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Gallery<\/a>\n\t\n<br>","thumb":"","thumb_meta":null,"thumb_is_visible":false,"sort":5,"index":0,"set_id":0,"page_options":{"using_local_css":true,"local_css":"[local-style=\"26224277\"] .container_width {\n\twidth: 100% \/*!variable_defaults*\/;\n}\n\n[local-style=\"26224277\"] body {\n}\n\n[local-style=\"26224277\"] .backdrop {\n}\n\n[local-style=\"26224277\"] .page {\n}\n\n[local-style=\"26224277\"] .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\n[local-style=\"26224277\"] .content_padding {\n\tpadding-top: 2.4rem \/*!main_margin*\/;\n\tpadding-bottom: 0rem \/*!main_margin*\/;\n\tpadding-left: 4rem \/*!main_margin*\/;\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224277\"] bodycopy {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224277\"] bodycopy a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224277\"] h1 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224277\"] h1 a 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{\n}","local_layout_options":{"split_layout":false,"split_responsive":false,"full_height":false,"advanced_padding_enabled":true,"page_container_bgcolor":"","show_local_thumbs":false,"page_bgcolor":"","main_margin_top":"2.4","main_margin_bottom":"0","main_margin_left":"4","content_width":"100"},"pin_options":{"position":"top","overlay":true,"fixed":true,"exclude_mobile":false,"accommodate":true}},"set_open":false,"images":[],"backdrop":null},{"id":26224278,"site_id":1520043,"project_url":"Top-Nav","direct_link":"https:\/\/szuper.com\/Top-Nav","type":"page","title":"Top Nav","title_no_html":"Top Nav","tags":"","display":false,"pin":true,"pin_options":{"position":"top","overlay":true,"fixed":true,"exclude_mobile":true,"accommodate":true},"in_nav":false,"is_homepage":false,"backdrop_enabled":false,"is_set":false,"stack":false,"excerpt":"Shows,\u00a0Work, About,\u00a0Contact\u00a0 \u00a0 \u00a0 \u00a0","content":"<div style=\"text-align: right\"><a href=\"SHOWS\" rel=\"history\">Shows<\/a>, <a href=\"WORK\" rel=\"history\">Work<\/a>, <a href=\"ABOUT-copy\" rel=\"history\">About<\/a>, <a href=\"CONTACT\" rel=\"history\">Contact<\/a> <i> <\/i><\/div><br>","content_no_html":"Shows, Work, About, Contact ","content_partial_html":"<a href=\"SHOWS\" rel=\"history\">Shows<\/a>, <a href=\"WORK\" rel=\"history\">Work<\/a>, <a href=\"ABOUT-copy\" rel=\"history\">About<\/a>, <a href=\"CONTACT\" rel=\"history\">Contact<\/a> <i> <\/i><br>","thumb":"","thumb_meta":null,"thumb_is_visible":false,"sort":6,"index":0,"set_id":0,"page_options":{"using_local_css":true,"local_css":"[local-style=\"26224278\"] .container_width {\n\twidth: 100% \/*!variable_defaults*\/;\n}\n\n[local-style=\"26224278\"] body {\n\tbackground-color: initial \/*!variable_defaults*\/;\n}\n\n[local-style=\"26224278\"] .backdrop {\n}\n\n[local-style=\"26224278\"] .page {\n}\n\n[local-style=\"26224278\"] .page_background {\n\tbackground-color: initial \/*!page_container_bgcolor*\/;\n}\n\n[local-style=\"26224278\"] .content_padding {\n\tpadding-top: 2.4rem \/*!main_margin*\/;\n\tpadding-bottom: 0rem \/*!main_margin*\/;\n\tpadding-left: 2.7rem \/*!main_margin*\/;\n\tpadding-right: 7.9rem \/*!main_margin*\/;\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] bodycopy {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] bodycopy a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h1 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h1 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h2 {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h2 a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] small {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] small a {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] bodycopy a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h1 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] h2 a:hover {\n}\n\n[data-predefined-style=\"true\"] [local-style=\"26224278\"] small a:hover {\n}","local_layout_options":{"split_layout":false,"split_responsive":false,"full_height":false,"advanced_padding_enabled":true,"page_container_bgcolor":"","show_local_thumbs":false,"page_bgcolor":"","main_margin":"3","main_margin_top":"2.4","main_margin_right":"7.9","main_margin_bottom":"0","main_margin_left":"2.7","content_width":"100"},"pin_options":{"position":"top","overlay":true,"fixed":true,"exclude_mobile":true,"accommodate":true}},"set_open":false,"images":[],"backdrop":null},{"id":28986997,"site_id":1520043,"project_url":"ABOUT-copy","direct_link":"https:\/\/szuper.com\/ABOUT-copy","type":"page","title":"ABOUT copy","title_no_html":"ABOUT copy","tags":"","display":false,"pin":false,"pin_options":null,"in_nav":false,"is_homepage":false,"backdrop_enabled":false,"is_set":false,"stack":false,"excerpt":"Szuper Gallery began in Munich as a platform for\ncollaborative exchanges between Ukrainian and German artists, quickly evolving\ninto a tool for exploring themes of...","content":"<div grid-row=\"\" grid-pad=\"2\" grid-gutter=\"4\" grid-responsive=\"\" style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><div grid-col=\"6\" grid-pad=\"2\">Szuper Gallery began in Munich as a platform for\ncollaborative exchanges between Ukrainian and German artists, quickly evolving\ninto a tool for exploring themes of presence and absence, as well as the role\nof artists within public and institutional spaces. Operating as a\n\u201cperformative\u201d gallery, it engaged with the commercial gallery model while\nsimultaneously attempting to subvert its processes. Parti
57ally funded by private\nmoney from its Ukrainian-born owner\u2014a businessperson with opaque financial\nbacking\u2014the gallery\u2019s operations were marked by a lack of transparency around\nits funding sources.<br>\n\n\n<br>\n\n\nOver several years, Szuper Gallery faced challenges beyond\nits artistic mission. Our team had to navigate complex issues around visas,\ntravel, and immigration for our collaborators, while grappling with the\nuncertainty of what we suspected were dubious financial origins. We frequently\nmoved between Kyiv, Munich, and London, working within a shifting and\npolitically charged landscape. Eventually, the gallery's owner came under\nscrutiny from authorities, leading to a police investigation. Following on from\nthis period, we were commissioned by Munich\u2019s Quivid public art program to\ncreate a large-scale public art project for the Munich Immigration Office,\nlocated at the Kreisverwaltungsreferat on Poccistrasse.<br>\n\n\n\n\n\n\n<span class=\"Apple-converted-space\"> <\/span><br><a href=\"http:\/\/liftarchiv.de\/\" target=\"_blank\"><span style=\"caret-color: rgba(0, 0, 0, 0.75); color: rgba(0, 0, 0, 0.75);\">Liftarchiv<\/span><\/a><br>The resulting project took the form of a glass container, installed in the entrance hall of the Munich Immigration Office. Unlike most 'Kunst-am-Bau' projects, which are typically static, the <i>Liftarchiv<\/i> featured a dynamic archive that moved up and down like an elevator. This mobile archive became a platform for rotating exhibitions, installations, and video presentations, serving as both a performance and exhibition space within the immigration office from 2001 to 2004.<br>\n<br>\nThroughout its run, the <i>Liftarchiv<\/i> hosted site-specific collaborations with over 20 artists, each contributing to a collective reflection on the meaning of immigration within the context of art. The project sparked moments of controversy, raising questions about the intersection of bureaucracy, migration, and artistic expression. While the performances and exhibitions concluded in 2004, the archive itself remained onsite and accessible until 2020.<br>\n<br><a>See Link to PDF publication <\/a><br><br><b><a href=\"Video-Circus-Artists-under-the-big-top\" rel=\"history\">Circus Artists, 2000<\/a><\/b><br>The conversations, publications, and broader discourse surrounding themes of migration, relocation, and our own immigration status became integral to the project. We often felt as though we were pushing against the boundaries of institutional structures. This tension was exemplified in our video <i>Circus Artist Under the Big Top \u2013 Clueless<\/i>, filmed at Munich's Baureferat, which drew inspiration from Alexander Kluge\u2019s film of the same name. Kluge\u2019s work examines the conditions of exile, escape, and retreat, using the circus as a metaphor for the attempts and ultimate failures of the 68 protest movement. In our version, the circus became a fitting symbol for the precarious balance between navigating institutional frameworks and addressing the complex realities of migration and displacement. <br><br><b><a href=\"Video-The-Extras\" rel=\"history\">The Extras, 2001<\/a><\/b><br>Our performance at the Munich Baureferat (Buildings Department) mimicked the gestures of planning and plotting, transforming them into a choreography of institutional, yet seemingly aimless, movements. The performers took on the roles of extras on a film set, embodying the mundane routines of bureaucratic processes. These collaborations and our negotiations with various institutions\u2014those that regulate entry and exit across different domains\u2014became central to our work. We explored a range of performative modes to reflect on these institutional structures, using performance as a way to critique and reveal the complexities of navigating systems of control, immigration, and regulation.<br><br><b><a href=\"Video-Rehearsing\" rel=\"history\">Rehearsing Szuper Gallery, 2005<\/a><\/b><br>We found ourselves in a continuous loop of rehearsing how to integrate into the art world and its systems. For the exhibition <i>Xenopolis<\/i>
57 at Munich\u2019s Rathaus Galerie, curated by Pia Lanzinger, we staged an interview with ourselves, but instead of appearing directly, we commissioned two actors to impersonate us, imagining us as fictional characters. In <i>Rehearsing Szuper Gallery<\/i>, the actors retold the \"background story\" of the gallery, including its rumored ties to the Ukrainian mafia.<br>\n<br>\nIn the video, Ukrainian actors Yuri Rosstalnyi andArthur Galiandin reenacted our roles, while also infusing their performances with their own experiences as foreign actors living in Germany. Their portrayal blended fiction and reality, with improvisation blurring the lines between personal narrative and artistic invention. The staged discussion raised important questions about what it means to be an artist and a foreigner working in exile, while also reflecting on the reception of Ukraine in the 2000s.<span class=\"Apple-converted-space\"> <\/span><br><br><b><a href=\"https:\/\/szuper.com\/Video-Work-Arbeit-Rabota\" target=\"_blank\">Work, Arbeit, Rabota, 2007<\/a><\/b><br>As a collaborative project, we moved between different contexts and cities, and it became evident that hearsay, gossip, and stories were part of the fabric we constantly had to navigate. These informal narratives, often outside our control, influenced perceptions of the project. <br><br>\nDuring this time, we srarted working in London, adding another layer of complexity to the work. The shift in context introduced new challenges, further entangling our practice with questions of mobility, migration, and the ongoing negotiation of identity across different cultural and institutional landscapes.<span class=\"Apple-converted-space\"> <\/span><br><br>In 2007, Shezad Dawood invited us to collaborate on staging an artist studio in a residential apartment in London\u2019s Knightsbridge. We decided to transform the apartment into a recording studio, further exploring the theme of storytelling. Working with a group of artist friends as performers, all of whom had personal histories of immigration to London (from Russia, Ukraine, South Korea, Sweden, and Wales), we performed <i>Arbeit\/Rabota<\/i>.<br>\n<br>\nFor the exhibition, we divided the apartment: the lower level became a dark, mirrored studio\/living space, while the upper level was configured as a light-filled gallery. The video evolves as the performers navigate and inhabit the plush Knightsbridge setting, rehearsing for an interview that deconstructs the very process of performing. The focus shifted to entrances, rehearsals, the documentation process, the set, and the mechanics of the space\u2014highlighting repetition, looping, re-enactment, awkwardness, and delay. The work emphasized notions of time and how artistic practice and experience are constructed, calling attention to the often unseen labor behind the scenes. <br><br><b><a href=\"Live-The-Extras-Vancouver\" rel=\"history\">The Extras Vancouver, 2005<\/a><br><\/b><br>The Extras, was created for Western Front and a performance art biennale in Vancouver, in which we staged a protest in the city\u2019s central library. The video embodies the ambiguous role of the Extras: they are extra but necessary; they have to be there without being present. Extras are brought to the scene in mid-story, and they do not know the storyline or understand the meaning of their own actions. In the long and often boring shooting sessions their work is mainly waiting and killing time, but that also allows them to think their own thoughts and alternative interpretations. The ambivalence is also evident in the video soundtrack as collective thoughts in the first person plural. Szuper Gallery\u2019s work is characterized by this kind of vacillation between individualism and collectivism, anonymity and standing out, outsiderness and belonging. Their works contemplate intermediate spaces, being an extra and an outsider, the dynamics of groups and money and the intangibility of human existence and action.<br><\/div><div grid-col=\"6\" grid-pad=\"2\" class=\"\"><img width=\"838\" height=\"636\" width_o=\"838\" height_o=\"636\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/425b57e8673881328b0a4e30b12fb1a8723e84d977217a7008579302acfca500\/Gruppenbild.jpg\" data-mid=\"160631480\" border=\"0\" alt=\"Art for Art Sale, Szuper Gallery, Munich, 1995\" data-caption=\"Art for Art Sale, Szuper Gallery, Munich, 1995\"\/><br><br><br><br><img width=\"485\" height=\"700\" width_o=\"485\" height_o=\"700\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2a6c8c2e0879b5c82a4cf741aa8c2da820b7f14ad11af15bb0e5eb6fcd72e174\/ARTnews.jpg\" data-mid=\"160631481\" border=\"0\" \/><br><br><br><br><br><br><img width=\"1200\" height=\"933\" width_o=\"1200\" height_o=\"933\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/8d53d4f80e9dbfd5f9d45cff829a9ab330e142d3d8c3403df28dc16344f2d172\/liftp10.jpg\" data-mid=\"160631485\" border=\"0\" \/><br><img width=\"2122\" height=\"1466\" width_o=\"2122\" height_o=\"1466\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/fe8178f856fe70a2f4fef01fff4b4e10fc2512a64a57bccc86d69baf4102bb45\/lift10.jpeg\" data-mid=\"160631487\" border=\"0\" \/><br><br><img width=\"800\" height=\"444\" width_o=\"800\" height_o=\"444\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/c2127add59296bb345d79f0a12f55410e07db7b975779879ad8b35df910c778d\/as_still2.jpg\" data-mid=\"160631483\" border=\"0\" \/><br><img width=\"622\" height=\"467\" width_o=\"622\" height_o=\"467\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/1c16b90672210ad01b7348459e2073d475b4a6fa4fbe464a27d9c5def572bec3\/szg_1.jpg\" data-mid=\"160631482\" border=\"0\" \/><img width=\"800\" height=\"533\" width_o=\"800\" height_o=\"533\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/1f5e8baaf05b7ff5c5cf354a68378199d8e51627d9202310ce12ba2d85c95b58\/szg_perf6.jpg\" data-mid=\"160631488\" border=\"0\" \/><br><br><br><br><br><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9bd3244d716b61800ab2c9490c12e8a337eff017531e6fa4b4fa693c6e1ba538\/DSCN2113.jpg\" data-mid=\"160631486\" border=\"0\" \/><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9dde56eba0a0bf9573d6bed11ebcdb001cb307e38e3617a2d5a0745d119fdfcb\/DSCN2074.jpg\" data-mid=\"160631484\" border=\"0\" \/><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/24157ae410dd46eada6869f9909149e4b16fcc5fc4bb8fbea469bcd53925184c\/DSCN2210.jpg\" data-mid=\"160631489\" border=\"0\" \/><br><\/div><\/div><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><span style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-size: medium; float: none; display: inline !important;\">
57 <span class=\"Apple-converted-space\"> <\/span><\/span><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><h1><\/h1>","content_no_html":"Szuper Gallery began in Munich as a platform for\ncollaborative exchanges between Ukrainian and German artists, quickly evolving\ninto a tool for exploring themes of presence and absence, as well as the role\nof artists within public and institutional spaces. Operating as a\n\u201cperformative\u201d gallery, it engaged with the commercial gallery model while\nsimultaneously attempting to subvert its processes. Partially funded by private\nmoney from its Ukrainian-born owner\u2014a businessperson with opaque financial\nbacking\u2014the gallery\u2019s operations were marked by a lack of transparency around\nits funding sources.\n\n\n\n\n\nOver several years, Szuper Gallery faced challenges beyond\nits artistic mission. Our team had to navigate complex issues around visas,\ntravel, and immigration for our collaborators, while grappling with the\nuncertainty of what we suspected were dubious financial origins. We frequently\nmoved between Kyiv, Munich, and London, working within a shifting and\npolitically charged landscape. Eventually, the gallery's owner came under\nscrutiny from authorities, leading to a police investigation. Following on from\nthis period, we were commissioned by Munich\u2019s Quivid public art program to\ncreate a large-scale public art project for the Munich Immigration Office,\nlocated at the Kreisverwaltungsreferat on Poccistrasse.\n\n\n\n\n\n\n LiftarchivThe resulting project took the form of a glass container, installed in the entrance hall of the Munich Immigration Office. Unlike most 'Kunst-am-Bau' projects, which are typically static, the Liftarchiv featured a dynamic archive that moved up and down like an elevator. This mobile archive became a platform for rotating exhibitions, installations, and video presentations, serving as both a performance and exhibition space within the immigration office from 2001 to 2004.\n\nThroughout its run, the Liftarchiv hosted site-specific collaborations with over 20 artists, each contributing to a collective reflection on the meaning of immigration within the context of art. The project sparked moments of controversy, raising questions about the intersection of bureaucracy, migration, and artistic expression. While the performances and exhibitions concluded in 2004, the archive itself remained onsite and accessible until 2020.\nSee Link to PDF publication Circus Artists, 2000The conversations, publications, and broader discourse surrounding themes of migration, relocation, and our own immigration status became integral to the project. We often felt as though we were pushing against the boundaries of institutional structures. This tension was exemplified in our video Circus Artist Under the Big Top \u2013 Clueless, filmed at Munich's Baureferat, which drew inspiration from Alexander Kluge\u2019s film of the same name. Kluge\u2019s work examines the conditions of exile, escape, and retreat, using the circus as a metaphor for the attempts and ultimate failures of the 68 protest movement. In our version, the circus became a fitting symbol for the precarious balance between navigating institutional frameworks and addressing the complex realities of migration and displacement. The Extras, 2001Our performance at the Munich Baureferat (Buildings Department) mimicked the gestures of planning and plotting, transforming them into a choreography of institutional, yet seemingly aimless, movements. The performers took on the roles of extras on a film set, embodying the mundane routines of bureaucratic processes. These collaborations and our negotiations with various institutions\u2014those that regulate entry and exit across different domains\u2014became central to our work. We explored a range of performative modes to reflect on these institutional structures, using performance as a way to critique and reveal the complexities of navigating systems of control, immigration, and regulation.Rehearsing Szuper Gallery, 2005We found ourselves in a continuous loop of rehearsing how to integrate into the art world and its systems. For the exhibition Xenopolis at Munich\u2019s Rathaus Galer
57ie, curated by Pia Lanzinger, we staged an interview with ourselves, but instead of appearing directly, we commissioned two actors to impersonate us, imagining us as fictional characters. In Rehearsing Szuper Gallery, the actors retold the \"background story\" of the gallery, including its rumored ties to the Ukrainian mafia.\n\nIn the video, Ukrainian actors Yuri Rosstalnyi andArthur Galiandin reenacted our roles, while also infusing their performances with their own experiences as foreign actors living in Germany. Their portrayal blended fiction and reality, with improvisation blurring the lines between personal narrative and artistic invention. The staged discussion raised important questions about what it means to be an artist and a foreigner working in exile, while also reflecting on the reception of Ukraine in the 2000s. Work, Arbeit, Rabota, 2007As a collaborative project, we moved between different contexts and cities, and it became evident that hearsay, gossip, and stories were part of the fabric we constantly had to navigate. These informal narratives, often outside our control, influenced perceptions of the project. \nDuring this time, we srarted working in London, adding another layer of complexity to the work. The shift in context introduced new challenges, further entangling our practice with questions of mobility, migration, and the ongoing negotiation of identity across different cultural and institutional landscapes. In 2007, Shezad Dawood invited us to collaborate on staging an artist studio in a residential apartment in London\u2019s Knightsbridge. We decided to transform the apartment into a recording studio, further exploring the theme of storytelling. Working with a group of artist friends as performers, all of whom had personal histories of immigration to London (from Russia, Ukraine, South Korea, Sweden, and Wales), we performed Arbeit\/Rabota.\n\nFor the exhibition, we divided the apartment: the lower level became a dark, mirrored studio\/living space, while the upper level was configured as a light-filled gallery. The video evolves as the performers navigate and inhabit the plush Knightsbridge setting, rehearsing for an interview that deconstructs the very process of performing. The focus shifted to entrances, rehearsals, the documentation process, the set, and the mechanics of the space\u2014highlighting repetition, looping, re-enactment, awkwardness, and delay. The work emphasized notions of time and how artistic practice and experience are constructed, calling attention to the often unseen labor behind the scenes. The Extras Vancouver, 2005The Extras, was created for Western Front and a performance art biennale in Vancouver, in which we staged a protest in the city\u2019s central library. The video embodies the ambiguous role of the Extras: they are extra but necessary; they have to be there without being present. Extras are brought to the scene in mid-story, and they do not know the storyline or understand the meaning of their own actions. In the long and often boring shooting sessions their work is mainly waiting and killing time, but that also allows them to think their own thoughts and alternative interpretations. The ambivalence is also evident in the video soundtrack as collective thoughts in the first person plural. Szuper Gallery\u2019s work is characterized by this kind of vacillation between individualism and collectivism, anonymity and standing out, outsiderness and belonging. Their works contemplate intermediate spaces, being an extra and an outsider, the dynamics of groups and money and the intangibility of human existence and action.{image 13 caption=\"Art for Art Sale, Szuper Gallery, Munich, 1995\"}{image 14}{image 15}{image 16}{image 17}{image 18}{image 19}{image 20}{image 21}{image 22} ","content_partial_html":"Szuper Gallery began in Munich as a platform for\ncollaborative exchanges between Ukrainian and German artists, quickly evolving\ninto a tool for exploring themes of presence and absence, as well as the role\nof artists within public and institutional spaces. Operating as a\n\u201cperformative\u201d gallery, it engaged with the commercial gallery model while\nsimultaneously attempting to subvert its processes. Parti
57ally funded by private\nmoney from its Ukrainian-born owner\u2014a businessperson with opaque financial\nbacking\u2014the gallery\u2019s operations were marked by a lack of transparency around\nits funding sources.<br>\n\n\n<br>\n\n\nOver several years, Szuper Gallery faced challenges beyond\nits artistic mission. Our team had to navigate complex issues around visas,\ntravel, and immigration for our collaborators, while grappling with the\nuncertainty of what we suspected were dubious financial origins. We frequently\nmoved between Kyiv, Munich, and London, working within a shifting and\npolitically charged landscape. Eventually, the gallery's owner came under\nscrutiny from authorities, leading to a police investigation. Following on from\nthis period, we were commissioned by Munich\u2019s Quivid public art program to\ncreate a large-scale public art project for the Munich Immigration Office,\nlocated at the Kreisverwaltungsreferat on Poccistrasse.<br>\n\n\n\n\n\n\n<span class=\"Apple-converted-space\"> <\/span><br><a href=\"http:\/\/liftarchiv.de\/\" target=\"_blank\"><span style=\"caret-color: rgba(0, 0, 0, 0.75); color: rgba(0, 0, 0, 0.75);\">Liftarchiv<\/span><\/a><br>The resulting project took the form of a glass container, installed in the entrance hall of the Munich Immigration Office. Unlike most 'Kunst-am-Bau' projects, which are typically static, the <i>Liftarchiv<\/i> featured a dynamic archive that moved up and down like an elevator. This mobile archive became a platform for rotating exhibitions, installations, and video presentations, serving as both a performance and exhibition space within the immigration office from 2001 to 2004.<br>\n<br>\nThroughout its run, the <i>Liftarchiv<\/i> hosted site-specific collaborations with over 20 artists, each contributing to a collective reflection on the meaning of immigration within the context of art. The project sparked moments of controversy, raising questions about the intersection of bureaucracy, migration, and artistic expression. While the performances and exhibitions concluded in 2004, the archive itself remained onsite and accessible until 2020.<br>\n<br><a>See Link to PDF publication <\/a><br><br><b><a href=\"Video-Circus-Artists-under-the-big-top\" rel=\"history\">Circus Artists, 2000<\/a><\/b><br>The conversations, publications, and broader discourse surrounding themes of migration, relocation, and our own immigration status became integral to the project. We often felt as though we were pushing against the boundaries of institutional structures. This tension was exemplified in our video <i>Circus Artist Under the Big Top \u2013 Clueless<\/i>, filmed at Munich's Baureferat, which drew inspiration from Alexander Kluge\u2019s film of the same name. Kluge\u2019s work examines the conditions of exile, escape, and retreat, using the circus as a metaphor for the attempts and ultimate failures of the 68 protest movement. In our version, the circus became a fitting symbol for the precarious balance between navigating institutional frameworks and addressing the complex realities of migration and displacement. <br><br><b><a href=\"Video-The-Extras\" rel=\"history\">The Extras, 2001<\/a><\/b><br>Our performance at the Munich Baureferat (Buildings Department) mimicked the gestures of planning and plotting, transforming them into a choreography of institutional, yet seemingly aimless, movements. The performers took on the roles of extras on a film set, embodying the mundane routines of bureaucratic processes. These collaborations and our negotiations with various institutions\u2014those that regulate entry and exit across different domains\u2014became central to our work. We explored a range of performative modes to reflect on these institutional structures, using performance as a way to critique and reveal the complexities of navigating systems of control, immigration, and regulation.<br><br><b><a href=\"Video-Rehearsing\" rel=\"history\">Rehearsing Szuper Gallery, 2005<\/a><\/b><br>We found ourselves in a continuous loop of rehearsing how to integrate into the art world and its systems. For the exhibition <i>Xenopolis<\/i>
57 at Munich\u2019s Rathaus Galerie, curated by Pia Lanzinger, we staged an interview with ourselves, but instead of appearing directly, we commissioned two actors to impersonate us, imagining us as fictional characters. In <i>Rehearsing Szuper Gallery<\/i>, the actors retold the \"background story\" of the gallery, including its rumored ties to the Ukrainian mafia.<br>\n<br>\nIn the video, Ukrainian actors Yuri Rosstalnyi andArthur Galiandin reenacted our roles, while also infusing their performances with their own experiences as foreign actors living in Germany. Their portrayal blended fiction and reality, with improvisation blurring the lines between personal narrative and artistic invention. The staged discussion raised important questions about what it means to be an artist and a foreigner working in exile, while also reflecting on the reception of Ukraine in the 2000s.<span class=\"Apple-converted-space\"> <\/span><br><br><b><a href=\"https:\/\/szuper.com\/Video-Work-Arbeit-Rabota\" target=\"_blank\">Work, Arbeit, Rabota, 2007<\/a><\/b><br>As a collaborative project, we moved between different contexts and cities, and it became evident that hearsay, gossip, and stories were part of the fabric we constantly had to navigate. These informal narratives, often outside our control, influenced perceptions of the project. <br><br>\nDuring this time, we srarted working in London, adding another layer of complexity to the work. The shift in context introduced new challenges, further entangling our practice with questions of mobility, migration, and the ongoing negotiation of identity across different cultural and institutional landscapes.<span class=\"Apple-converted-space\"> <\/span><br><br>In 2007, Shezad Dawood invited us to collaborate on staging an artist studio in a residential apartment in London\u2019s Knightsbridge. We decided to transform the apartment into a recording studio, further exploring the theme of storytelling. Working with a group of artist friends as performers, all of whom had personal histories of immigration to London (from Russia, Ukraine, South Korea, Sweden, and Wales), we performed <i>Arbeit\/Rabota<\/i>.<br>\n<br>\nFor the exhibition, we divided the apartment: the lower level became a dark, mirrored studio\/living space, while the upper level was configured as a light-filled gallery. The video evolves as the performers navigate and inhabit the plush Knightsbridge setting, rehearsing for an interview that deconstructs the very process of performing. The focus shifted to entrances, rehearsals, the documentation process, the set, and the mechanics of the space\u2014highlighting repetition, looping, re-enactment, awkwardness, and delay. The work emphasized notions of time and how artistic practice and experience are constructed, calling attention to the often unseen labor behind the scenes. <br><br><b><a href=\"Live-The-Extras-Vancouver\" rel=\"history\">The Extras Vancouver, 2005<\/a><br><\/b><br>The Extras, was created for Western Front and a performance art biennale in Vancouver, in which we staged a protest in the city\u2019s central library. The video embodies the ambiguous role of the Extras: they are extra but necessary; they have to be there without being present. Extras are brought to the scene in mid-story, and they do not know the storyline or understand the meaning of their own actions. In the long and often boring shooting sessions their work is mainly waiting and killing time, but that also allows them to think their own thoughts and alternative interpretations. The ambivalence is also evident in the video soundtrack as collective thoughts in the first person plural. Szuper Gallery\u2019s work is characterized by this kind of vacillation between individualism and collectivism, anonymity and standing out, outsiderness and belonging. Their works contemplate intermediate spaces, being an extra and an outsider, the dynamics of groups and money and the intangibility of human existence and action.<br><img width=\"838\" height=\"636\" width_o=\"838\" height_o=\"636\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/425b57e8673881328b0a4e30b12fb1a8723e84d977217a7008579302acfca500\/Gruppenbild.jpg\" data-mid=\"160631480\" border=\"0\" alt=\"Art for Art Sale, Szuper Gallery, Munich, 1995\" data-caption=\"Art for Art Sale, Szuper Gallery, Munich, 1995\"\/><br><br><br><br><img width=\"485\" height=\"700\" width_o=\"485\" height_o=\"700\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/2a6c8c2e0879b5c82a4cf741aa8c2da820b7f14ad11af15bb0e5eb6fcd72e174\/ARTnews.jpg\" data-mid=\"160631481\" border=\"0\" \/><br><br><br><br><br><br><img width=\"1200\" height=\"933\" width_o=\"1200\" height_o=\"933\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/8d53d4f80e9dbfd5f9d45cff829a9ab330e142d3d8c3403df28dc16344f2d172\/liftp10.jpg\" data-mid=\"160631485\" border=\"0\" \/><br><img width=\"2122\" height=\"1466\" width_o=\"2122\" height_o=\"1466\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/fe8178f856fe70a2f4fef01fff4b4e10fc2512a64a57bccc86d69baf4102bb45\/lift10.jpeg\" data-mid=\"160631487\" border=\"0\" \/><br><br><img width=\"800\" height=\"444\" width_o=\"800\" height_o=\"444\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/c2127add59296bb345d79f0a12f55410e07db7b975779879ad8b35df910c778d\/as_still2.jpg\" data-mid=\"160631483\" border=\"0\" \/><br><img width=\"622\" height=\"467\" width_o=\"622\" height_o=\"467\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/1c16b90672210ad01b7348459e2073d475b4a6fa4fbe464a27d9c5def572bec3\/szg_1.jpg\" data-mid=\"160631482\" border=\"0\" \/><img width=\"800\" height=\"533\" width_o=\"800\" height_o=\"533\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/1f5e8baaf05b7ff5c5cf354a68378199d8e51627d9202310ce12ba2d85c95b58\/szg_perf6.jpg\" data-mid=\"160631488\" border=\"0\" \/><br><br><br><br><br><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9bd3244d716b61800ab2c9490c12e8a337eff017531e6fa4b4fa693c6e1ba538\/DSCN2113.jpg\" data-mid=\"160631486\" border=\"0\" \/><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/9dde56eba0a0bf9573d6bed11ebcdb001cb307e38e3617a2d5a0745d119fdfcb\/DSCN2074.jpg\" data-mid=\"160631484\" border=\"0\" \/><img width=\"1200\" height=\"900\" width_o=\"1200\" height_o=\"900\" data-src=\"https:\/\/freight.cargo.site\/t\/original\/i\/24157ae410dd46eada6869f9909149e4b16fcc5fc4bb8fbea469bcd53925184c\/DSCN2210.jpg\" data-mid=\"160631489\" border=\"0\" \/><br><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><br style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);\"><span style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-size: medium; float: none; display: inline !important;\">
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font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);"><div grid-col="6" grid-pad="2">Szuper Gallery began in Munich as a platform for 289collaborative exchanges between Ukrainian and German artists, quickly evolving 290into a tool for exploring themes of presence and absence, as well as the role 291of artists within public and institutional spaces. Operating as a 292âperformativeâ gallery, it engaged with the commercial gallery model while
293simultaneously attempting to subvert its processes. Partially funded by private 294money from its Ukrainian-born ownerâa businessperson with opaque financial 295backingâthe galleryâs operations were marked by a lack of transparency around 296its funding sources.<br> 297 298 299<br> 300 301 302Over several years, Szuper Gallery faced challenges beyond 303its artistic mission. Our team had to navigate complex issues around visas, 304travel, and immigration for our collaborators, while grappling with the 305uncertainty of what we suspected were dubious financial origins. We frequently 306moved between Kyiv, Munich, and London, working within a shifting and 307politically charged landscape. Eventually, the gallery's owner came under 308scrutiny from authorities, leading to a police investigation. Following on from 309this period, we were commissioned by Munichâs Quivid public art program to 310create a large-scale public art project for the Munich Immigration Office, 311located at the Kreisverwaltungsreferat on Poccistrasse.<br> 312 313 314 315 316 317 318<span class="Apple-converted-space"> </span><br><a href="http://liftarchiv.de/" target="_blank"><span style="caret-color: rgba(0, 0, 0, 0.75); color: rgba(0, 0, 0, 0.75);">Liftarchiv</span></a><br>The resulting project took the form of a glass container, installed in the entrance hall of the Munich Immigration Office. Unlike most 'Kunst-am-Bau' projects, which are typically static, the <i>Liftarchiv</i> featured a dynamic archive that moved up and down like an elevator. This mobile archive became a platform for rotating exhibitions, installations, and video presentations, serving as both a performance and exhibition space within the immigration office from 2001 to 2004.<br> 319<br> 320Throughout its run, the <i>Liftarchiv</i> hosted site-specific collaborations with over 20 artists, each contributing to a collective reflection on the meaning of immigration within the context of art. The project sparked moments of controversy, raising questions about the intersection of bureaucracy, migration, and artistic expression. While the performances and exhibitions concluded in 2004, the archive itself remained onsite and accessible until 2020.<br> 321<br><a>See Link to PDF publication </a><br><br><b><a href="Video-Circus-Artists-under-the-big-top" rel="history">Circus Artists, 2000</a></b><br>The conversations, publications, and broader discourse surrounding themes of migration, relocation, and our own immigration status became integral to the project. We often felt as though we were pushing against the boundaries of institutional structures. This tension was exemplified in our video <i>Circus Artist Under the Big Top â Clueless</i>, filmed at Munich's Baureferat, which drew inspiration from Alexander Klugeâs film of the same name. Klugeâs work examines the conditions of exile, escape, and retreat, using the circus as a metaphor for the attempts and ultimate failures of the 68 protest movement. In our version, the circus became a fitting symbol for the precarious balance between navigating institutional frameworks and addressing the complex realities of migration and displacement. <br><br><b><a href="Video-The-Extras" rel="history">The Extras, 2001</a></b><br>Our performance at the Munich Baureferat (Buildings Department) mimicked the gestures of planning and plotting, transforming them into a choreography of institutional, yet seemingly aimless, movements. The performers took on the roles of extras on a film set, embodying the mundane routines of bureaucratic processes. These collaborations and our negotiations with various institutionsâthose that regulate entry and exit across different domainsâbecame central to our work. We explored a range of performative modes to reflect on these institutional structures, using performance as a way to critique and reveal the complexities of navigating systems of control, immigration, and regulation.<br><br><b><a href="Video-Rehearsing" rel="history">Rehearsing Szuper Gallery, 2005</a></b><br>We found ourselves in a continuous loop of rehearsing how to integrate into the art world and its systems. For the exhibition <i>Xenopolis</i>
321 at Munichâs Rathaus Galerie, curated by Pia Lanzinger, we staged an interview with ourselves, but instead of appearing directly, we commissioned two actors to impersonate us, imagining us as fictional characters. In <i>Rehearsing Szuper Gallery</i>, the actors retold the "background story" of the gallery, including its rumored ties to the Ukrainian mafia.<br> 322<br> 323In the video, Ukrainian actors Yuri Rosstalnyi andArthur Galiandin reenacted our roles, while also infusing their performances with their own experiences as foreign actors living in Germany. Their portrayal blended fiction and reality, with improvisation blurring the lines between personal narrative and artistic invention. The staged discussion raised important questions about what it means to be an artist and a foreigner working in exile, while also reflecting on the reception of Ukraine in the 2000s.<span class="Apple-converted-space"> </span><br><br><b><a href="https://szuper.com/Video-Work-Arbeit-Rabota" target="_blank">Work, Arbeit, Rabota, 2007</a></b><br>As a collaborative project, we moved between different contexts and cities, and it became evident that hearsay, gossip, and stories were part of the fabric we constantly had to navigate. These informal narratives, often outside our control, influenced perceptions of the project. <br><br> 324During this time, we srarted working in London, adding another layer of complexity to the work. The shift in context introduced new challenges, further entangling our practice with questions of mobility, migration, and the ongoing negotiation of identity across different cultural and institutional landscapes.<span class="Apple-converted-space"> </span><br><br>In 2007, Shezad Dawood invited us to collaborate on staging an artist studio in a residential apartment in Londonâs Knightsbridge. We decided to transform the apartment into a recording studio, further exploring the theme of storytelling. Working with a group of artist friends as performers, all of whom had personal histories of immigration to London (from Russia, Ukraine, South Korea, Sweden, and Wales), we performed <i>Arbeit/Rabota</i>.<br> 325<br> 326For the exhibition, we divided the apartment: the lower level became a dark, mirrored studio/living space, while the upper level was configured as a light-filled gallery. The video evolves as the performers navigate and inhabit the plush Knightsbridge setting, rehearsing for an interview that deconstructs the very process of performing. The focus shifted to entrances, rehearsals, the documentation process, the set, and the mechanics of the spaceâhighlighting repetition, looping, re-enactment, awkwardness, and delay. The work emphasized notions of time and how artistic practice and experience are constructed, calling attention to the often unseen labor behind the scenes. <br><br><b><a href="Live-The-Extras-Vancouver" rel="history">The Extras Vancouver, 2005</a><br></b><br>The Extras, was created for Western Front and a performance art biennale in Vancouver, in which we staged a protest in the cityâs central library. The video embodies the ambiguous role of the Extras: they are extra but necessary; they have to be there without being present. Extras are brought to the scene in mid-story, and they do not know the storyline or understand the meaning of their own actions. In the long and often boring shooting sessions their work is mainly waiting and killing time, but that also allows them to think their own thoughts and alternative interpretations. The ambivalence is also evident in the video soundtrack as collective thoughts in the first person plural. Szuper Galleryâs work is characterized by this kind of vacillation between individualism and collectivism, anonymity and standing out, outsiderness and belonging. Their works contemplate intermediate spaces, being an extra and an outsider, the dynamics of groups and money and the intangibility of human existence and action.<br></div><div grid-col="6" grid-pad="2" class=""><img width="838" height="636" width_o="838" height_o="636" data-src="https://freight.cargo.site/t/original/i/425b57e8673881328b0a4e30b12fb1a8723e84d977217a7008579302acfca500/Gruppenbild.jpg" data-mid="160631480" border="0" alt="Art for Art Sale, Szuper Gallery, Munich, 1995" data-caption="Art for Art Sale, Szuper Gallery, Munich, 1995"/><br><br><br><br><img width="485" height="700" width_o="485" height_o="700" data-src="https://freight.cargo.site/t/original/i/2a6c8c2e0879b5c82a4cf741aa8c2da820b7f14ad11af15bb0e5eb6fcd72e174/ARTnews.jpg" data-mid="160631481" border="0" /><br><br><br><br><br><br><img width="1200" height="933" width_o="1200" height_o="933" data-src="https://freight.cargo.site/t/original/i/8d53d4f80e9dbfd5f9d45cff829a9ab330e142d3d8c3403df28dc16344f2d172/liftp10.jpg" data-mid="160631485" border="0" /><br><img width="2122" height="1466" width_o="2122" height_o="1466" data-src="https://freight.cargo.site/t/original/i/fe8178f856fe70a2f4fef01fff4b4e10fc2512a64a57bccc86d69baf4102bb45/lift10.jpeg" data-mid="160631487" border="0" /><br><br><img width="800" height="444" width_o="800" height_o="444" data-src="https://freight.cargo.site/t/original/i/c2127add59296bb345d79f0a12f55410e07db7b975779879ad8b35df910c778d/as_still2.jpg" data-mid="160631483" border="0" /><br><img width="622" height="467" width_o="622" height_o="467" data-src="https://freight.cargo.site/t/original/i/1c16b90672210ad01b7348459e2073d475b4a6fa4fbe464a27d9c5def572bec3/szg_1.jpg" data-mid="160631482" border="0" /><img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/1f5e8baaf05b7ff5c5cf354a68378199d8e51627d9202310ce12ba2d85c95b58/szg_perf6.jpg" data-mid="160631488" border="0" /><br><br><br><br><br><img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/9bd3244d716b61800ab2c9490c12e8a337eff017531e6fa4b4fa693c6e1ba538/DSCN2113.jpg" data-mid="160631486" border="0" /><img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/9dde56eba0a0bf9573d6bed11ebcdb001cb307e38e3617a2d5a0745d119fdfcb/DSCN2074.jpg" data-mid="160631484" border="0" /><img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/24157ae410dd46eada6869f9909149e4b16fcc5fc4bb8fbea469bcd53925184c/DSCN2210.jpg" data-mid="160631489" border="0" /><br></div></div><br style="font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);"><br style="font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);"><br style="font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0);"><span style="font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-size: medium; float: none; display: inline !important;">
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