Chepelyk, Oksana

Oksana Chepelyk
Ukrainian videomaker


participant in
VideoChannel – Ukrainian Video Art
curated by Yarina Butkovska (Lviv/Ukraine)


video title:
“Urban Multimedia Utopia – UMU”
Beta SP / Mini DV / DVD, colour, 10 min., 2002.
Concept & camera – Oksana Chepelyk
Text & voice – Esther Anatolitis
Director & producer – Oksana Chepelyk
Production – Foundation Bauhaus Dessau (Germany/Ukraine)


“UMU” video is dealing with the process of globalisation represented by multi-layered real urban and virtual spaces, for which new cultural concept has to be developed. Video explores a topic of the ICT issue. Mobile communication, telematic tools, worldwide collaborative structures and global political alliances create a new cultural landscape whose rules will have to be worked on. The concept of the video project is referring to the fact of an intensive economical development of the Asian Technology Corridor, by means of implementation of “cyberport”, “cyberincubator”, “silicon harbour” in order to establish an intelligent city. “Urban Multimedia Utopia” is dealing with realization of a utopia of the political ideal of a fairer society. While the ideal urban development wins by its gradual conversion reality, the components of the material city (architecture, space, traffic, movement, advertisement) become the text, statements in the film, which rise “from the material”. The Western artist utilizes the interactive space of ultra communications and ultra speed information delivery for propaganda purpose and missionary aims for improvement of democracy, equality, political conformism culture of personal responsibility etc. For the Ukrainian artist too free and unhindered circulation of information looks always like a provocative miracle, so his aim is to disclose this soft and hidden totalitarism of new media its masked control and dictatorship over the cultural consciousness.



Video title:
Mini DV / DVD, colour, 6 min., 2004.
Concept & camera – Oksana Chepelyk
Director & producer – Oksana Chepelyk
Production – UCLA (Ukraine/USA)

Television, as the dominant medium of mass communication produces a significant imprint on society. As soon as physical events delivered by media influence our notion of terror are imprinted on our collective memory they are shaping greatest fear. How have these unforgettable moments come to define our vision of terror provoking hysteria of total survey? What is the interplay among the historical, personal, spiritual, political, ethical and metaphorical in the sphere of total survey?

“Shifting Time” video investigates the very nature of the global survey in the realm of terror with its numerous cameras, its ubiquity and its perpetual multiple flows documenting author “Terrorvision” installation. “Terrorvision” is an 8 switches cameras ring installation with the trace of the feet on a small pedestal. When the exhibition visitor standing up on the pedestal inside of circle 8 cameras capturing his face switching from one to the next (exploring dynamic circular movement around him/her). But visitor can’t notice anything and only on the next exhibition space he/she is facing his/her own picture appeared with the delay on the double screen. Are we afraid ourselves? Are we afraid The Other? What is the Face of The Other? Recognizing people from their faces has become an important task in many applications. Humans perform this task easily and robustly. The researchers explore ways to develop an automatic face recognition system that can recognize faces from still images and videos.
“Terrorvision” project is dealing with such scientific approach. This is a study of total survey depicted through the research using the technique of detournement according Guy Debord as an attempt to discover the connection of the culture of fear with the American dream so riddled with violence. The spaces function metaphorically as both a manifestation of social phenomena and a container of the imagination and creativity. Taking total survey as metaphor, the work invites us to reconsider terror of media feeding culture of fear.
The transient nature of the artists’ interventions in the space serves to question the preconceived ideas of the “surveillance camera” as a provider of security and a definer of reality. The video project reveals the mechanisms which becomes a platform for the deconstruction of usual connection, non-controlled behaviors and reinforces the phenomenon of the terrorvision perception.