Mykola Ridnyi
Mykola Ridnyi (born in 1985, Kharkiv) is a Ukrainian artist. He studied sculpture at the Kharkiv State Academy of Design and Arts from 2002 to 2008. His interest in contemporary photography and video was sparked in 2005, during a workshop with Boris Mikhailov. In the same year, he became one of the founders of the gallery-laboratory SOSka (together with Hanna Kriventsova, Bella Logachova, and Olena Polyashchenko) and the eponymous group (alongside Hanna Kriventsova and Serhii Popov).
Ridnyi works at the intersection of video, photography, and installation. His projects are dedicated to a critical reflection of the socio-political situation in Ukraine and the countries of the former Eastern Bloc. They combine documentary and staged shots, addressing a wide range of issues — from the radicalization of society, the risks of paranoid state control, and the situation of the agrarian sector and villages to the intertwining of his family history with the events of the turbulent Ukrainian 1920s. Since 2016, he has been actively experimenting with the short film genre that exists on the border between contemporary visual art and festival cinema.
In addition to his artistic practice, Ridnyi also works as a curator. Since 2017, he has been a part of the editorial team of the online publication Prostory, where he publishes texts on art and society. In 2019, he started curating the project Armed and Dangerous, bringing together a group of Ukrainian artists and filmmakers to work on a serialized exhibition. The central theme revolved around the changes caused in Ukrainian society by the military aggression of Russia, still ongoing in the eastern part of Ukraine at that time.
He represented the Ukrainian Pavilion at the Venice Biennale with the projects Monument to a Monument” (2013) and Hope (2015). In 2015, he also participated in the main exhibition of the Venice Biennale, All the World’s Futures (curated by Okwui Enwezor). Ridnyi has been nominated for the PinchukArtCentre Prize (2011, 2013, 2015), the International Anna and Heinrich Cussmann Prize (2015), and the Malevich Prize (2014, 2016, 2018). Currently, Rydnyi is a visiting professor at the Department of Visual Arts at the Berlin Art University.
His works are part of the permanent collections of institutions such as the Pinakothek der Moderne in Munich, New Berlin Art Association (nbk) in Berlin, Ludwig Museum in Budapest, Museum of Modern Art in Warsaw, Arsenal Municipal Gallery in Białystok, and others.
Selected personal exhibitions:
2012 — “Labor Circle”, Centre for Contemporary Art Zamek Ujazdowski, Project Room, Warsaw, Poland (curator — Marianna Dobkowska)
2014 — “Укриття”, Visual Culture Centre, Kyiv, Ukraine
2015 — “Clenched Staring Eyes”, Art Agenda Nova Gallery, Kraków, Poland
2016 — “Forecast for Yesterday, Blockhaus DY10, Nancy, France
2016 — “Hang zum Konflikt” (together with Anna Witt), Kunstraum München, Munich, Germany (curators — Monika Bayer-Wermuth, Sabine Weingartner)
2016 — “Under Suspicion”, Edel Assanti Gallery, London, United Kingdom
2018 — “Twarzą do ściany / Facing the Wall”, Labirynt Gallery, Lublin, Poland (curator — Waldemar Tatarczuk)
2018 — “Поступова втрата зору / Gradual Loss of Vision”, Dnipro Art Museum, Dnipro, Ukraine (curator — Kateryna Rusetska)
2018 — “У підвішеному стані / In a Suspended State”, O. Honchar Zoological Museum of the Dnipro National University, Dnipro, Ukraine (curator — Kateryna Rusetska)
2019 — “Wilk w worku / Wolf in a Sack”, Arsenal Gallery, Białystok, Poland
2020 —”Готель, пансіонат, санаторій та їхні кімнати біженців / The Hotel, the Sanatorium, the Pension and Their Refugee’s Rooms” (together with Dana Kosmina), as a part of Tbilisi Architecture Biennal, yar of the National Art Museum of Ukraine and Dzherelo gallery, Kyiv, Ukraine
2021 — “Розкопки з майбутнього / Excavations from the Future”, Voloshyn Gallery, Kyiv, Ukraine
2011 — “Mykola Ridnyi”, Secession art space, Vienna, Austria
2023 — “The Battle over Mazepa”, Pushkin House, London, John Hansard Gallery, Southampton, United Kingdom
Selected group exhibitions:
2006 — “Generations U&A”, PinchukArtCentre, Kyiv, Ukraine
2006 — “Barwy Klubowe / Team colors”, F.A.I.T, Kraków, Poland (curators — Viera Kosina, Magdalena Szędzielarz, Karolina Nowak, Gaweł Kownacki)
2008 — “New Print Politics: Post-Soviet Politics and Contemporary Art”, Ukrainian Institute of Modern Art, Chicago, IL, USA
2009 — “Завоеванный город / Conquered City”, Rigina Gallery,
2009 — “Мавзолей бунта / Mausoleum of Rebellion”, Stella Art Foundation, Moscow, Russia
2010 — “Судовий експеRomeент / Court Experiment”, Visual Art Centre, Kyiv, Ukraine (curators — Hudsovet Group)
2010 — “Якщо, Если, If”, PERMM Museum of Contemporary Art, Perm, Russia (curator — Ekaterina Degot)
2011 — “A Complicated Relation, part II”, Kalmar Art Museum, Kalmar, Sweden (curator — Martin Schibli)
2011 — “The Global Contemporary. Art Worlds After 1989”, Center for Art and Media ZKM, Karlsruhe, Germany (curators — Andrea Buddensieg, Peter Weibel)
2011 — “Новояз / New Language”, Mystetskyi Arsenal Laboratory of Contemporary Art, Kyiv, Укаїна (curator — Микола Рідний)
2011 — “Просто. Мистецтво / Simple. Art”, National Art Museum of Ukraine, Kyiv, Ukraine
2012 — “Президиум ложных калькуляций / The False Calculations Presidium”, Museum of Entrepreneurs, Patrons and Philanthropists, Moscow, Russia (curator — Anastasia Riabovа)
2012 — “Спорная территория / Disputed territory”, Kroshytskyi Art Museum, Sevastopol, Crimea, Ukraine (curators — Hudsovet Group)
2012 — “Українське тіло / Ukrainian Body”, Visual Art Centre, Kyiv, Ukraine (curators — Sergiy Klymko, Lesia Kulchinska and Vasyl Cherepanyn)
2012 — “Shelter”, Kunstverein Das Weisse Haus, Vienna, Austria
2013 — “Global Activism”, Center for Art and Media ZKM, Karlsruhe, Germany (curator — Peter Weibel)
2013 — “Re-Aligned Art”, Tromsø Kunstforening space, Tromsø, Norway (curators — Ivor Stodolsky, Marita Muukkonen)
2013 — “The Monument to A Monument”, National Pavillion of Ukraine (curator — Björn Geldhof), 56th Venice Biennale, Palazzo Loredan, Venice, Italy (curator — Oleksandr Soloviov)
2013 — “Ukrainian News”, Centre for Contemporary Art Zamek Ujazdowski, Warsaw, Poland (curator — Marek Goździewski)
2013 — “Uni-Ja / Uni-On”, as a part of the Vth Miasto Otwarte / Open City Festival, Lublin, Poland (curator — Anda Rottenberg)
2013 — “W sercu kraju / In the Heart of The Country”, Museum of Modern Art in Warsaw, Warsaw, Poland
2013 — “Система координат / System of Coordinates”, YermilovCentre, Kharkiv, Ukraine (organisers — Alina Kleitman, Uliana Bychenkova)
2014 — “Локаут / Lockout”, Visual Art Centre, Kyiv, Ukraine (curators — Oksana Briukhovetska, Stanisław Ruksza)
2014 — “Тень сомнения / The Shadow of Doubt”, Garage Contemporary Art Museum, Moscow, Russia (curators — Ilya Budraitskis, Maria Tsjechonadskich)
2014 — “Deprivation”, as a part of The Rise of Eastern Culture / Another Dimension 2014 festival, Arsenal, Białystok, Poland (curator — Monika Szewczyk)
2014 — “Freedom on The Barricades?”, Växjö Konsthall, Växjö, Sweden (curator — Martin Shibli)
2014 — “Sister Europe”, Kunstraum Lakeside, Klagenfurt, Austria (curator — Lesia Prokhorenko)
2014 — “Ten Thousand Wiles and a Hundred Thousand Tricks”, as a part of the VII Meeting Points Festival, Institute of African Studies, Moscow, Russia (curators —What, How and for Whom/WHW group)
2014 — “The Ukrainians”, галерея DAAD, Berlin, Germany (curator — Беттіна Кляйн)
2014 — “Through Maidan and Beyond”, Віденський архітектурний центр, Vienna, Austria (curators — Леся Прокопенко, Катерина Тейлор)
2015 — “Грамматика свободы / пять уроков. Работы из коллекции Arteast 2000+ / Grammar of Freedom/ Five Lessons. Works from Arteast 2000+ Collection”, Garage Museum of Contemporary Art, Moscow, Russia (curators — Zdenka Badovinac, Snejana Krasteva, Bojana Piškur)
2015 — “All the World’s Futures”, 56th Venice Biennale (curator — Okwui Enwezor), “Hope”, National Pavilion of Ukraine (curator — Björn Geldhof), Arsenale, Venice, Italy
2015 — “Balagan! Contemporary Art from The Former Soviet Union and Other Mythical Places”, as a part of Nordwind Festival, Momentum Platform, Berlin, Germany (curator — David Elliott)
2015 — “Becoming by Recalling”, Passagen Konsthall, Linköping, Sweden (curator — Susanne Ewerlöf)
2015 — “Gimme Shelter: Forts and Fictions in The Lowlands”, Fort Asperen, Asperen, Fort Nieuwersluis, Nieuwersluis, Kunstfort bij Vijfhuizen, Vijfhuizen, Netherlands
2015 — “Global activism”, Center for Art and Media ZKM, Karlsruhe, Germany (curator — Peter Weibel)
2015 — “Imagined Communities, Personal Imaginations”, as a part of Private Nationalism Budapest project, Kiscelli Múzeum, Budapest, Hungary (curator — Edit András)
2015 — “Least the Two Seas Meet”, Museum of Modern Art in Warsaw, Warsaw, Poland
2015 — “Our National Body”, Arsenal Gallery, Białystok, Poland (curator — Monika Szewczyk)
2015 — “Phone Calls from the Cemetery and Other Stories”, Academyspace, Academy of the Arts of the World, Cologne, Germany (curators — Ekaterina Degot, David Riff)
2015 — “Politics of Form”, GfZK Contemporary Art Museum, Leipzig, Germany (curators — Hedwig Saxenhuber, Georg Schöllhammer, Franciska Zólyom)
2015 — “The School of Kyiv – Kyiv Biennale”, House of Clothing, Lviv, Ukraine (curator — Georg Schöllhammer)
2016 — “Наше національне тіло / Our National Body”, Taras Shevchenko National Museum, Kyiv, Ukraine (curator — Monika Szewczyk)
2016 — “A Sence of History. The Video Art Collection of Neuer Berliner Kunstverein at Nordstern Video Art Center”, Nordstern Video Art Center, Gelsenkirchen, Germany (curators — Marius Babias and Kathrin Becker)
2016 — “Photography Today: Distant Realities”, Pinakothek der Moderne, Munich, Germany
2016 — “Sentsov’s Camera”, GfZK Contemporary Art Museum, Leipzig, Germany (curator — Kateryna Mishchenko)
2016 — “The School of The Devil”, Vienna Department of The School of Kyiv, Sandleitenhof, Vienna, Austria (curators — Hedwig Saxenhuber, Georg Schöllhammer)
2016 — “Universal Hospitality”, as a part of Into the City chapter of the Wiener Festwochen Festival, Vienna, Austria (curators — Ilona Németh, Birgit Lurz, Edit András, Wolfgang Schlag)
2016 — “The School of Prosperity”, as a part of The School of Kyiv MUSA Museum, Vienna, Austria (curators — Hedwig Saxenhuber, Georg Schöllhammer)
2016 — “Your Country Doesn’t Exist”, Art Radionica Lazareti, Otok Gallery, Dubrovnik, Multimedia Culture Center, Split, Croatia
2016 — “Дослідницька платформа: Провина / Research Platform: Guilt”, PinchukArtCentre, Kyiv, Ukraine (curator — Tatiana Kochubinska)
2017 — “Borderline Conditions”, MERES, Nicosia, Cyrpus
2017 — “If Seeing is Believing”, Fullersta Gard Museum, Stockholm, Sweden (curator — Susanne Ewerlöf)
2017 — “It Won’t Be Long Now, Comrades!”, Framer Framed Gallery, Amsterdam, Netherlands (curators — Katia Krupennikova, Inga Lāce)
2017 — “Postponed Futures”, GRAD Gallery, London, United Kingdom (curator — Nikita Kadan)
2017 — “The Image of War”, Bonniers Konsthall, Stockholm, Sweden (curator — Theodor Ringborg)
2017 — “Uwaga! Granica / Attention! Border”, Laribynt and Arsenal Galleries, Białystok, Poland (curators — Monika Szewczyk, Waldemar Tatarczuk)
2017 — “Your Country Doesn’t Exist”, Museum of Modern and Contemporary Art, Rijeka, Croatia
2018 — “Warsaw Under Construction 10. Neighbours / Сусіди”, Cepelia pavilion, Warsaw, Poland (curators — Anna Kravets, Yustyna Kravchuk, Oleksii Radynskyi, Ruslana Koziienko, Serhiy Klymko, Vasyl Cherepanyn, Nataliia Neshevets, Oksana Briukhovetska, Ganna Tsyba)
2018 — “Restless Monuments”, Zilberman Gallery, Istanbul, Turkey (curators — Bettina Klein, Naz Cuguoğl)
2019 — “ВУФКУ. Lost & Found”, Dovzhenko Centre, Kyiv, Ukraine (curators — Stanislav Menzelevskyi, Anna Onufirenko, Oleksandr Teliuk)
2019 — “After Leaving / Before Arriving”, 12th Kaunas Biennial, rail station, Kaunas, Lithuania
2019 — “Never Again. Art Against War and Fascism in 20th and 21st Centuries”, Museum of Modern Art in Warsaw, Warsaw, Poland (curators — Sebastian Cichocki, Joanna Mytkowska, Łukasz Ronduda, Aleksandra Urbańska)
2019 — “Picture This. Selected Pasts, Subverted Facts”, Budapest Gallery, Budapest, Hungary (curators — Nikolett Erőss, Flóra Gadó)
2019 — “Tale of Novorossiya”, Arsenal Gallery, Poznań, Poland (curator — Monika Szewczyk)
2019 — “Озброєні та небезпечні / Armed and Dangerous”, Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine
2019 — “Перетинаючи межу / Crossing Lines”, PinchukArtCentre, Kyiv, Ukraine (curators — Björn Geldhof, Martin Kiefer, Alicia Knock)
2019-2020 — “At the Front Line / На лінії фронту”, National Museum of Cultures, Mexico, Oseredok Ukrainian Cultural and Educational Center, Winnipeg, Canada (curators — Svitlana Biedarieva, Hanna Deikun)
2020 — “Transgressions of the Real”, Büchsenhausen art space, Innsbruck, Austria (curator — Andrei Siclodi)
2021 — “5 років тому / 5 Years Ago”, Voloshyn Gallery, Kyiv, Ukraine
2021 — “Автор у грі / Artist in the Game”, YermilovCentre, Kharkiv, Ukraine (curators — Sergiy Lebedynskyy, Oleksandra Osadcha, Nadiia Bernard-Kovalchuk)
2021 — “Вернхє Синьовидне. Вигляд з тунелю / Verhnye Synovydne. View from the Tunnel”, Detenpyla Gallery, Lviv, Ukraine (curator — Pavlo Kovach)
2022 — “A War in the Distance: Exhibition”, as a part of steirischer herbst Festival, Neue Galerie / Universalmuseum Joanneum, Graz, Austria (curator — Ekaterina Degot, David Riff)
2022 — “Artists for Ukraine”, Q21 Platform, Vienna, Austria (curator — Хедвіг Заксенубер, Георг Шьольхаммер)
2022 — “Can You see What I see”, Lentos Art Museum, Linz, Austria
2022 — “Chain Reaction: Film and video works from Ukraine”, МАХХІ — National Museum of 21st Century Art, Rome, Italy (curators — Mykola Ridnyi, Alessandra Troncone)
2022 — “Home and Abroad”, Art Museum, Olomouc, Czech Republic (curator — Barbara Kundračíková)
2022 — “MATERIAL NATION – Grenzen ins Ungewisse”, Uranian Berlin, Berlin, Germany (curators — Fanny Hagmeier und Leonie Kubigsteltig)
2022 — “Tangled Hierarchy 2”, as a part of the 5th Kochi-Muziris Biennale, John Hansard Gallery, Southampton, United Kingdom (curator — Jitish Kallat)
2022 — “The little bird must be caught’”, as a part of the 13th Survival Kit’13 Festival, Latvian Centre for Contemporary Art, Riga, Latvia (curator — Iliana Fokianaki)
2022 — “Ukraine: The Path to Freedom”, Noorderlicht, Groningen, Netherlands (curators — Kateryna Radchenko, Wim Melis)
2022 — “Visions of Ukraine”, Museum Folkwang, Essen, Germany (curator — Mykola Rydnyi)
2022 — “You Know That You Are Human @ POINTS of RESISTANCE V”, Zion Chruch, Berlin, Germany (curator — Kateryna Filyuk)
2023 — “Früchte des Zorns”, Haus am Lützowplatz, Berlin, Germany (curators — Eleonora Frolov, Kateryna Rietz-Rakul)
2023 — “Global Spotlight: Video Art from Ukraine”, Museum of Contemporary Art Arlington, Arlington, USA
2023 — “To Watch the War: The Moving Image Amidst the Invasion of Ukraine (2014 – 2023)”, BAK, Utrecht, Netherlands (organisers — Olexii Kuchanskyi, Wietske Maas)
2023 — “Kaleidoscope of (Hi)stories”, Albertinum, Dresden, Germany (curators — Tetiana Kochubinska, Maria Isserlis)
Curatorial projects:
2009 — “Нова історія / New History”, Kharkiv Art Museum, Kharkiv, Ukraine (разом з Ганною Кривенцовою та Галиною Кукленко)
2011 — “Новояз / New Lanugage”, minor gallery of Mystetskyi Arsenal, Kyiv, Ukraine
2014 — “Після перемоги”, YermilovCentre, Kharkiv, Ukraine
2018 — “Saber, Deer, and Spinning-Wheel”, Stanytsia Luhanska Local History Museum, Stanytsia Luhanska, Ukraine
2019 — “Озброєні та небезпечні / Armed and Dangerous”, YermilovCentre, Kharkiv, Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine
2022 — “Film of Emergency / Ukrainian Experimental Film and Video Art”, Kvadrat 500 National Gallery, Sofia, Bulgaria
2022 — “Visions of Ukraine”, Volkwang Museum, Essen, Germany
2022 — “Chain Reaction: Film and video works from Ukraine”, МАХХІ — National Museum of 21st Century Art, Rome, Italy (curators — Mykola Ridnyi, Alessandra Troncone)
2023 — “Talking About Myself? Talking About You”, Voloshyn Gallery, Kyiv, Ukraine, DAAD gallery, Berlin, Germany, Stadtkino, Vienna, Austria
Кінофестивалі та відеопокази:
2016 — “The Specific Emotional: Between the Repetition and the Event”, Liljevalchs, Stockholm, Sweden (curator — Aleksei Borisionok)
2017 — 8th International Film Festival, Odesa, Ukraine
2017 — Docudays UA International Human Rights Documentary Film Festival, Kyiv, Ukraine
2018 — 27th DokumentArt Festival, Neubrandenburg, Germany
2018 — 35th Kassel Documentary Film and Video Festival, Kassel, Germany
2019 — “Alter Media / Transmediale”, House of World Cultures, Berlin, Germany
2020 — 11th International Cinema Festival, Odesa, Ukraine
2020 — 24th International Short Film Festival Winterthu, Winterthur, Switzerland
2020 — 49th International Film Festival, Kyiv, Ukraine
2022 — “A Letter from the Front”, Castello di Rivoli, Turin, Italy (curators — Nikita Kadan, Giulia Colletti)
Catalogues:
At the Front Line: Ukrainian Art, 2013–2019. Ed. by Svitlana Biedarieva, Hanna Deikun. Kyiv: International‘Renaissance’ Foundation, 2020. Published for the exhibition At the Front Line: Ukrainian Art, 2013–2019 at the National Museum of Cultures, Mexico, Oseredok Ukrainian Cultural and Educational Center, Winnipeg, Canada.
Mykola Rydnyi. Wilk w worku/ Wolf in a Sack. Białystok: Galleria Arsenal, 2019. Published for the exhibition Wilk w worku/ Wolf in a Sack at Arsenal Gallery, Białystok, Poland.
Twarzą do ściany / Facing the wall / Обличчям до стіни. Białystok: Galleria Arsenal, 2019. Published for the exhibitionTwarzą do ściany / Facing the wall / Обличчям до стіни at Arsenal Gallery Białystok, Poland.
Monographs, scientific publications, books:
Barshynova, Oksana, and Olena Martynyuk. “Ukrainian Art of the Independence Era: Transitions and Aspirations”. In From “the Ukraine” to Ukraine. Norstedt: BoD – Books on Demand, 2021.
Lozhkina, Alisa. “Rebooting the Kharkiv School: SOSka”. In Permanent Revolution:Art in Ukraine, the 20th to the Early 21st Century, 426-432. Kyiv: ArtHuss, 2020.
Revisiting Footnotes: Footprints of the Recent Past in the Post-socialist Region. Ed. By Astahovska Ieva, Inga Lāce. Riga: Latvijas Laikmetigas makslas centrs, 2015.
Svietlana Biedarieva. “The Documentary Turn in New Ukrainian Art”. У Contemporary Ukrainian and Baltic Art. Norstedt: BoD – Books on Demand, 2021.
Weibel, Peter, Can Altay, Sruti Bala, Tatiana Bazzichelli, Olaf Bertram-Nothangel, Ángela Bonadies, Juan José Olavarría, Bruno Latour та Peter Sloterdijk. “Global Activism : Art and Conflict in the 21st Century.” Karlsruhe: ZKM, Center for Art and Media, 2015.
Online publications:
“Art Has Taken On a Therapeutic Role”. После, November 6, 2022. https://posle.media/language/en/art–has–taken–on–a–therapeutic–role/?fbclid=IwAR0XSCbcFhsxhtCXGTgRXA9bItEwmt3LQ8stOrEmZTsbVuBGfANqKg3gBpY.
Lendeczki, Kinga. “Interview with Anna Zvyagintseva, Nikita Kadan and Mykola Ridnyi”. Art Guide East, July 18, 2015. https://artguideeast.com/main-news-stream/2015/07/20/ukraine-biennalevenice/.
Okuneva, Elena. “Virtual Museum of Contemporary Ukrainian Art: Criticism and Art of Mykola Ridnyi”. Huxley, January 20, 2022. https://huxley.media/en/virtualnyj-muzej-sovremennogo-ukrainskogo-iskusstva-kritika-i-iskusstvo-nikolaja-ridnogo/.
Remešová, Anna. “Mykola Ridnyi: Any war is a war of images”. BLOCK, October 28, 2022.https://blokmagazine.com/mykola-ridnyi-any-war-is-a-war-of-images/?fbclid=IwAR0tRpzKVYCqsDhjlW3vetKy0mDxx9JMhljT8pGYirC5N6zhYmDzBo5xZ70.
Ridnyi Mykola. “Points of Pain”. ArtLeaks Gazette, May 2013.https://ia803200.us.archive.org/33/items/ArtLeaksGazette/AL-Gazette-Ridnyi.pdf.
Ridnyi, Mykola. “Foresight, Involvement and Helplessness: The Role of Culture in the Political Transformations in Ukraine”. Krytyka Polityczna & European Alternatives, June 30, 2014. http://politicalcritique.org/cee/ukraine/2015/culture-political-transformations-ukraine/.
Ridnyi, Mykola. “Points of Pain”. ArtLeaks Gazette, May 2013: 51-54.https://ia803200.us.archive.org/33/items/ArtLeaksGazette/AL-Gazette-Ridnyi.pdf
Ridnyi, Mykola. “Ukrainian Museums: Between Two Evils”. ArtLeaks, October 17, 2012. https://art-leaks.org/2012/10/17/ukrainian-museums-between-two-evils/.
Timofejev, Sergej. Mykola Ridnyi and registers of reality. artterritory, September 29, 2022.https://arterritory.com/en/visual_arts/reviews/26361-mykola_ridnyi_and_registers_of_reality/.
Werner, Anna-Lena. “Interview: Myloa Ridnyi”. artfridge, November 8, 2022. www.artfridge.de/2022/11/interview-mykola-ridnyi.html?m=1&fbclid=IwAR3J8LPEU4mkRhaQs74QCLrXuRwW9jlQ3RYLX6pz_IaTBIAaLZAGUmW05Xs#more.
Герман Лізавета, and Світлана Лібет [German, Lizaveta, and Svitlana Libet]. “Група SOSka: Як формувалася спільнота довкола сучасного мистецтва в Харкові 2000-х”. YourArt, March 16, 2021.https://supportyourart.com/conversations/grupa-soska-yak-formuvalasya-spilnota-dovkola-suchasnogo-mystecztva-v-harkovi-2000-h/.
“Ідентифікація сучасного мистецтва і головний ворог художників: інтерв’ю з Миколою Рідним”. Громадське радіо, April 12, 2020. https://hromadske.radio/podcasts/arttycool/hroshi-v-mystetstvi-i-holovnyy-voroh-khudozhnykiv-interv-iu-z-mykoloiu-ridnym.
Кадан, Никита [Kadan, Nikita]. “Николай Ридный о среде обитания”. Prostory, May 24, 2009.https://archive.prostory.net.ua/de/art/206-2009-05-24-12-16-13.
Касьянова, Дарья [Kasianova, Daria]. “Мертвая зона: Как мы видим войну”. Bird in Flight, February 17, 2022.https://birdinflight.com/ru/plitka-ru/20220217-ridny-gradual-loss-of-vision.html.
Носова, Наталья [Nosova, Natalia]. “‘Искусство всегда срабатывает’: как художники занимаются тяжелыми моментами истории”. Platfor.ma, October 6, 2016. https://platfor.ma/magazine/text-sq/re-invent/iskusstvo-vsegda-srabatyvaet/.
Ридный, Николай [Ridnyi, Nikolai]. “Письмо из Харькова: стрит-артист как сообщник власти”. OpenSpace.ru, February 8, 2012. https://os.colta.ru/art/projects/121/details/34148/.
Ридный, Николай, and Анна Кривенцова [Ridnyi, Nikolai, and Anna Kriventsova]. “Перспективы лабораторности”. Художественный журнал, no. 73-74 (2009). http://moscowartmagazine.com/issue/20/article/304.
Ридный, Николай [Ridnyi, Nikolai]. “Группа ʼSOSкаʼ и среда обитания”. Диалог искусств, June 12, 2014.https://di.mmoma.ru/news?mid=1914&id=705
Ридный, Николай [Ridnyi, Nikolai], Давид Тер-Оганьян та Александра Галкина. “Работать вместе”. Художественный журнал, no. 79-80 (2010). https://moscowartmagazine.com/issue/17/article/244
Ридный, Николай [Ridnyi, Nikolai]. “Искусство стало играть терапевтическую роль”. После, November 6, 2022.https://posle.media/iskusstvo–stalo–igrat–terapevticheskuyu–rol/.
Ридный, Николай [Ridnyi, Nikolai]. “Майдан: между искусством и жизнью”. Художественный журнал, no. 91 (2013). https://moscowartmagazine.com/issue/5/article/24
Ридный, Николай [Ridnyi, Nikolai]. “Менять правила”. Художественный журнал, no. 89 (2013). https://moscowartmagazine.com/issue/8/article/91.
Рідний, Микола [Ridnyi, Mykola]. “Мішок, балаган і націоналізм: образ анархістів у радянському та пострадянському кіно”. CreatingRuin, June 10, 2020. https://creatingruin.net/project/ridnyiukr.
Рідний, Микола [Ridnyi, Mykola]. “Мода на саморуйнування. Чому культ сили в молодіжному середовищі може призвести до трагічних наслідків”. Заборона, December 17, 2018. https://zaborona.com/moda-na-samorujnuvannia-chomu-kult-syly-v-molodizhnomu-seredovyshchi-mozhe-pryzvesty-do-trahichnykh-naslidkiv/.
Рідний, Микола [Ridnyi, Mykola]. “ʼОзброєні та небезпечніʼ: Проблемний період”. Заборона, January 25 2019. https://zaborona.com/ozbroieni-i-nebezpechni-problemnyj-period-kolonka-mykoly-ridnoho/.
Рідний, Микола [Ridnyi, Mykola]. Події в Україні були й будуть предметом моєї художньої рефлексії. Pymonenko Family Art Projects, July 2, 2017. http://artinukraine.com/uk/mikola-ridnij-podiyi-v-ukrayini-buli-j-budut-predmetom-moyeyi-hudozhnoyi-refleksiyi/.
Рідний, Микола [Ridnyi, Mykola]. “Хороший, поганий, інший: інституційна критика в українському мистецтві”.Заборона, February 11, 2022. https://zaborona.com/instytuczijna–krytyka–v–ukrayinskomu–mystecztvi/.
Семеник, Оксана [Semenik, Oksana]. “Мыкола Ридный: ʼВ отношении печальных страниц истории сейчас все пытаются выглядеть хорошими и незапятнаннымиʼ”. Korydor, November 14, 2018. http://www.korydor.in.ua/ua/opinions/mykola–ridnyj.html.
Серебрякова, Наталя [Serebriakova, Natalia]. “Мені не байдужий політичний клімат”. Korydor, January 17, 2021.http://www.korydor.in.ua/ua/opinions/mykola–ridnyj–meni–ne–bajduzhyj–politychnyj–klimat.html.
Шиллер, Валерія [Shiller, Valeria]. “Микола Рідний: ‘Ми звикли до того, що майбутнє — це те, чого ще не сталося, і це не зовсім справедливо відносно до майбутнього'”. Artslooker, March 12, 2021. https://artslooker.com/mykola-ridnyi-we-got-used-that-future-is-what-hasnt-happened-but-its-not-totally-fair-to-the-future/.
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