It was a highly intriguing time television broadcast psychics’ sessions hypnotizing water while most union assembly halls were occupied by various religious sects, expanding like mycelium. Specific memories, such as the first seen funeral procession moving slowly through the city, an open catafalque decorated with two spruces installed from both sides of the deceased, stuck to my young brain. In the 90s, after prolonged atheistic suppression, the spiritual boom hit the post-Soviet region, revealing a bizarre psychological and semantic glitch that left a remarkable trace on me. Tell us a bit about yourself and what you do. He also participated in the 14th Baltic Triennial, CAC (Vilnius, LT), and the 4th Art Encounters Biennial (Timișoara, RO). (Ghent,BE), Calvert 22 Foundation (London, UK), Blaffer Art Museum (Houston, US), Museum de Domijnen (Sittard, NL), Mystetskyi Arsenal (Kyiv, UA), Arsenal Gallery (Białystok, PL) and others. Since 2012, Shust has exhibited at institutions such as the Museum of Contemporary Art, GfZK (Leipzig, DE), Badischer Kunstverein (Karlsruhe, DE), Contemporary Art Museum S.M.A.K. Jura Shust (Belarus, Maladzyechna) lives and works in Berlin. Shust’s practice merges sculpture, video, and installation to construct mental landscapes illuminated by ethnoreligious beliefs and flooded by biopolitical intentions. The sacral idea of incorporation of the human mind into a global network, with its tendency for decentralization, inspires the artist to redefine the concept of spiritual ecology. Intrigued by semantic polysemy, informational intoxication, and initial desire for oblivion, he reflects on how the mythological overlaps with the technological. Jura Shust explores the relationship between ritual and escapism.
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