About:
Inciting Force cycle:
Works:
Inciting Force. First show (2012)
Destroyed Piano (2015)
Traffic Papers (2014 — 2018)
The Moon Shines Like Brass (2018 — 2019)
Hymn to the Sun (2017)
Self-portrait series: 
Inciting Force (since 2010 )
Not Alain Delon (2016 — 2018)
To Be at Sword’s Points (2016 — 2019)
HEroic (2016)
A Double Self-Portrait (2015)

FORCE FARCE FALSE (2020)
On The Other Side (2020 — 2021)
Return of Lilith (2019 — 2020)
The More Are See (2018)
Dust (2012)
Presence (2011 — 2017)
Ambivalent (2010)









Dust

2012
Installation


The installation was exhibited in Homiel in the framework of the Night of Museums in May 2012, in the Palace of the Rumiantsevs and Paskevichs – an architectural monument of the 18th – 19th centuries, the compositional center of Homiel Palace and Park Ensemble.

In her installation, Zhanna Gladko explores how the work or an object is disposed of, leveled, when it gets into the museum space, where it is framed and subject to strict laws and rules of the established system.

The artist gives a viewer an impulse to reflect on what is happening to the object that is being exposed to the musealization. The installation metaphorically represents the artist's interest in the process. This work is a generalized statement about a museum that is not related to a particular place.

The structure of the installation is formed by boxes of various building materials different in texture which were made by the workers-installers of the museum according to the artist’s drawing from previously used or unsuitable because of defects discarded materials and construction debris.

The artist places various materials inside the boxes: cloth, glass, the size of which often exceeds or does not match the size of the boxes. Due to the mismatch of dimensions, the box acts as a kind of restrictor for another material, distorts it, deforms it. Does the same happen to objects and works placed in the museum space?


Does a viewer take into account the correction for the "deformation" of information that is broadcast by the objects, falling into an artificial space that limits (or frames) their space?

In her installation, the artist also uses such a material as building dust mixed with the dust collected during the installation in the museum space – adding a conceptual layer referring to the topic of time, memory, oblivion.

At the heart of the work, Zhanna Gladko uses the iconic image of the black square of Kazimierz Malevich, which deforms and moves from a two-dimensional plane to three-dimensional.

The statement of Zhanna Gladko is in line with the current reflection in the modern world about the role of the museum in culture. Until recently, the museum has successfully carried out the function of affirming values, which previously did not cause any special difficulties, since each of the previous epochs was distinguished by a rather strong system of coordinates, a certain unified truth. The museum carried out a teaching mission on the example of the best of what was created over the centuries.

The postmodern transmission of the vertical of values into the horizontal, in the field of small private truths, directs the entire cultural process to a dialogue, including, the "value of cultural values."


Exhibition The Palace Complex


Gomel Palace and Park Ensemble, Gomel, Belarus


2012