DCCC
About
The Story
Renovations
Dnipro Center for Contemporary Culture, or the DCCC is an international level cultural institution in Dnipro created to enhance the city's connections with the world. The platform is dedicated to international cooperation, local context research, promotion of the local creative community, experience exchange and collaborations between artists, business owners and researchers. We intend to represent new technologies and media, contemporary art and informal education, using various formats. All under one roof, there will be several public spaces: gallery, media zone, contemporary library, coworking space, event space to accommodate music or theater, lecture hall, offices for other cultural institutions, workshops and café.

The Center for Contemporary Culture is a new point of gravitation that will help reconsider the history of Dnipro with its closed nature and almost complete detachment from global cultural processes. This is a response to challenges faced by cities whose past is inextricably connected to industrial production while the future is unknown and blurred. We thus attempt to perceive our own historic and cultural heritage, formulate new meanings and myths, find our voice in the international context and integrate in the global cultural processes.

The main objective of the DCCC is to develop the city's cultural scene. Dnipro has a strong potential to become a cultural point, not only on Ukraine's map but on that of Europe as well. It is here that a relevant cultural product could be shaped, providing foundation for the city's new image and identifying Ukraine in general. Through art and culture we will be talking about ideas and issues which are of concern to the society.



Up until mid-2018 the Center for Contemporary Culture only existed virtually. There were multiple reasons for that, the main one being the problem of finding a suitable location. We had many negotiations with building owners, municipal and regional authorities. We designed various projects but there was always something in the way. A center for contemporary culture is a non-commercial project so rejections were frequent. Searching for a location for around 4 years, we developed concepts and projects of 5 cultural centers during that time. With each one explored in-depth with architects and designers, we found partners and looked for funding. Each time it did not go through.

The first successful steps were in 2018. Owners of the building of the former zemstvo (local government) invited our team to implement the Center for Contemporary Culture in this space. Located on Krutohirnyi uzviz, this house has historical and architectural value and is a local architectural landmark. The building consists of three parts: the Old, New and Secretary ones. Until 1806 it served as a residency for Katerynoslav's vice-governors. When they moved, the estate was sold to private owners, dropping off the researchers' radar for a long time.

Around 1850 the original building was replaced by a new two-story stone mansion. At the time, the estate was owned by Oleksandr Zakharin, Yekaterinoslavsky Uyezd landlord and collegiate assessor. Used as a private residence in the second half of the 19th century, it was then purchased to accommodate zemstvo, the local government. After 1917 the building was used as military headquarters. There is no information as to its appearance and functions during subsequent years. The building had been abolished since late 1990s.

The designer remains unknown. Two units were constructed in the eclectic style while the oldest one was "Nicholas's Empire" until changed to Art Nouveau early in the 20th century during reconstruction. Anthropomorphic décor is one of the key elements in the building's architecture. Heads of the ancient Greek god Zeus are installed above windows on the first floor. The use of Zeus's image is believed to be connected with the building's functional purpose. It was something of a local "earthly Olympus" where the most important decisions were made regarding Katerynoslav at the beginning of the 20th century. There were a total of 16 Zeus sculptures on the façade on Krutohirna street, only 12 surviving to this date.

The building is also distinguished by zoomorphic elements, chimeras in particular. This is very uncommon for Katerynoslav architecture of the 19th and 20th centuries. The "lion theme" was more popular at the time, and the use of chimeras was extremely rare. On the zemstvo façade, they are "hidden" underneath beam supports on the first floor and they are not easy to spot. The façade is adorned by 12 chimeras. Other valuable interior décor elements include Atlases, marble stairs, authentic wooden doors, beams and stuccos.



A team of architects, historians and cultural experts formulated a holistic approach to preserve the distinctive character, authenticity, identity and historic resources around the building of the Center for Contemporary Culture. Having studied the landmark's long history, we designed a concept which overlays the estate's existing shape without breaching the building's historic planning and spatial structure, and also breathing a new life into it, taking into account the needs of the contemporary society.

In all of our decisions we are committed to one concept: to achieve, carefully approaching the city's history, a harmonious combination of the past and the present with minimum intrusions and using the techniques of functional design. Preserving architectural landmarks is a chance for the generations to come to see the heritage bequeathed to us. This is an indicator of our conscious and grateful attitude towards the past; an indicator of the level of our culture.

The building of the Center for Contemporary Culture had been abandoned since the 1990s: no windows, doors or utilities. Joining our efforts with architects and engineers, we designed a detailed project for the building's restoration which includes:

— Roof repairs and insulation of under-roof premises

— Heating and ventilation installation

— Lighting design for exhibition premises, entrances and historic elements together with Expolight

— Masonry repairs and renovation

— Installation of new plastic steel windows

— Installation of elevator equipment

— Pavement construction alongside the building

— Floor concrete casting

— Preparations for a concrete podium in the hall

— Façade restoration

— Installation of electric wiring, water supply and sewage pipelines, and other engineering works

Besides, we proceeded to restore some elements within the interiors. GurinBrothers restoration artists are working to restore the ground and first floor ceilings, Atlases, mirror framings, arches and the plastering along the Blue Hall. The Atlases, as well as the other stucco décor were covered in several coats of later-applied paint and putty. Before, they appeared more even and primitive, less detailed. Restoration works revealed the original, more distinct contours, face and body features which had been "buried" underneath the paint.

Next to the Atlases there is a framing where a mirror had been installed before. Unfortunately, some decoration components had been covered with bronze paint, significantly disfiguring the décor's contour – elegantly weaved laurel leaves. Restoration artists are restoring all those details to their original form. Besides, we plan to preserve the texture of the plasterwork along staircase flights, reinforcing it and insulating against environmental exposure.

It took several months for restorers to clear the ground floor ceiling of oil paint coats – only original elements remain. The situation was different with the first floor: the ceilings are higher, the covering and stucco are different. Overall, the décor is better preserved here – it was not repainted so often because of the ceiling's height.

The basic concept we follow is to keep everything as intact as possible. We want to show each period of the building's life and to preserve some fragments of paint coats added later, thus revealing the transformations of the interior over time. We see various phases of the building's "life" in the course of work: how many times the walls and decorations were painted, which materials were used and how responsibly the work was carried out.


DCCC Mission
To position Dnipro on the maps of Ukraine and Europe as an involved participant of cultural processes — a city where professionals create new meanings, a valuable cultural product and strong connections. To forge "Dnipro's contemporary culture" within the global context.
DCCC Values
Professionalism
Experienced managers and curators on the team
High quality product
Proven expertise of the participants
Conceptual level of project processing
Clear project efficiency criteria
Originality and uniqueness
Copyright, legal protection, licensing
Critical thinking

Interdisciplinarity
Focus on projects on the verge of various disciplines
Combining science, art, economics and ecology
Art integration into social processes

Relevancy
Response to current global and local processes
Meaningful position and boldness of statement
Social critical art

Innovation
Experimental art
New technologies and approaches

Democratic Approach
The DCCC is a public organization
Horizontal management connections
Equality of rights and obligations

Openness
Communication
Dialogue
No bias
Argumentation

Diversity
Multiculturality
Liberality
Gender balance

Inclusivity
Physical accessibility of the space
Projects for and involving the disabled
Program targeting different age groups
Flexible pricing policy

Freedom
Of though
Of speech
Of artistic expression

Environmental Sustainability
Environmental consciousness and enlightment
Environment in arts
Prudent use of resources

Kids friendly
Educational programs for children
Baby changing room and feeding space

Our "no's"
Radicalism
Extremism
Propaganda
Violence
Sexism
Homophobia
Racism
The Team
Andriy Palash
Director, Board Member
Kate Rusetska
Program Curator, Research Manager, Board Member
Julia Ovcharenko
Program Curator, Strategic Development Manager, Board Member
Iryna Polikarchuk
Artsvit Gallery Director, Board Member
Mariia Yarchuk
Project Manager for Kultura Medialna
Iryna Kharlamova
Project Manager for Artsvit Gallery
Alina Stamenova
Content Manager
Olga Samoylenko
PR Manager, Artsvit Gallery
Iva Naydenko
Ksi Prostir Curator
Nadiya Koval
Ksi Prostir Curator
Dmytro Nikolayenko
Graphic Designer
Anastasiia Timchenko
Architect
Our Partners