Viktor Sydorenko’s project “Depersonalization” (2007-2008) masters the forms of behavior of the social masses. The author’s installation in the form of 12 sculptural objects – bright multi-colored male clones that invade everyday space, “travel” in the crowd, observe passers-by in different areas of the city: on the streets, in the park, at road intersections, near administrative buildings, causing people have a variety of both positive and negative reactions due to their “dissimilarity” and mixing of established categories “own-other”. With the help of a subversive strategy, the artist explores the problem of identity identification in the dynamic urban and social space, as well as the problem of further coexistence and the possibility of dialogue, which is acutely relevant in modern realities. However, the project deliberately does not pretend to implement a humanitarian mission, protect someone’s social rights and solve urgent problems of marginalized groups. This work is both a reaction to the Ukrainian political chaos and a kind of “social allegory” of the institution of democratic elections in the Ukrainian situation. In collective life, political pluralism of points of view is established in public consciousness with the help of color parameters that fill the space of the environment during elections, using the services of impersonal mobile campaign groups and other “indifferent” persons who, despite changing their external attributes, still remain post-totalitarian people in Soviet uniform underpants, playing with Western models of democracy.

In addition, the idea of ​​interactive depersonalization and monitoring of the viewer’s consciousness through the collision of the latter with art in an extra-artistic space is emphasized by the author through the realization of Malevich’s supremacist motifs in a plastic form. Thus, the consistent deconstruction of the myth about Malevich, which is firmly rooted in the post-Soviet consciousness, vividly illustrates the struggle around cultural symbols, in particular the nationality of the master, giving him an almost cult status as the forerunner of almost everything that exists today. related to the concept of modern art. The underestimation of his ideas in the Soviet period was replaced by the unfolding of the post-suprematist epic in art, the creation of a new myth that was picked up by the mass media and penetrated into the value system of the socio-cultural mass, without any critical selection, giving rise to new varieties of kitsch and ubiquitous advertising glamour.

Malevich’s work penetrates the consciousness of the mass audience through total marketing as a promoted brand, and here Malevich’s real deconstruction takes place – destruction by universal love. The strength of the audience’s love for Malevich was tested by the project “Depersonalization”.

Installed on Malevich Avenue, on the site of the now-defunct house where the great artist was born, the installation underwent changes in the first days due to the “privatization” of its components – figures who wanted to “possess” Malevich.