Misha Pedan

Міша Педан
Misha Pedan (1957, Kharkiv) — photographer, curator, representative of Kharkiv school of photography, who began his creative experiments in the early 1980s. In 1981-1984 worked at the local sport committee, first as a decorator, since 1982, as a photographer. Later studied at the Leningrad institute of culture at the deportment of photo- and cinematographic arts, from which was, as he remembers, expelled for the slide-film, which didn’t correspond to the official Soviet aesthetics. Since 1984 was one of the members of the Contact photographic group, renamed to Gosprom in 1987.

In 1986-1988 was the head of the Palace of students of Kharkiv Polytechnic University (now National Technical University “Kharkiv Polytechnic Institute”); as a part of its activity, organized large photographic show in Kharkiv “F-87” (1987) and “F-88” (1988). The author was focused on straight photography and documentation of insignificant episodes of episodes of the late-Soviet everyday life. Main works of the Perestroika period, which were shaped into projects in the 2000s, M (1985-1986, published as a photobook in 2015) and The End of la Belle Époque (1986-1987, published as a photobook in 2013). In 1990 moved to Stockholm, Sweden, where started to teach at “Kulturama” school. In 2011 founded Ukrainian Photographic Alternative union.
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Photo Credit – Vladyslav Krasnoshchok, 2013.

Solo exhibitions

1989 — together with Roman Pyatkovka, Center for Photography, Stockholm, Sweden

1993 — House of culture, Stockholm, Sweden

2003 — “Monuments”, Forum gallery, Stockholm, Sweden

2003 — “Монументи”, “Академія” gallery, Kharkiv State Academy of Design and Arts, Kharkiv, Ukraine

2004 — “Monumente”, Gallery Nuova, Bucharet, Hungary

2004 — “Монументи”, “Квадрат” gallery, Saint-Petersburg, Russia

2005 — “Монумент”, Art-centre on Kostelna, Kyiv, Ukraine

2005 — “Монумент”, Museum of the World Ocena, Kaliningrad, Russia

2006 — “Монумент”, Museum of Architecture, Nizhny Novgorod, Russia

2007 — “Монумент”, Center for Photography, Stockholm, Sweden

2007 — “Монумент”, Ikon gallery, Stockholm, Sweden

2009 — “Стереотип”, Poltava art museum after M. Yaroshenko, Poltava, Ukraine

2010 — “Earth is Hollow and Open at the Poles” (together with daughters Ksenia, Olga and Yanina), KG 52 gallery, Stockholm, Sweden

2011 — “Стереотип”, 5х5 photoclub, Lviv, Ukraine

2011 — “Структура моменту” (together with daughters Ksenia, Olga and Yanin), Kharki art museum, Kharkiv, Ukraine

2015 — “ULICA”, Lumiere Brothers Center for Photography, Moscow, Russia

2016 — “M”, COME-IN art gallery,  Kharkiv, Ukraine

2016 — “Ukraine —  Memory under Revision”, Alma Löv museum, Östra Ämterviks, Швеція

2016 — “M”, Mercè Sala space, DOCfield 16 festival, Barcelona, Spain

2016 — “The End of La Belle Époque”, Bildband, Berlin, Germany

2017 —Axel gallery, Stockholm, Sweden

2018 — “Eternal presence”, Head On photographic festivalS, Paddington Reservoir Gardens, Sydney, Australia

2018 — “М”, “СлободаКульт” forum, “Коридор” gallery, Uzhorod, Ukraine

 

Group exhibitions

1987 — “Ф-87”, Palace of students of Kharkiv Polytechnic University, Kharkiv, USSR

1988 — “Ф-88”, Palace of students of Kharkiv Polytechnic University, Kharkiv, USSR

1988 —  Center for Contemporary Art, Cincinnati, USA

1989 — “Ny Sovjetisk Fotografi”, Museet for Fotokunst, Odense, Denmark (curator — Henning Hansen), Kultur-huset, Stockholm, Sweden (curator — Kimmo Sarje)

2011 — “The Drawing lessons: Ukrainian Photography”, International Photography Festival PIP, Pingyao, China (curators — Misha Pedan, Irina Chmyrova)

2012 — “Kharkivська школа фотографії. Уроки малювання. Українська фотографія. 1890 – 2010 рр.”, First Kyiv International Biennale of Contemporary Art ARSENALE 2012, Mustetskyi Arsenal, Kyiv, Ukraine (curators — Misha Pedan, Irina Chmyrova)

2016 — photobooks exhibiton, Athens Photo Festival, Benaki Museum, Athens, Greece

2017 — “Мифологии”, COME-IN art gallery,  Kharkiv, Ukraine

2017 — “Український архетип”, Photo Kyiv 2017 art fair, “Торонто-Kyiv” complex, Kyiv, Ukraine

2018 — “Ukrainian Photobooks”, XPRINT photobooks festival, Rodriguez gallery, Poznan, Poland

2018 — “FRAMED 7”, Kontrast gallery, Stockholm, Sweden

2019 — “UPHA Made in Ukraine”, AKT art space, Kyiv, Ukraine (curators — Victoria Bavykina, Maksim Horbatskiy, Yarolsav Solop, art director — Misha Buksha)

2019 — “Перетинаючи межу” (Crossing lines), PinchukArtCentre, Kyiv, Ukraine (curators — Björn Geldhof, Martin Kiefer, Alicia Knock)

 

Curatorial projects

2011 — “Два погляди на українську фотографію”, “Ра” gallery, Gaidai gallery, Kyiv, Ukraine

2011 — “eljest”, Center for Photography, Stockholm, Sweden

2011 — Evgeniy Pavlov exhibiton, Double Elvis gallery, Stockholm, Sweden

2012 — “SWE/NEW”, International Photography Festival PIP, Pingyao, China (together with Nina Grudermark)

2012 — “Cult of the Body” (UPHA — Ukrainian Photographic Alternative show), Leisure gallery, London, Great Britain

2013 — “Swedish Contemporary Photography Exhibition”, International Photography Festival PIP, Pingyao, China

2013 — “Різновіддалені”, Kyiv History Museum, Kyiv, Ukraine (co-curator, curator — Greger Ulf Nilsson)

2015 — “I am Swed(ish)”, Swedish photography gallery, Berlin, Germany (together with Catherine Weindorf)

2015 — “Love and War in Ukraine”, Panoptikon Fotografins hus, Stockholm, Sweden

2015 — “HYSTERIA”, TOP project space, Berlin, Germany (together with Emely Majrell)

2018 — “FREE(k)”, TOP project space, Berlin, Germany (together with Albert Sten)

Manko, Igor. “The Kharkiv School of Fine Art Photography”. VASA Journal on Images and Culture. http://vjic.org/vjic2/?page_id=3352.

Matthews, Katherine. “The End of La Belle Epoque”. GUP magazine, August 17  (2013). http://www.gupmagazine.com/books/misha-pedan/the-end-of-la-belle-epoque

“Monument: Ingela Lind och Misha Pedan har gravt i framtidens historia”. ARKITEKTUR -STOCKHOLM, no. 5 (2004): 44-51.

Nollet, David. “The End of La Belle Epoque”. CAPE, october 10 (2014). http://www.cape.ag/?p=202

Pedan, Misha. Eternal Presence. Stockholm: Khimaira förlag: 2017.

Pedan, Misha. M. Stockholm: Khimaira förlag: 2015.

Pedan, Misha. Stereo_typ.  Стокгольм: Khimaira förlag: 2011.

Pedan, Misha. The End of la Belle Époque. Stockholm: Khimaira förlag: 2013.

Жлуктенко, Варвара [Zhluktenko, Varvara]. “Монумент ‘ракушке’ ”. День, no. 36 (2005). https://day.kyiv.ua/ru/article/taym-aut/monument-rakushke

Онопрієнко, Руслан [Onoprienko, Ruslan]. “Фотограф Михайло Педан: ‘Перехід до цивілізованого життя потягне за собою і процес нормалізації культури’ “. Дзеркало Тижня, no. 16-17 (2015).         https://dt.ua/CULTURE/fotograf-mihaylo-pedan-perehid-do-civilizovanogo-zhittya-potyagne-za-soboyu-i-proces-normalizaciyi-kulturi-_.html

Павлова, Тетяна [Pavlova, Tetiana]. Фотомистецтво в художній культурі Харкова останньої третини ХХ ст. (на матеріалі пейзажного жанру): лис. на здобуття наукового ступеня кандидата мистецтвознавства. Kharkiv, 2007.

Сандомирская, Ирина [Sanodmirskaya, Irina]. “Конец прекрасной эпохи”.     https://pedan.info/books/the-end-of-la-belle-epoque/text.html

Сандуляк, Аліна [Sanduliak, Alina]. “Миша Педан: ‘Должна появиться настоящая школа, потому что пока все, что есть в Украине, это только курсы фотографии’ ”. Korydor: журнал про сучасну культуру,  December 11, 2014. http://www.korydor.in.ua/ua/opinions/misha-pedan-shkola.html

Старостенко, Сергей [Starostenko, Sergey]. “Мода Європи на Україну ґрунтувалася на страху”. Gazeta.ua, December 29 (2016). https://gazeta.ua/articles/life/_moda-evropi-na-ukrayinu-gruntuvalasya-na-strahu-fotograf-mihajlo-pedan/743888

Чужа, Юля [Chuzha, Yulia]. “Миша Педан: ‘Брать и спокойно давать другим — это логика работы в искусстве’”. Bird in In Flight,October 20, 2015.            https://birdinflight.com/ru/vdohnovenie/opyt/misha-pedan-brat-spokojno-davat-drugim-eto-logika-raboty-v-iskusstve.html

Artworks