In her multidisciplinary practice, Ukrainian artist Alina Kleytman (b. 1991, Kharkiv) explores power, violence, trauma, and self-mythologization. Balancing dark irony with mourning, she transforms trauma into a sharp visual language, constructing grotesque yet alluring objects that resemble mutated relics of desire, protection, or submission—organic yet artificial, fragile yet menacing.

Her practice investigates the psychological and physical boundaries of the body, drawing on references to black magic, abusive relationships, and depersonalization through self-aggrandizement. Often incorporating materials sourced from conflict zones, she creates memory capsules of societal collapse and resilience.

The greatest show brings together recent works, expanding on Kleytman’s long-standing interest in mythmaking and the theatricality of power. Through a constellation of hybrid objects, at once seductive and grotesque, ceremonial and absurd, Kleytman examines the ways violence is beautified, fetishized, and consumed. This deeply personal yet highly political body of work reflects on the mechanisms of control, submission, and survival in a world marked by conflict, wars, and crisis.