Kuril Chto in Venice



Kuril Chto, currently pursuing a master’s degree in painting at the New York Academy of Art, delves into the Biennial’s theme of displacement by examining the enduring presence of the Monobloc chair, a symbol of stability amid geopolitical upheaval. His Venice rendition of the Monobloc reflects on those often marginalized in discussions of nomads and strangers, inspired by the generosity encountered during his global travels, reminiscent of princess Nausicaa from Homer’s Odyssey.

The installation takes a whimsical turn, depicting a world devoid of sitters, featuring paintings and bronze sculptures of the chair in a Yves Klein-inspired blue. The absence of human presence suggests that the Monoblocs themselves are orchestrating the exhibition, with rows of beach tables and umbrellas inviting visitors to pause and reflect. Emotionally evocative, the installation elicits feelings of nostalgia, loneliness, and saudade, while also underscoring the chair’s reliability in an unstable world.

The centerpiece of Kuril’s exploration is the Monobloc chair, celebrated for its ubiquitous presence and inherent hospitality. Media scholar Ethan Zuckerman highlights its universal recognition, noting, “Monobloc offers no linguistic cues, no obvious signs that it’s been localized. Wherever you are, it’s at home.” For Kuril, the chair serves as more than just an object—it is a “character” through which he interprets the world.

Kuril has showcased his artwork in prestigious venues across Rome, Saint-Petersburg, Moscow, Basel, Lisbon, and New York.

cristina gatti communication venice