothing,
or
Instead of Bad Confession,
or
These Are Not Dreams, This Is Art in the Room,
or
Nail Print’

exhibition opening: Friday, 24 April 2026, 7:00 p.m.
curatorial tour of the exhibition: Saturday, 25 April 2026, 4:00 p.m.

venue: Galeria Labirynt, ul. ks. J. Popiełuszki 5, Lublin
language: opening and tour in Polish/Ukrainian; interpreter: Volodymyr Dyshlevuk; no English translation
exhibition runs until 28 June 2026 (Tue–Sun, 12:00–7:00 p.m.)
free entry

curator: Kateryna Iakovlenko

At the heart of Stanislav Turina’s exhibition lies a paradox that echoes throughout human life. It oscillates between light and darkness, between old, ‘archival’ works and works created during wartime, which are not devoid of paradox either. Some of them talk about the war straightforwardly – these are images of bomb craters and the topic of loss; others regard something else – doubt, possibilities and subtle, almost unnoticeable gestures, persisting under the pressure of life in relative safety.

All of these paradoxes and doubts are contained in a multi-layered title which seems to complement and contradict itself at the same time: which name is the right one then? Why is this ‘or’ constantly present?

The exhibition titled ‘This Heaven Knew Nothing About Me or A Few Life-Size Ideas for an Exhibition, or Between Earth and Earth, or This Exhibition Gave Me Nothing, or Instead of Bad Confession, or These Are Not Dreams, This Is Art in the Room, or Nail Print’ emphasizes everyday life by showing the impact of war on the details of the artist’s daily and professional routine.

The exhibition ‘This Heaven… Nail Print’ is a continuation of a Kyiv artistic experiment, initiated by Turina’s six exhibitions, which took place one after another. Then Turina found the nerve to fulfil the ideas he had been hiding in his imaginative artistic drawer – there had been no time or possibility. Some of these ideas were, according to their author, ‘trivial’ because they referred to the reflection on art history and its significance. Turina posed questions: Is there a place for such talks and thoughts during wartime when your friends join the army and give up their practice to defend others? Is such a dramatic moment a good opportunity to launch similar projects and exhibitions?

This laboratory character is continued in a new exhibition. Here at Labirynt, all these works have come together in one space for the first time. The exhibition is complemented by other series and works, including those from the Galeria Labirynt’s collection.

The exhibition also raises questions about safety, distance and time, stretching from the wartime presence to a day that may be called ideal, as it will be free of any loss.

***

Stanislav Turina (b. 1988, Makiivka) – artist, text author, curator and sometimes teacher. He is a co-curator, assistant and artist at ‘Atelienormalno’ (an artistic studio for people with and without Down syndrome). In 2025, he received the Kazimir Malevich Art Award.

He grew up in Mukachevo and graduated from the Glass Art Department of the Lviv National Academy of Arts. He has participated in a series of artist collectives, including Open Group and the Black Circle Festival of street art and graffiti.
He lives and works in Kyiv.

Kateryna Iakovlenko (b. 1989, Rovenky) – curator, writer and contemporary art researcher. Her texts have appeared in MOST, Blok Magazine, Dwutygodnik, re/visions and e-flux. Her most recent publications include the libretto ‘Those Who Saw Death’ (2025) and ‘Donbas as Metaphor’ (2026).
She is currently the editor-in-chief of the portal Suspilne Kultura.
She lives in Lviv.

The exhibition is part of the project ‘Art Practices in Wartime’.
Co-financed by the Polish Minister of Culture, National Heritage and Sport from the Culture Promotion Fund.