Kadyrova’s asphalt series is a multifaceted project, uniting several, at first glance, disparate artistic practices. On one level of interpretation it can be considered a commentary on the transformations that Kyiv’s urban space underwent during preparations for the Euro 2012 football championship. The city was actively renovated and beautified in anticipation of foreign visitors. The renovation of roads became one of the main objects of this process. In the months leading up to the tournament the reconstruction and replacement of the roads reached such proportions that the entire city was full of piles of discarded pieces of asphalt. In this expired asphalt the artist saw a portrait of the city now passing into history. Following the artistic strategy of the readymade, Kadyrova decided to create a collection of Kyiv’s streets out of fragments of asphalt roads. The fact that the objects in this series were not created specially for an art space but collected on the city streets adds an unmistakable social aspect to the interpretation of this project. These objects serve as a clue, a certain metaphorical trampoline that catapults the viewer into the field of social reflections, forcing him/her to think about the problems of the city’s infrastructure as well as its historical development. Upon entering the exhibition space, the asphalt is instantly endowed with not only social but also formal-aesthetic ideas, balancing on the verge of installation object, sculpture and painting. Kadyrova intensifies this indeterminacy of genre by scrupulously selecting pieces of asphalt, looking for already