BRAMA, Feb. 15, 2000, 10:00am EST

Hohol/Gogol: From the Traditional to the Bizarre
– by A. Sawaryn

NEW YORK - Virlana Tkacz (Yara Arts Group) once again pushed the proverbial arts envelope at a weekend festival based on the works of author Hohol (Gogol). With installations and performances that ranged from the traditional to the bizarre, the audience was treated to 3 days of creative interpretation that pleased the senses or shocked them or did both. The Hohol/Gogol Festival took place from February 4 through February 6, 2000 at the Ukrainian Institute of America building. Included among the many exhibits were the works of contemporary performers, writers and artists curated by Isabelle Dupuis, Dzvinka Dobrianska and Virlana Tkacz.

One of the highlights of the weekend festival was the dynamic performance of Maryana Sadovska. Ukrainian-born Ms. Sadovska performed her collection of rarely heard Ukrainian folk songs which she sings to the music of an unusual Indian lira-like instrument. Her voice has a powerful earthy quality that can be light and playful at times. Hers is an almost mystical ability to transport the audience to another world just with the power of her voice – a world of women working in the wheat fields, heads covered in kerchiefs, wearing long billowy skirts and peasant blouses.

Julian Kytasty, master bandurist, played several songs inspired by the blind minstrels, "Kobzari". Eugene Hutz ("Gogol Bordello" band) read several of his own humorous short stories and poems inspired by Gogol. The walls were covered with photographs, paintings, sculpture all by contemporary artists influenced by Gogol. An interpretive dance was performed by Katja Kolcio and the Kolo Dancers. The performance went on continuously with a backdrop of black and white photography and an exquisite Ukrainian "rushnyk".

In a darkened "chapel" upstairs, one could hear the sounds of chanting and praying. The eerie candlelit atmosphere of the room was accented by a "crucifix" that turned out to be a leather jacket with the arms outstretched, and "icon" paintings of women with bared breasts and their faces "x’d" out. A "bride", a "Hasidic Jew" and one other performer wrapped in white bandages alternatively staged "prayer" scenes at the altars. Sacrilegious? Perhaps. But Gogol was, after all, known for his "evil" art.

All of the installations, whether inspired by the traditional or the bizarre, were thought provoking and challenging. The contributing artists and curators are to be congratulated for their probing, yet entertaining, efforts.

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