Was born in Dnepropetrovsk (now Dnipro, Ukraine). Started with animation and painting. Graduated from the Dnepropetrovsk State University in 1988. Moved to Leningrad (now St. Petersburg, Russia) in 1989. In 2018 moved to the Netherlands. Graduated from the Dutch Art Institute in 2020 and is currently a guest resident at the Rijksakademie van Beeldende Kunsten. Lives and works in Amsterdam. Since 1990 taking part in numerous exhibitions in Ukraine, Russia and worldwide. In 1994, Vita received a Grant from the Bureau «Circ» in Amsterdam and worked on a project regarding Dutch art’s influence. In 2000 got a grant from la Mairie de Paris and spent three months in the Cité des Arts residence working on the project “Paris. Red” and producing a limited-edition artist book. Shortlisted for Kandinsky Prize in 2009 and 2017. In 2017 she participated in the parallel program of the Venice Biennale of contemporary art in Palazzo Bembo. She is considered to be one of the forward-thinking feminists in post-soviet art.Works are in private and museum collections, such Museum of Contemporary Art Kiasma, Helsinki; Museum of Fine Arts, New Mexico; The Forbes Collection, Navigator Foundation, Boston; The State Russian Museum, St. Petersburg; RuArts Foundation, Moscow; Mőlndal commun collection, Sweden; Harry Ransom Center at the University of Texas, Austin and others. |
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EDUCATION:
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2018 – 2020 |
ArtEZ University of the Arts Arnhem, Netherlands; Dutch Art Institute - MA (DAI Art Praxis) |
| 1981 – 1986 |
Dnepropetrovsk State University, USSR/Ukraine |
RESIDENCES:
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SELECTED PUBLICATIONS:
Fuck Healing (?) – Living the Wounded Life, ed. by A. Muller, Netherlands Institute for Cultural Analysis (NICA), and Amsterdam School of Cultural Analysis (ASCA), University of Amsterdam, 2022
Dead Darlings #15, Summer Edition, catalogue, Amsterdam, 2022
Lora Mjolsness, Michele Leigh. She Animates: Gendered Soviet and Russian Animation. Academic Studies Press, 2021
Supremacy and Feeling. Contemporary Artists from Moscow. Antiga Edizioni, 2020
Not a Neutral Conduit: Fictocritical Approaches in Artistic Research. ed. by David Maroto. Antwerp, 2019
Women and Gender in Central and Eastern Europe, Russia, and Eurasia: A Comprehensive Bibliography, Vol. II. Russia. ed. by Mary Zirin with Christine D. Worobec. Routledge, 2015
Huston FotoFest 2012. Biennial Catalogue. Contemporary Russian Photography. Schilt Publishing, Amsterdam, 2012
Independent New Art of New Country 1991-2011. Mystetsʹkyĭ arsenal. Kyiv: Presa Ukraïny, 2011
ŽEN D’АRТ. The Gender History of Art in the Post-Soviet Space: 1989-2009. ed. by Nataliya Kamenetskaya, Oksana Sarkisyan. Moscow Museum of Modern Art, 2010
Contemporary Photography from Eastern Europe: History, Memory, Identity. ed. by Filippo Maggia, Claudia Fini, Francesca Lazzarini. Milan, Skira, 2009
Photoquai. Biennale des images du monde. Musee du Quai Branly, 2007
Isaak J.A. Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter. Taylor & Francis, 2002
Renee Baigell, Matthew Baigell. Peeling Potatoes, Painting Pictures: Women Artists in Post-Soviet Russia, Estonia, and Latvia: the First Decade. Rutgers University Press, 2001
Paradoxa. International feminist art journal. Desire and the Gaze. Volume 6, July 2000
Tupitsyn, V. Communal (Post)modernism: Russian Art of the Second Half of the 20th Century. Moscow: Ad Marginem. 1998
ARTnews, Volume 97, Issues 1-6
Idylle & Katastrophe. Neoakademismus und Nekrorealismus aus Sankt Petersburg. Kunstverlag Gotha, 1996
Photo-reclamation. New art from Moscow and Saint-Petersburg. ed. by Brandon Taylor. John Hansard Gallery, University of Southampton Photographers’ Gallery, London, 1994–1995
Time capsule. A concise encyclopedia by women artists. ed. by Robin Kahn. Creative time in cooperation with SOS INT’l, 1995
Self-identification. Positions in St. Petersburg. Art from 1970 until Today. ed. by Kathrin Becker and Barbara Straka. Kiel, 1994