Tatiana Kandracienka, Untitled, 2022

oil, canvas, 40 х 40 cm

"There is a polemical technique, which consists in proposing to the opponent the choice of two opposing solutions, excluding the possibility of a third. This position, which is difficult to choose, is figuratively called "the horns of the dilemma" (Latin etymology-"argumentum cornutum").
For me, the image of a woman with horns is associated with this dilemma on the horns, with this state of "between one and the other," but it is also associated with the Polish word "immunity," new to me, one of my favorite Polish words. Translated into Belarusian, it yields two words that are now most relevant to Belarusians: супраціў (resistance) і трваласць (durability). A surprising discovery for me was that this word is as used in medicine as "imunitet", because this meaning is not included in the Belarusian translation.The third association in the creation of this painting was that in the mythologies of the world, horned gods are often warriors. This is a portrait of my goddess of resistance." Tatsiana Kandratsenka

BIOGRAM:
Tatsiana Kandratsenka (1980)
1998-2004 - Belarus State Academy of Arts (department of easel paintings).
2008-2011 - Postgraduate studies at BSAI. (theory and history of art)
Member of the Belarusian Union of Artists since 2012
Works are in the collections of the Museum of Contemporary Fine Arts (Minsk, Belarus), Art Museum in Deruta, Italy, in private collections in Belarus, Poland, Germany, Italy.
2002 - Internship at the Romano Ranieri School of Experimental Ceramics, Deruta, Italy.

Lives and works in Warsaw

Exhibitions and projects
2019 "Private Sector", author's project by Siarhei Babareki, private art studio, Minsk,
Belarus
2016 "Everything was different," group project at the National Center for Contemporary Art, Minsk,
BY
2018 Diffusion space, co-curator Mikhail Hulin, Kaliningrad, Russia
2015 "It's All My Fault" original project by Marina Sobovskaya, Museum of Modern Art, Minsk, Belarus
2012 "Palace Complex," co-curator Mikhail Hulin, Gomel, Belarus

Selected publications
1. dynamic totality by Igor Tishin, Mastaztva, №7 (pp.28-31), Minsk, 2011
2. by Janna Grak: site-specific installation "Mural" 2015
http://en.zbor.kalektar.org/10-2/
3. Tamara Sokolova: exhibition project "Some are like this. Others are like this" 2015
http://en.zbor.kalektar.org/2
4. Mikhail Hulin: Initiating an identity crisis in: album Group 1+1, a collection of partisans ed. (pp.7-9 ) Minsk,
2013
5. archaeology of collective memory in: album Igor Tishin, Collection of Partisans ed. (pp.5-12) Minsk 2013,
6. eclectic road, journal of Mastaztwa, №10 (pp.27-29), Minsk, 2009.

Individual exhibitions
2021 Spinario. Boy with Thorns, Lilia Zakirova Gallery, Heusden, the Netherlands
2018 Human Resources, A&V Gallery, Minsk, Belarus
2015 Swimming Lesson for Girls, Mastactva Gallery, Minsk, Belarus
2009 Identification, Museum of Fine Arts, Minsk, Belarus
2009 The Time Games, Galeria Werstattgalerie, Berlin, Germany.

Selected group exhibitions
2021 Please don't be confused, Navicula artis, St. Petersburg, Russia
2021 Osemetna Zalezitost, Galeria mesta Levoca, Slovakia
2020 Non-place, Galereja Art Belarus, Minsk.
2020 VLADEY Жыве Буларусь! Moscow, Russia
2020 Faceless, KX Space, Brest, Belarus
2017 Man&Man, National Center for Modern Art, Minsk, Belarus
2017 Start Art Fair 2017, Saatchi Gallery, London, United Kingdom
2012 Palace Complex, Gomel Palace, Belarus
2012 EXIT-I, dedicated to German Expressionist film, with the support of the Goethe Institute in Minsk
City Museum, Zaslavl, Belarus
2011 Cento-De/fragmentation, National Art Gallery, Minsk, Belarus
2007 Pracownia Plastyczna Pieńków, VIII International Painting Plein-Air, Academy of Fine Arts Museum,
Poznan, Poland
2003, International Exhibition of Experimental Ceramics, Deruta City Museum, Italy.
2002 Events, International Festival of Theater and Visual Arts, Tczew, Poland.
2006 Post-tradition, National Art Gallery, Minsk, Belarus
2000 New Names, National Art Gallery, Minsk, Belarus