PinchukArtCentre announces the winner of the 5th edition of the Future Generation Art Prize 2019
Emilija Škarnulytė (Lithuania) is the winner of the Future Generation Art Prize 2019, the fifth edition of the global art prize for artists under 35, established by the Victor Pinchuk Foundation in 2009. The winner was announced by the international jury at the award ceremony in the PinchukArtCentre, Kyiv, Ukraine on 22 March. Emilija Škarnulytė received a total of $100,000: $60,000 as a cash prize, and $40,000 to fund their artistic practice.

An additional $20,000 was awarded between Special Prize winners Gabrielle Goliath (South Africa) and Cooking Sections (UK).

The winners were chosen by the prize's distinguished international jury, consisting of: Pablo León de la Barra, curator at large, Latin America, Solomon R Guggenheim Museum and Foundation, New York; Björn Geldhof, artistic director, PinchukArtCentre, Kyiv; Gabi Ngcobo, curator, 10th Berlin Biennale; Tim Marlow, artistic director, Royal Academy of Arts, London; and Hoor Al Qasimi, president, Sharjah Art Foundation and International Biennial Association.

Celebrating the 10th anniversary of the prize, Björn Geldhof, artistic director, PinchukArtCentre comments:

It is exciting to be part of a prize which champions current, dynamic and talented young artists. The truly global nature of the prize allows creative voices from all over the world to be represented. Aptly for this year's edition of the Future Generation Art Prize, which is now in its 10th year, the work explores the 'archaeology of the future', questioning the possibilities of tomorrow. All the artists in this year's exhibition have shown an undisputed quality of artistic acumen – deciding the ultimate winner was incredibly difficult.

Commenting on Emilija Škarnulytė as the winner of the Future Generation Art Prize 2019, the Jury said:

Emilija Škarnulytė's work "t 1 ⁄ 2" stems from deep and extensive research which has been translated in a coherent and confident way. The jury found its scale, rhythm and pace mesmerising alongside its capacity to deal with vast expanses of time in a precise manner.

Her use of video expands into a multi-dimentional experience, confronting many of the major issues facing humanity which are often left unspoken. Without being overtly didactic, the work stays open-ended and poetic while raising fundamental questions about where we come from, who we are and where we might end-up.

Commenting on Gabrielle Goliath as the winner of the Special Prize, the Jury said:

We admired her handling of such difficult and important subject matter in a touching yet sharp manner in the work "This song is for...". It speaks directly and emotionally to the viewer while generating a powerful sense of discomfort. The work leaves room for personal reflection and maintains respect for the six individual testimonies.

Commenting on Cooking Sections as the winner of the Special Prize, the Jury said:

We have a deep respect for artistic practice that engages with serious issues. Through the work "CLIMAVORE: For the Rights of the Soil Not to be Exhausted", Cooking Sections proposes a better future and successfully engages a broader public to increase awareness of such issues.

All the shortlisted artists will take part in the Future Generation Art Prize 2019 @ Venice group exhibition organised by the PinchukArtCentre as an official Collateral Event of the 58th International Art Exhibition at Palazzo Ca' Tron. As the winner of the Future Generation Art Prize 2019, Emilija Škarnulytė will present her solo show at the PinchukArtCentre in Kyiv, in 2020.

The exhibition of the 21 shortlisted artists for the fifth edition of the Future Generation Art Prize is on show at the PinchukArtCentre, Kyiv, Ukraine until 7 April 2019, curated by Björn Geldhof and Tatiana Kochubinska, curator, Research Platform at the PinchukArtCentre. The show presents works by the following shortlisted artists and groups: Alia Farid (Kuwait), Monira Al Qadiri (Senegal), Yu Araki (Japan), Korakrit Arunanondchai(Thailand), Kasper Bosmans (Belgium), Madison Bycroft (Australia), Gabrielle Goliath (South Africa), Rodrigo Hernández (Mexico), Laura Huertas Millán (Columbia), Marguerite Humeau (France) Eli Lundgaard (Sweden), Taus Makhacheva (Russia), Toyin Ojih Odutola (Nigeria), Sondra Perry (United States), Gala Porras-Kim (Columbia), Emilija Škarnulytė (Lithuania), Jakob Steensen (Denmark), Daniel Turner (United States), Anna Zvyagintseva (Ukraine) and artist collectives Basel Abbas and Ruanne Abou-Rahme and Cooking Sections.

Anna Zvyagintseva is included as the winner of the PinchukArtCentre Prize 2018 - a national contemporary art prize awarded to young Ukrainian artists up to the age of 35. All other artists were chosen by an international selection committee, which includes: Natalia Valencia Arango, Associate Curator, Estancia Femsa Casa Barragán (Mexico City); Julie Boukobza, Director of Luma Arles residency programme and 89plus residency at the Lab of the Google Cultural Institute (Paris); Tatiana Kochubinska, Curator, Research Platform at the PinchukArtCentre (Kyiv). Tumelo Mosaka, Chief Curator for the Investec Cape Town Art Fair; Zeynep Öz, Curator, Turkish Pavilion at the Venice Biennial 2019 (Istanbul) and Richard Riley, independent curator and Chair of the Gilbert & George Centre (London).

Award Ceremony

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Photographs provided by the PinchukArtCentre © 2019. Photographed by Sergei Illiin, Alexander Pilyugin.

Winners profiles

Emilija Škarnulytė
(31 – Lithuania)
Emilija Škarnulytė has been making films and videos for the last ten years mostly in places where contemporary political issues are staged. Škarnulytė investigates the shifting boundaries between documentary and fiction, between ecological and cosmic forces: feeling out all kinds of nonhuman and posthuman scales, in the depths of space and time. Emilija's large scale video installations are vast, indicative meditations on our current ecological discourse. Her films traverse an epic landscape of geography — bringing to life the indiscernible 'hyperobjects' that increasingly define our political and ecological crises. She has an MA from Tromsø Academy of Contemporary Art, Norway. Recent group exhibitions and screenings include Hyperobjects at Ballroom Marfa, Texas; Moving Stones at the Kadist Art Foundation, Paris; and the first Riga International Biennial of Contemporary Art; On Earth, Structure and Sadness, Serpentine Galleries, UK; as well as a new commission for Bold Tendencies, London and a solo show at Künstlerhaus Bethanien in Berlin. She currently co-directs Polar Film Lab, a collective for 16mm analogue film practice located in Tromsø, Norway.
In her films, Emilija Škarnulytė investigates the shifting boundaries between documentary and fiction. She works primarily with deep time, from the cosmic and geologic to the ecological and political: feeling out all kinds of nonhuman and posthuman scales, in the depths of space and time.
"t1⁄2" continues the topic of post-human mythology and fictional visual meditation about contemporary science from the future archeology perspective. "t1⁄2" is also called 'half-life", a term commonly used in nuclear physics to describe radioactive decay. "t1⁄2", shown as a large-scale video installation that consists of architecture envisioned by the artist through remote sensing 3D scans and the mirrored ceiling, traverse an epic landscape of geography.
Škarnulytė, performing as a siren herself, links the past and future by exploring the memory of the Etruscan Cemeteries, Nuclear Power Plant in Lithuania — a Twin sister of Chernobyl AES, Super-Kamiokande neutrino observatory in Japan, the Antimatter Factory, The Large Hadron Collider at CERN, Duga radar and Cold-War submarine base above the arctic circle. "t1⁄2" encounters all that is larger than us and larger than life — a looming climate catastrophe, natural phenomena, ideological constructions, massive scientific structures, recent geopolitical processes and what we know as human knowledge. All have left scars on planet Earth.
Cooking Sections
Cooking Sections (established in 2013 by Daniel Fernández Pascual & Alon Schwabe) is a duo of spatial practitioners based out of London. It was born to explore the systems that organise the WORLD through FOOD. Using installation, performance, mapping and video, their research-based practice explores the overlapping boundaries between visual arts, architecture and geopolitics. Since 2015, they are working on multiple iterations of the long-term site-specific CLIMAVORE project exploring how to eat as climate changes. In 2016 they opened The Empire Remains Shop, a platform to critically speculate on implications of selling the remains of Empire today. Their first book about the project was recently published by Columbia Books on Architecture and the City.

Cooking Sections was part of the exhibition at the U.S. Pavilion, 2014 Venice Architecture Biennale. Their work has also been exhibited at the 13th Sharjah Biennial; Manifesta12, Palermo; Lafayette Anticipations, Paris; Serpentine Galleries, London; Atlas Arts, Skye; Neue Nationalgalerie, Berlin; Storefront for Art & Architecture, New York; HKW Berlin; Akademie der Künste, Berlin; 2016 Oslo Architecture Triennale; Brussels ParckDesign; and have been residents in The Politics of Food at Delfina Foundation, London. Their work has been featured in a number of international publications: e-flux, Lars Müller, Sternberg Press, Volume, Frieze Magazine among others. They currently lead a studio unit at the Royal College of Art, London.
Using the unifying potential of bio-activism Cooking Sections investigate the processes of production, preparation and consumption of food around the world and offer alternative scenarios as concepts for their works. Their long-term project CLIMAVORE sets out to envision seasons of food production and consumption that react to man-induced climatic events and landscape alterations.

In CLIMAVORE: For the Rights of the Soil Not to be Exhausted, artists problematise the predatory exploitation of Ukrainian chernozem soil, drawing attention to erroneous strategies of a state management of natural resources and omissions in defending of the soil fertility from consumption strategies of the private capital. For the project artists expand beyond the space of the PinchukArtCentre and revise local urban histories inviting the audience to the cellar of the Bessarabka market, which has a obscure controversial history. During the Holodomor, the refrigerator cellar was geared towards being a mortuary. Here surrounded by artefacts of soil management of different epochs, the ongoing public conversation on ecological issues of Ukraine starts. Each meeting is accompanied by public tastings of artists-developed site-responsive bread recipes. Furthermore, a cross-disciplinary approach of Cooking Sections involve a legislative imaginary and engages the Ukrainian lawyers to create a draft that instates the right of the soil not to be exhausted. This document has a mission to introduce the concept of the rights of the soil as the subject of any legal relations of other legal entities adjusting the plainly required respect of such rights.
Gabrielle Goliath
(34 – South Africa)
Gabrielle Goliath (b.1983 South Africa) situates her practice within contexts marked by the traces, disparities and as-of-yet unreconciled traumas of colonialism and apartheid, as well as socially entrenched structures of patriarchal power and rape-culture. Enabling opportunities for affective, relational encounters, ste seeks to resist the violence through which black, brown, feminine, queer and vulnerable bodies are routinely fixed through forms of representation. Goliath recently participated in the Verbo Performance Art Festival (2018), Sгo Paulo; the Palais de Tokyo's Do Disturb Festival (2018), Paris; the National Arts Festival (2018), Makhanda; as well as the 11th Bamako Encounters Biennale (2017), Mali. She has won a number of awards including the Institut Franзais, Afrique en Crйations Prize (Bamako Biennale). Her work features in numerous public and private collections, including the Iziko South African National Gallery, Johannesburg Art Gallery and Wits Art Museum. Goliath is currently a Ph.D. candidate with the Institute for Creative Arts at the University of Cape Town, South Africa.
In her recent works Gabrielle Goliath creates immersive sound installations, mainly produced in collaboration with musicians and DJs. She focuses on the trauma of violence within the social-political concerns, particularly in regard to the experience of women. In This song is for… she re-performs the popular convention of the dedication song in collaboration with a group of women-led musical ensembles. Goliath creates an immersive filmic and auditory environment engaging viewer in a visual and physical sense. She presents a series of dedicated songs chosen by survivors of rape, which are performed as a newly produced cover version. Those songs remind them of a traumatic experience and bring them back to a particular time and place, evoke a sensory world of memory. In each song Goliath inserts a sonic disruption, a recurring musical rupture recalling the 'broken record' effect of a repetition. It gives an emotional response for the listeners in connection with the texts displayed on the walls – a genuine confessions about violence of rape and painful effects of living after the tragedy.
Photos are open for usage by mass media.
When using photos, please, note copyright information.
Photographs provided by the PinchukArtCentre © 2019. Photographed by Maksym Bilousov.