Semiotics of propaganda and construction of collective memory

In a world where semiotics and constructed images become the source of reality, the power of the visual language of propaganda lies in its ability to establish new socio-political realities by disseminating "colored" information. In the case of the so-called Russian Federation, information today is instrumentalized and becomes a weapon. Their "state" mass media have repeatedly used and continue to improve propaganda strategies in the context of the war against Ukraine, trying to convince their population of the need for military aggression. The lack of resources that objectively cover all events creates a springboard for speculation, distribution, and monopolization of stigmatized expressions and grotesque narratives about the war.

According to the artist, she grew up in a country with a strong Soviet heritage, so current events and their reproduction in the social space are a personal trigger for her: "Such things lead to the violation of human dignity, rights, and freedoms. These issues bother me mostly because of the kaleidoscope and chaos of different and often contradictory versions of the truth presented through the media in the past and today. And also because of how the truth is distorted and manipulated, using society as material for certain operations and transformations".

Bilyk's artistic approach consists of figuratively extrapolating his own experience to the structure of existing myths and narratives. Through the creation of sensual and sometimes absurd images, she explores questions related to how the human mind reacts to a lack of information, what images and fears it creates instead of the truth, and what are the consequences of this substitution.

"I was fascinated by deliberately hidden layers of the recent past, secret materials, propaganda methods, and population control methods used by a totalitarian state. However, in my works, I have never relied on specific examples of violence or hostile intervention in the fabric of society. I prefer to create my own images and stories around these themes. So, in particular, I consider conspiracy theories and everything surrounding them as a separate kind of creativity. That's why I often work with myths and mythmaking".

At the "Chimera" exhibition, Ksenia Bilyk presented a symbiosis of modern and decorative utility techniques with which she has worked for over 10 years. However, in the works of the artist, you can also see the influence of the architectural background, which contributes to the development of complex compositions, multi-layered and voluminous spaces in the works. Using textiles, tempered glass, tapestry, and ceramics, Ksenia creates images that are detached from the general context. However, being an ossified rudiment in the "fabric" of collective memory, they sensitively reflect myths, memory, and propaganda, particularly for the Ukrainian viewer.

The works presented in the exhibition filled the gallery's space with whimsical images of habitats and portraits, creating a kind of "board of honor". The central element of the exhibition project is "Chimera Fountain" (2023), a glass installation of fluid form that seems to have frozen in one moment. However, this fountain continues to produce "murky water of propaganda", which flows into the conventional geometric shape of a star limited by the sides. This installation creates the impression of a parallel world, where reality is intertwined with imagination, and the sound of this water provokes reflection on the influence of information on our perception and the formation of a worldview.

The organizers of the "Chimera" exhibition project and the artist Ksenia Bilyk managed to create the atmosphere of a pseudo-memorial that deconstructs the memory policies of totalitarian states and also reminds us what to be careful of when creating your own in the conditions of a full-scale war. The displayed images evoke emotion and encourage the viewer to think again about how art can influence the perception of information and collective consciousness.

The exhibition will continue at TheNakedRoom until November 5.

The article has been prepared for publication in Kyiv Daily.

The author of the text
Art historian and the art manager of the Imagine Point Gallery
Inna Kalenska