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“The Artist’s Hand” Yelyzaveta Matiushenko
25.08.2026 @ 8:00 am - 5:00 pm
“Whoever possesses science and art,
Possesses religion too;
Whoever does not possess these two,
Has only religion.”
Goethe
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In this project, the artist explores the subject of sects and religious cults. Reconsidering her personal experience, she identifies methods of recruitment and influence and transforms them into objects within the exhibition, thus attempting to create an ironic model of a sect.
Max Weber emphasized that members of sects are united by faith and a set of moral obligations shared by all members of the community. Extrapolating Sigmund Freud’s ideas about artificially formed groups, we understand that the affection of members of such communities is usually directed toward those united by common ideas, while they may be cruel and intolerant toward those who do not share these ideas. In closed communities, consciousness becomes vulnerable to manipulation and influence, while the words and ideas disseminated by members of the sect are not questioned.
In attempts to attract and retain the attention of new members, neophytes are influenced through all their senses – the exhibits are intended to affect the viewers’ consciousness through colors, sounds, and smells. The black-and-white palette emphasizes the categorical nature of these views and the opposition between members of the sect and the surrounding world.
At the center of the exhibition is the artist’s hand, embodying the symbol of the “charismatic leader,” without whom it is difficult to imagine any sect. This “infatuation” with the leader is ultimately the driving force and unifying factor for all members of an artificially formed group. A group in which the individual loses all personal characteristics.
Reassessing her own experience of involvement in various Slavophile sects, the artist realizes that such communities often “mix” Eastern teachings with Slavism centered on Russia. Thus, consciously or not, they become agents of influence for Russian propaganda.
In an ironic manner, the artist attempts to draw attention to the activities of sects and religious cults and appeals to the need for critical thinking when evaluating their activities.
Possesses religion too;
Whoever does not possess these two,
Has only religion.”
Goethe
—————————–
In this project, the artist explores the subject of sects and religious cults. Reconsidering her personal experience, she identifies methods of recruitment and influence and transforms them into objects within the exhibition, thus attempting to create an ironic model of a sect.
Max Weber emphasized that members of sects are united by faith and a set of moral obligations shared by all members of the community. Extrapolating Sigmund Freud’s ideas about artificially formed groups, we understand that the affection of members of such communities is usually directed toward those united by common ideas, while they may be cruel and intolerant toward those who do not share these ideas. In closed communities, consciousness becomes vulnerable to manipulation and influence, while the words and ideas disseminated by members of the sect are not questioned.
In attempts to attract and retain the attention of new members, neophytes are influenced through all their senses – the exhibits are intended to affect the viewers’ consciousness through colors, sounds, and smells. The black-and-white palette emphasizes the categorical nature of these views and the opposition between members of the sect and the surrounding world.
At the center of the exhibition is the artist’s hand, embodying the symbol of the “charismatic leader,” without whom it is difficult to imagine any sect. This “infatuation” with the leader is ultimately the driving force and unifying factor for all members of an artificially formed group. A group in which the individual loses all personal characteristics.
Reassessing her own experience of involvement in various Slavophile sects, the artist realizes that such communities often “mix” Eastern teachings with Slavism centered on Russia. Thus, consciously or not, they become agents of influence for Russian propaganda.
In an ironic manner, the artist attempts to draw attention to the activities of sects and religious cults and appeals to the need for critical thinking when evaluating their activities.
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Yelyzaveta Matiushenko is an artist, researcher, and designer. She lives in Kyiv. She graduated from the Kharkiv Academy of Design and Arts. Her practice focuses on identifying various kinds of inconsistencies, with an emphasis on the relationship between the construction of an idea and its impact on society. Myths and illusions, social attitudes, etc. She works in the medium of photography.
Yelyzaveta Matiushenko is an artist, researcher, and designer. She lives in Kyiv. She graduated from the Kharkiv Academy of Design and Arts. Her practice focuses on identifying various kinds of inconsistencies, with an emphasis on the relationship between the construction of an idea and its impact on society. Myths and illusions, social attitudes, etc. She works in the medium of photography.