Anonymous. Tarred

marble, wood, paint, tar

The sculptural form of 'Anonymous. Tarred' is informed by sculptural exercises, or “volumes”, developed by students of the avant-garde at the VKHUTEMAS workshops in Moscow in 1920, under the guidance of Anton Lavinsky. These constructivist volumes represent the legacy of communist project, a legacy Kadan dramatically comments on by covering white monumental form with the black tar, while placing it on a traditional marble plinth. White was as much a shell as it was a utopian expression of ideals, while the gesture of covering the sculpture with black tar, on the other hand, is an act of desecration symbolic to how the politics of memory engages with history and heritage in Ukraine, which simultaneously declares the the death of the Soviet utopia. However, through the act of placing it respectfully on a white marble plinth, the importance of that utopia is preserved as a memory in the face of an implied dystopian future.