An exhibition of Fedir Tetianych’s multidisciplinary practice: painting, performance, writing, inventions and imagined biotechnospheres. The project brings together his ideas of infinity, ecological awareness and resistance to the conventions of official culture.
At the Museum of Odesa Modern Art, I brought together works from Fedir Tetianych’s family collection and the Grynyov Collection, connecting different aspects of his artistic world, from painting and drawing to biotechnospheres.
Sketch for a Brewery Stained-Glass Window, late 1970s; Fragment of the Biotechnosphere’s Shell (Module 19), 1980s. From architecture to an imagined system for survival.
Exhibition sources: Grynyov Art Collection
Fedir Tetianych’s practice joins painting, sculpture, writing, invention and performance in an expansive vision of art. His biotechnospheres imagined ways to preserve life in a universal catastrophe, while his ecological thinking made discarded materials part of an artistic language that resisted Soviet official culture.
Fripulia names both a personal mythology and an idea of infinity: an eternal pulsation of the universe. Cosmic ambition coexists with national traditions, religious imagery and an acute awareness of the environment. The artist’s categories of eternity and boundlessness do not remain abstract; they take material form in objects, actions and texts.
The exhibition takes its title from Tetianych’s own statement and brings different parts of this comprehensive practice into dialogue. Cosmic ideas form its leitmotif, alongside works from his erotic series. Together, they express an opposition to greyness, pessimism and indifference in both life and art.