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| Born in Chernivtsi, Ukraine |
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| Education |
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| 1993 | MFA University of Saskatchewan, Saskatoon, Canada |
| 1989 | BFA Moscow State Stroganov University of Fine and Industrial Arts |
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| Solo Exhibitions |
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| 2012 | National Art Museum of Ukraine, Kyiv, Ukraine (forthcoming) |
| 2011 | Priska C. Juschka Fine Art, New York, NY (forthcoming)
Zeh Contemporary Art Gallery, Kyiv, Ukraine (forthcoming)
Foundation Center of Contemporary Art, Kyiv, Ukraine (forthcoming)
Douglas Udell Gallery, Vancouver, Canada (forthcoming) |
| 2010 | Lviv Art Gallery, Lviv, Ukraine (forthcoming) |
| 2009 | Video & Sound Works by Taras Polataiko, curated by Svitlana Matvienko, Ukrainian
Institute of America, New York, USA
In the Land of the Headhunters, Barbara Edwards Contemporary, Toronto, Canada
Remediation, curated by Svitlana Matvienko,
Ukrainian Institute of America, New York, NY
Mikulov Symposion, curated by Petr Zubek, Mikulov, Czech Republic. |
| 2008 | Scotoma, Priska C. Juschka Fine Art, New York, NY |
| 2007 | Bad Ems, Künstlerhaus Schloß Balmoral, Germany |
| 2005 | International Festival of Contemporary Art, curated by Elizabete Vahia, Porto, Portugal |
| 2004 | Moth, curated by Andrea Cooper, Eastern Edge, St. John’s, Canada
Dreams & Humidity, curated by Brenda Sherring, Godfrey Dean Art Gallery, Yorkton, Canada |
| 2003 | Humidity, Sable-Castelli Gallery, Toronto, Canada
Moth, curated by Jon Tupper, Confederation Centre of the Arts, Charlottetown, Canada
HIM & Cuts, curated by Shirley Madill, Mendel Art Gallery, Saskatoon, Canada |
| 2002 | Bird’s Eye View, curated by Jerzy Onuch, 25th Sao Paulo Biennale (national representation), Sao Paulo, Brazil
Untitled (Security Guard), curated by Jerzy Onuch, Soros International Centre for
Contemporary Art, Kiev, Ukraine
HIM & Cuts, curated by Shirley Madill, Art Gallery of Hamilton, Hamilton, Canada
HIM, International Festival of Independent Film and Video, Images, Toronto, Canada |
| 2001 | Cuts & Glare, curated by Barbara Edwards, Sable-Castelli Gallery, Toronto, Canada
Cuts, curated by Shirley Madill, Winnipeg Art Gallery, Winnipeg, Canada |
| 1999 | Ujazdowski Castle, HIM & Other Works, curated by Jerzy Onuch, Centre for Contemporary Art, Warsaw, Poland
HIM & Other Works, curated by Jerzy Onuch, Soros International Centre for Contemporary Art, Kiev, Ukraine |
| 1998 | Scotoma, curated by Helen Marzolf, Dunlop Art Gallery, Regina, Canada |
| 1997 | Mole, Caelum Gallery, New York, NY
Glare, curated by Eiko Thompson, Burnaby Art Gallery, Vancouver, Canada
Mole, curated by Glen Cumming, Museum of Contemporary Canadian Art, Toronto, Canada |
| 1996 | Glare, Caelum Gallery, New York, NY
Cradle, curated by Dan Ring, Mendel Art Gallery, Saskatoon, Canada |
| 1995 | Glare, Diane Farris Gallery, Vancouver, Canada |
| 1994 | Glare, curated by Karen Schoonover, Rosemont Art Gallery, Regina, Canada
YOU, Diane Farris Gallery, Vancouver, Canada
YOU, curated by Cindy Richmond, MacKenzie Art Gallery, Regina, Canada |
| 1993 | YOU, Ukrainian Cultural Centre, Winnipeg, Canada |
| 1992 | YOU, M.F.A. Exhibition, Snellgrove Gallery, University of Saskatoon, Saskatoon, Canada |
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| Group Exhibitions |
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| 2011 | Rearview Mirror: New Art from Central and Eastern Europe, The Power Plant, Toronto, Canada |
| 2010 | Aut, Curated by Tetyana Gershuni, Museum of Russian Art, Kyiv, Ukraine
Ukrainian Institute of America, curated by Virlana Tkach, New York, NY
Abstraction, Barbara Edwards Contemporary, curated by Ashley Gallant, Toronto, Canada
Kenderdine Art Gallery, curated by Kent Archer, University of Saskatchewan, Saskatoon, Canada |
| 2009 | Seeing As Believing: Phosphene Visions, curated by Kóan Jeff Baysa, M.D., Axis Gallery, Sacramento, CA
International Incheon Biennial, curated by Heng-Gil Han, Incheon, South Korea.
Video as Video: Rewind to Form, curated by Alicia Eler and Peregrine
Honig, International Art Affairs, Washington, D.C. |
| 2008 | Video as Video: Rewind to Form, curated by Alicia Eler and Peregrine Honig, Swimming Pool
Project Space, Chicago, IL
Point of Origin, curated by Gary Pearson, Artspace International Centre for Contemporary Art, Sydney, Australia
Art Omi International Arts Center, Omi, New York, NY
Glenbow Museum, Calgary, Canada |
| 2007 | On the Beach, curated by Melanie O'Brian, Artspeak, Vancouver, Canada
Signal & Noise, International Festival of Media Art, Video In, Vancouver, Canada
Art, Audience, Gallery: A Conversation, MacKenzie Art Gallery, Regina, Canada |
| 2006 | Contested Spaces in Post-Soviet Art, curated by Elena Sorokina, Sidney Mishkin Gallery, New York, NY
Recent Acquisitions, curated by Marc Mayer, Musee D’Art Contemporain de Montreal, Montreal, Quebec
This City is a Radio, curated by Janna Graham, Paved, Saskatoon, Canada |
| 2005 | Appearances/L'Envers des Apparences, curated by Gilles Godmer, Musee D’Art Contemporain de Montreal, Montreal, Quebec
Atomica, curated by Ombretta Agro, Lombard-Freid Projects/Esso Gallery co-production, New York, NY
Russia Redux No.1, curated by Elena Sorokina, Schroeder Romero Gallery, New York, NY
Chasing Amnesia, curated by Helen Marzolf, MacKenzie Art Gallery, Regina, Canada
Beyond Emma Lake: Contemporary Art of Alberta and Saskatchewan, curated by Andrew Oko and Jacek MalecTriangle Gallery, Calgary, Canada
Constitution, curated by Lynn Acoose, Godfrey Dean Art Gallery, Yorkton, Canada |
| 2004 | Heart of Darkness, Centro Atlantico de Arte Moderno (CAAM), Las Palmas, Spain
Indivisuals Revisited, The WKP Kennedy Public Art Gallery, North Bay, Canada |
| 2003 | Indivisuals, curated by Jorge Marzo, Antoni Tapies Foundation, Barcelona, Spain
Painting: Concept, curated by Jelena Vesic, National Museum of Contemporary Art, Belgrade, Yugoslavia
To Conjure, curated by Sigrid Dahle, Dunlop Art Gallery, Regina, Canada
The Intangible, curated by Dan Ring, Mendel Art Gallery, Saskatoon, Canada |
| 2002 | Indivisuals, curated by Jorge Marzo, Mendel Art Gallery, Saskatoon, Canada
Heart of Darkness, curated by Jorge Marzo, Palau de la Virreina, Barcelona, Spain |
| 2001 | Brand “Ukrainian, curated by Jerzy Onuch, Soros International Centre for Contemporary Art, Kiev, Ukraine |
| 2000 | Slippage: Taras Polataiko, Gerhard Richter, Lucio Fontana, curated by Lisa Baldissera, Art Gallery of Greater Victoria, Victoria, Canada
Intrigue – Provocation, curated by Eulalia Domanovska, National Museum of Lithuania, Kaunas, Lithuania |
| 1999 | Translinear, curated by Ihor Holibizky, MacMaster Art Gallery, Hamilton, Canada |
| 1998 | On the Margin, curated Konstantin Akinsha, Mendel Art Gallery, Saskatoon, Canada |
| 1997 | Tracing Cultures, curated by Grace Tompson, Burnaby Art Gallery, Vancouver, Canada |
| 1996 | Young Contemporarie ’96, curated by James Patten, London Regional Art and Historical
Museums, London, Canada,
Abstraction, curated by Dan Ring, Mendel Art Gallery, Saskatoon, Canada |
| 1991 | Biennale Lviv '91, National Museum of Ukrainian Art, Lviv, Ukraine |
| 1989 | Young Artists of the Soviet Union 89, Manyezh Gallery, Moscow, U.S.S.R. |
| 1984 | Young Artists of the Soviet Union 84, Kuznetsky Most Gallery, Moscow, U.S.S.R. |
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| Residencies |
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| 2008 | Art Omi International Arts Center, Omi, New York, NY
Artspace International Centre for Contemporary Art, Sydney, Australia |
| 2007 | Künstlerhaus Schloß Balmoral, Bad Ems, Germany |
| 2005 | International Festival of Contemporary Art, Porto, Portugal |
| 1999 | Soros International Centre for Contemporary Art, Kiev, Ukraine
Centre for Contemporary Art “Ujazdowski Castle”, Warsaw, Poland |
| 1997 | Banff Center for the Arts (Apocalypso), Banff, Canada |
| 1992 | Emma Lake Artists' Workshop, Emma Lake, Canada |
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| Screenings |
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| 2003 | Video Verite, Saskatoon, Canada |
| 1998 | Pleasure Dome, Toronto, Canada |
| 1997 | Banff Centre for the Arts, Banff, Canada |
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| Public Art Projects |
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| 2007 | Künstlerhaus Schloß Balmoral, Bad Ems, Germany |
| 2005 | Federal Justice Building Commission (Canada Life) , Toronto, Canada |
| 2000 | Deflowering, Kaunas, Lithuania |
| 1994 | Through the Eye of a Needle, Saskatoon, Canada |
| 1992 | Artist as a Meal: Monument a la carte, Saskatoon, Canada
Artist as Politician: In the Shadow of the Monument, Saskatoon, Canada. |
| 1988 | Downtown Events, collaboration with Orest Hrytsyk, Chernivtsi, Ukraine, U.S.S.R. |
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| Collaborative Projects |
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| 1994 | Mirror Helmet, collaboration with David Robinson, Vancouver, Canada |
| 1989 | Action at the Gallery Kuznetsky Most, collaboration with Petlura, Moscow, U.S.S.R. |
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| Selected Bibliography |
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| 2010 | Desiateryk, Dmytro. “Autism: Touching Art.” Day, Kyiv, Apr. 29, 2010, #26.
Gorelik, Vadim. “Bad Ems is ‘Our’ City.” Neue Zeiten, Frankfurt, March, 2010. # 105. |
| 2009 | Hogan, Felicity. “Taras Polataiko.” International Incheon Biennale, exhibition catalogue, Incheon, 2009.
Pearson, Gary. “Point of Origin: a Curatorial Essay in Seven Parts.” Column 3, Sydney, 2009, 15-24.
Stefanets, Volodymyr. “Had Frozen His Vision’ in New York.”
Doba, Chernivtsi, January 22, 2009, 1.
Stefanets, Volodymyr. “Taras Polataiko’s Work is Purchased by Bill
Gates.” Doba, Chernivtsi, March 26, 2009, 1.
Wolin, Joseph. Taras Polataiko, Scotoma. Time Out New York, New York, Jan. 8-14 2009, issue 693: 62. |
| 2008 | Dent, Nick (ed). "Piss de resistance." Time Out Sydney, September 17 - 23, 2008, 44.
Lungu, Ryan. "Point of Origin: Editorial Review." Lola, September 12 - October 12, 2008.
Moser, Gabby. “In Review.” Canadian Art, Toronto, web-exclusive review, 2008. |
| 2007 | Romanets, Maryna. “Anamorphosic Texts and Reconfigured Visions”. Ibidem-Verlag, Stuttgart, 2007, 189-191. |
| 2006 | Sorokina, Elena. “Russia Redux”. Moscow Art Magazine, Moscow, April, 2006
Dupuis, Isabelle. ”Russia Redux/Schroeder Romero Gallery.” NY Arts Magazine, New York, vol. 11, no. 1/2, January/February 2006. |
| 2005 | Mavrikakis, Nicolas. “Top 5. Arts Visuels.” Voir, Montreal, December 15, 2005, 60
Stillman, Nick. “Monarchal Sandwiches in Chernobyl Zone.” Moscow Art Magazine, December, 2005, 60.
Desrochers, Christine. “Montreal: Prendre le Temps.” Review de l’Art Actuel, Montreal, Fall 2005, 71.
Cotter, Holland. “Russia Redux No.1 at Schroeder Romero.” New York Times, New York, October 7, 2005.
Delgado, Jerome. “L’Envers des Apparences: Images Trompeuses.” La Presse, Montreal, June 12, 2005.
Mavrikakis, Nicolas. “Here, Now.” Voir, Montreal, June 2, 2005.
Lamarche, Bernard. “Dejouer les Idees Preconcues.” Le Devoir, Montreal, May 28, 2005.
Cheetham, Mark A. Abstract Art Against Autonomy: Infection, Resistance, and Cure since the '60s. Cambridge: Cambridge University Press, 2005: cover. |
| 2003 | Botanova, Kateryna. “In Search of Ukrainian Mephisto.” BlackFlash, Saskatoon, December 2003.
Cheetham, Mark A. “Acute Serendipity: Half-Life of Taras Polataiko.” Canadian Art, Toronto, Fall 2003: 94-97.
Wendt, Pan. “Moth. Taras Polataiko.” Arts Atlantic, Halifax, Fall 2003, 47.
Fernandez, Victor. “Tapies Foundation Reflects on Influences of Technology on Humanity.” La Razon, Barcelona, April 23, 2003, 68.
Vidal, Jaume. “Tapies Foundation Reviews Social Influences of Technology.” El Pais, Madrid, April 22, 2003.
Milroy, Sarah. “Critics’ Choice: Taras Polataiko at Sable-Castelli." The Globe &
Mail, Toronto, April 19, 2003, R18.
Cuesta, Mery. “Efectismo ‘indivisual’.” La Vanguardia,
Barcelona, April 16, 2003, 16.
Pliego, Luis. ”The Price of Comfort.” El Periodico, Barcelona, April 4, 2003, 17.
McLaughlin, Bryn. “Fast Forward.” Canadian Art, Toronto, Spring 2003, 22. |
| 2002 | Erkovich, Anastasia. “Sao Paulo Biennale.” CIS Compass, Kiev, May 20, 2002, 12.
Pechenova, Olga. “Brazilian Unemployed Turned Into Art.” Kiev News, Kiev, April 23, 2002, 16.
Volokhov, Sergei. “Canadian Representing Ukraine.” 2000, Kiev, April 22, 2002, 22.
Milroy, Sarah. “Critics’ Choice: Taras Polataiko at V-Tape.” The Globe & Mail, Toronto, April 20, 2002, R21.
Pechenova, Olga. “The Puzzles of Recognition.” Kiev News, April 19, 2002.
Macritchie, Lynn. “It’s the End of the Biennale as We Know It.” Financial Times, London, April 10, 2002.
Nigri, Andre. “Vale Tudo: Pingue-Pongue a Quebra-Cabeca.” Jornal da Tarde, Sao Paulo, March 25, 2002.
Name, Daniela. “Installations Harmed by Problems.” O Globo, Rio de Janeiro, March 25, 2002, SC 1.
Name, Daniela. “Consequences of the Urban Chaos.” O Globo, Rio de Janeiro, March 23, 2002, SC 2.
Butvin, Marnie. “Taras Polataiko: Untitled Paintings.” Artichoke, Vancouver, vol. 14, no. 1, Spring 2002.
Cheetham, Mark A. Infectious Hauntings: The Transformative Art of Taras Polataiko. Toronto: Centre for Contemporary Canadian Art, 2002.
Holubizky, Ihor. “Unknowable. Unspeakable. HIM & Cuts.” HIM & Cuts, exhibition
catalogue, Hamilton, 2002, 27-35.
Madill, Shirley. “HIM.” HIM & Cuts, exhibition catalogue, Hamilton, 2002, 55-69. |
| 2001 | Osborne, Catherine. “Taras Polataiko at Sable-Castelli.” ARTnews, New York, September 2001, 186.
Dault Gary Michael. “Taras Polataiko at Sable-Castelli.” The Globe & Mail, Toronto, June 16, 2001, R10.
Stoffman, Judy. “Art by Numbers.” Toronto Star, Toronto, June 16, 2001, J9.
Anderson, Scott. “HIM,” Lola, Toronto, Fall, 2001, 31-32.
Cheetham, Mark A. “TRANSlinear.” Canadian Art, Toronto, Fall 2001, 116-117.
Cheetham, Mark A. “Wyn Geleynse and Taras Polataiko Mirrors of the Subject.” Border Crossings, Winnipeg, Fall 2001, 65-67, 11.
Legge, Elizabeth. “Taras Polataiko, Wyn Geleynse." Canadian Art, Toronto, Fall 2001, 102-103.
Baldissera, Lisa. Slippage, exhibition catalogue, Victoria, 2001.
Cheetham, Mark A. “Mirror Digressions: Narcissus and the Readymade Monochrome.” Exhibition catalogue, Victoria, 2001.
Wolin, Joe. Uncut, HIM & Cuts, exhibition catalogue, Hamilton, 2002, 39-50. |
| 1999 | Beatty, Greg. “Taras Polataiko: Scotoma.” Artichoke, Vancouver, Summer, 1999, 34.
Holubizky, Ihor. “Through the Looking Glass: Richter, Polataiko, and Priest.” TRANSlinear, exhibition catalogue, Hamilton, 1999, 8.
Wolin, Joe. “Painting (Not) Photography,” TRANSlinear, exhibition catalogue, Hamilton, 1999, 27. |
| 1998 | Anderson, Jack. “The Viewer is the Viewed: Deception, Disruption at Play in Polataiko's Latest Installation.” The Leader Post, Regina, December 17, 1998, C1.
Lee, Tamara. “Front Line.” The Art of Ukraine of the XX Century, Kiev, 1998, 328-333, 344-345. |
| 1997 | Laurence, Robin. “Taras Polataiko and Branko Djuras.” The Georgia Straight, Vancouver, September 25 – October 2, 1997.
Cheetham, Mark A. “Recent Rhetorics of Purity in the Visual Arts: Infection, Dissemination, Genealogy.” Paedagogica Historica, Gent: XXXIII, 1997, 861-879.
Ross, Val. “Out From Behind the 'Ironic Curtain.” The Globe & Mail, Toronto, June 24, 1997, C1-2.
Gladstone, Valerie. “Reviews, New York: Taras Polataiko.” ARTnews, New York, April 1997, 136.
Metcalfe, Robin. “London Life Young Contemporaries '96.” Canadian Art, Spring 1997, 67.
Osborne, Catherine. “Malevich's Ghost.” World Art, no. 12, Spring 1997, 62-66.
Holubizky, Ihor. Mole, exhibition catalogue, Toronto, 1997. |
| 1996 | Cheetham, Mark A. “Back to School.” Canadian Art, Toronto, Fall 1996, 47-48.
Brackett, Donald. “Canada's Rising Art Stars.” The Globe & Mail, Toronto, October 5, 1996, C14.
Beatty, Greg. “Taras Polataiko. Mendel Art Gallery." Parachute, Montreal, no. 83, Summer-Fall 1996, 50-51.
Enright, Robert. “Truth or Glare, the Formal Deceptions of Taras Polataiko.” Border Crossings, Winnipeg, Spring 1996, cover, 18-27.
Kostash, Myrna. “Blood in the Tub: Where the Body Encounters Mystery, Myth And Horror.” The Globe & Mail, Toronto, January 27, 1996, C1-C6.
Robertson, Sheila. “Blood in the Tub. Womb or Sarcophagus? Polataiko's Metaphoric Cradle." The Star Phoenix, Saskatoon, January 27, 1996, C16.
Patten, James. “Modern Love.” London Life Young Contemporaries 96, exhibition catalogue, London, 1996.
Ring, Dan. Cradle, exhibition catalogue, Saskatoon, 1996. |
| 1995 | Scott, Michael. “Saskatoon Artist Taras Polataiko Draws Blood With His New Project: Isolation Of Prairie Life Freedom From Tyranny of What's Hot.” Vancouver Sun, Vancouver, November 20, 1995, C1.
Beatty, Greg. “Taras Polataiko. Rosemont Art Gallery, Regina." C Magazine, Toronto, Spring 1995, 60.
Akinsha, Konstantin. “Ten Artists To Watch World-Wide.” ARTnews, New York, January, 1995, 140-42. |
| 1994 | Laurence, Robin. “Puzzling Images.” Vancouver Sun, Vancouver, June 11, 1994, D1.
Beatty, Greg. “Remarkable Exhibition: Polataiko Adapts Visual Strategy Which Doesn't Privilege the Text.” The Leader Post, Regina, April 18, 1994, C12. |
| 1993 | Lavery, John. “Artist As Monument: Artist As Meal.” Newest Review, Edmonton, December/January 1993, 9-11. |
| 1992 | Peterson, Warren. “Artist Owed a Public Apology.” The Star Phoenix, Saskatoon, October 29, 1992, A7.
Robertson, Sheila. “Human Statue Shares Park With Hnatyshyn.” The Star Phoenix, Saskatoon, October 10, 1992. |
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| Selected Collections |
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| Art Omi Foundation, New York, NY
Art Gallery of Greater Victoria, Victoria, Canada
Art Gallery of Windsor, Windsor, Canada
Camosun College, Victoria, Canada.
Diane Farris Gallery, Vancouver, Canada
Dunlop Art Gallery, Regina, Canada
Glenbow Museum, Calgary, Canada
Musee d’Art Contemporain de Montreal, Montreal, Canada
Museum of Contemporary Canadian Art, Toronto, Canada
Microsoft Corporation, Seattle, WA
MacKenzie Art Gallery, Regina, Canada
Mendel Art Gallery, Saskatoon, Canada
Moscow Stroganov Institute of Fine and Industrial Arts, Moscow, Russia
Sable-Castelli Gallery, Toronto, Canada
Saskatchewan Arts Board, Regina, Canada
Seymour Collection, Canada
University of Saskatchewan, Saskatoon, Canada |
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