Serhiy Yakunin

ID: 285

A artist who works in the genres of installation, sculpture, video, and landart. Lives and works in Lviv.

He was born in 1954 in Lviv. In 1973-1977, he studied at Lviv State Institute of Arts and Crafts (presently — Lviv National Academy of Arts). Serhiy Yakunin creates his art within the environment and from the environment, while often looking for the matter on the location. Stone, water, sand, timber, or soil. Geometrical lines or points are like abstract ideas that fill the space and make it — it is what the artist explores. His works are usually material but also temporary, as they exist only within the symposium or the plein air engaging the artist.



 For Yakunin, the key medium is not stone or wood, but space and time. Therefore, his artistic method resembles a philosopher's work. In his works, we can see cognition as an act of creation, where thinking is a response to the world, and the time can be expressed by adding structure to something unidentifiable. This kind of artistic method is conceptual, and a human is an authentic being who finds oneself (recognizes oneself) through action, thinking, and time. Since art reveals the time, it also reveals the truth of the being, as time implies the end is inescapable. According to Yakunin:"Time is like music, as soon as you start understanding it — it is over." In this situation, you can consider art (similar to Heidegger) as the "house of being." Yakunin asks the question "why do we have this timespan of life that we are living through? We are born with this task, we have to discover the being, to learn about ourselves and reveal the sense."

That is why an important aesthetic act of Yakunin's art is to shape the meaning, to make it precisely as if deducing a formula, with no embellishment, in a dry colorless manner. Since the natural material comes laden with authenticity, with primacy, it is the object for expressing the meaning. However, Yakunin speaks against the excessive techne: "Do not ravage the stone — leave it alone," he urges. Artists often ravage /rape the material; they keep remaking the natural matter into something artificial. Serhiy chose a different method. Whenever he works with natural material or with the landscape, he makes a sondage, a term borrowed from the restoration works. Sondage is not about transforming the natural into the non-natural, but a tentative trial of the material, intervention into nature that is supposed to generate the stress field or a situation of a dialogue with the being. "I can do it," says Yakunin. "But I'd rather not, I'd rather practice inaction as a state of observation." In fact, he actualizes the Heidegger's urge not to ravage the being through the techne but to observe it.

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Vul. Snopkivska, 47 – Lviv Ivana Trusha College of Decorative and Applied Arts

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Vul. Staroznesenska – Znesinnia Park

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Works and Projects

1995 — No Name
1995 — Італійське подвір'я (Italian courtyard)
1998 — Сотовый объект (Cell object
2002 — Вхід-вихід (Enter-Exit), with Anna Sydorenko (Dzyga, Lviv)
2004 — Точки зору (Points of view), with Anna Sydorenko (Duren, Germany)
2004 — Без кінця (Without end)
2008 — Ватра (Hearth), with Anna Sydorenko
2010 — Бесіда (Conversation), park.in, Lviv; repeated in 2018 at the Biennale of Trust (Lviv)
2015 — c.d. (затока Чифтлик, Туреччина)
2015 — Лінія в просторі (A line in space, Mohrytsia)
2016 — Люфтпауза (Luftpause, Lviv)
2016 — Сполучення (Connection, Mohrytsia)
2016 — Перші дубки (First little oaks, Dubky Mobile Gallery, Odesa)
2017 — Пунктир (Punctured line, Israel)
2019 — Точка у просторі (A line in space, Kramatorsk)

Plen-airs/ exhibitions/ symposia:

1994 — 3/3 (Planetarium, Kyiv)
2002 — Культурні герої (Cultural Heroes; Dzyga, Lviv)
2004 — Зворотність (Reversibility; together with Anna Sydorenko);
2010 — Snow Sculpture festival (Lviv)
2014 — Тривання (Continuity; Yefremova 26 Gallery, Lviv)
2014 — Biryuchyi 014 Symposium of contemporary art 
2015 — International Land Art Festival Mythogenesis (Vinnytsia)
2015 — Pokordonnya Land Art Symposium (Mohrytsia)
2016 — Pokordonnya Land Art Symposium (Mohrytsia)
2017 — Земельна відповідь (Earth's answer; M17 Contemporary Art Center, Kyiv)
2017 — was a resident of the land art program at the Festival of Cinema and Urbanism "86" (Slavutych)
2017 — took part in the BABA ROD Land Art Festival (Lviv)
2017 — Виставка нескорених художників (Exhibition of unconquered artist; Lviv National Art Gallery)
2018 — Biennale of Trust (Lviv)
2018 — FLASHBACK. Ukrainian Media Art of the 1990s (Mystetskyi Arsenal; Kyiv)
2018 — Red Book: Soviet Art in Lviv in 1980s and 1990s (PinchukArtCentre, Kyiv)
2019 — Mandry Symposium (Kramatorsk)
2019 — 14th International Land Art Festival Mythogenesis (Vinnytsia)


1. Oksana Remeniaka, "Object in the Space of Art", Contemporary Art, (Kyiv: Feniks, 2010 — Institute of Contemporary Art Problems), pp. 197–209 (Оксана Ременяка, "Об'єкт у просторі мистецтва", Сучасне мистецтво, (Київ: Фенікс, 2010 — Інститут проблем сучасного мистецтва), с. 197–209)

2. Hlib Vysheslavskyi, Oleh Sydor-Hibelynda, Terminology of Contemporary Art, (Paris-Kyiv: Terra Incognita, 2010), 416 (Гліб Вишеславський, Олег  Сидор-Гібелинда, Термінологія сучасного мистецтва, (Париж-Київ: Terra incognita, 2010), 416 с.)

3. Martin Heidegger, "The Question Concerning Technology", Time and Being: Articles and Presentations (Moscow: Respublika, 1993), pp. 221-238 (Мартин Хайдеггер, "Вопрос о технике", Время и бытие: статьи и выступления, (Москва: Республика, 1993), с. 221-238)

4. "Let's Stretch Painting onto a Sail", МІТЄЦ, 2016 ("Растянем живопись на парус", МІТЄЦ, 2016) [accessed 13.11.2020]

5. Oleksa Furdiyak, "Anna Sydorenko. Serhiy Yakunin. Harshness as a Fenomenon of Fashion… is Perspectiveless", artmedium, 2011 (Олекса Фурдіяк, "Анна Сидоренко. Сергій Якунін. Жесткость, как феномен моды… Бесперспективна", artmedium, 2011) [accessed 13.11.2020]

6. Serhiy Yakunin's profile on ArtLvivOnline [accessed 13.11.2020]

7. Serhiy Yakunin's Profile on МІТЄЦ [accessed 13.11.2020]

By Anastasiia Marusiy
Edited by Bohdan Shumylovych and Olha Zarechnyuk

Created with the support of the Ukrainian Cultural Foundation