Born in the Ukrainian SSR (today Ukraine).
Oksana Gurinovich's diagrams were shown for the first time at the exhibition "Minsk, Diary of a City" in the winter of 2007/2008 at the Łaźnia Center for Contemporary Art in Gdansk. Following the genre of a diary, the artist modestly and sincerely wrote about how relatively recently she herself learned about a different, pre-Soviet history of Minsk, about how the official historical narrative was constructed and what role urban planning played “in the sacralization of pseudo-history”: “Public space of Minsk arranged according to the principle of the village: all important events take place on the main street. But Minsk, unlike the village, has two of these streets. And they serve successfully for all manipulations of public consciousness. Including a justified tool for the naturalization of manipulated history. What is not noted on the tablets of the capital's center does not exist for folk history. But the seats are for invitees only. In the diagrams, I have collected a few facts to dispel a little the hypnosis of the Minsk myths.”
Diagrams reduce the interconnections of phenomena to their main features. Their main attribute is visibility. They turn viewing into observation and thereby sharpen and sharpen the viewer's analytical gaze. In the diagram about the ideologization of the center, Oksana showed its oversaturation with monuments of the struggle against fascism, expressions of the folk-peasant theme, symbols of Soviet power and Lukashenka's power since 1994. Thus, with the help of monuments, the transformation of Belarusian history became quite obvious.
Graphic visualization of the "Basic Structure of Residential Development" showed that the stalinkas published on all postcards occupy only 2% of urban space. And the diagram of panel modifications formed its own, completely different pattern. The ironic chart showed world celebrities from Belarus.