Peter Doroschenko: The theme of the show came out of a film by a Ukrainian film maker Alexander Dovzhenko, A Poem about an Inland Sea, who spent his whole life, and especially in his last script which was never produced as a film, asking who are the Ukrainians, where are the Ukrainians and what does it mean to be Ukrainian? When you have over 100,000 Brits and Americans living in Kyiv alone and 40,000 Germans, etc, etc, every fifteenth person that is walking down the street is from somewhere else and so why not ask outsiders to answer those three questions that Dovzhenko asked in the film under the umbrella of the exhibition title, Poem about an Inland Sea. Juergen Teller actually did a major photo shoot for W Magazine and this is actually the outcome for the exhibit, so each artist dealt with it in a completely different way. Juergen Teller: I really enjoyed being there and I really loved the people there - very friendly. They were extremely open to be photographed. Observing it and have fun with it, you know? So what’s there I pick up and use. Peter Doroschenko: Sam Taylor-Wood created three new videos for us and these works are very much about painting and video, the whole aspect of that kind of bridge between them. Sam Taylor-Wood: I think it was an interesting idea to make a mixture of internationalities and Ukrainian ones. I think you know it just brings a different audience in possibly and it opens up a whole lot of debate about national identity I think. Peter Doroschenko: You have Serhiy Bratkov who created brand new work about a steel factory in Dnipropetrovsk.which is on the River Dnipro, a major industrial zone and then you have Dzine who actually lives in a Ukrainian neighbourhood in Chicago so you are surrounded by the Ukrainians. Dzine: It kind of felt strange doing a project about Ukrainian identity because I am from Chicago and I am Porto Rican and I didn’t know how to approach the whole subject. So when I was there I did some investigating and I found that there is a river called the Dnipro River and it separates old and new Kyiv. So the concept that I came up with was creating a vessel or a platform. I wanted to create a voice that goes from old to new and the river kind of symbolised this so I thought the best way was to make a boat. Peter Doroschenko: You have Boris Mikhailov, kind of the grandfather of the Ukrainian art scene, going to Kharkiv, his home town where it all started for him and really examining the people, his neighbours, more so than ever before and really kind of unearthing the underbelly of society in Kharkiv. Boris Mikhailov: I try and find what is important now in my country and what is important for my eyes and I find that I have stretched over this in my picture. Peter Doroschenko And of course Mark Titchner adding something very unique. I like Mark’s thought processes and how he makes his work and how he thinks about the work. I think he actually exceeded any of my expectations by both the moving piece and the text piece. Mark Titchner: I am not Ukrainian but it doesn’t mean that it isn’t an interesting proposition for an artist to try and work out a way of making works for a pavilion for a country that you are not from. Also, the more I thought about it all those problems to do with nationality and nationhood and also the nature of the Biennale, well I would have had those problems if I was representing a country that I came from too. It’s an interesting source material having to adapt, which is what normally happens for an exhibition anyway.