The decay time of metastable states

Main theme of the project  lays on the border between the abstract idea and its material embodiment. 
The project is based on a diploma Natalia performed  during her study on physics department. On the exhibition the scientific research takes shapes of  text, video and ceramic sculpture. 
Taking theory of physics as pure abstraction, Natalia doesn't simplify science work for the audience. In contrary of that she proposes to consider the physical investigation as an artwork. Ceramic sculpture is not able to illustrate an abstract concept, and, passing through the requirements of the plastic and artistic language, it makes the understanding of science work more complicated. Focus of the viewer switches from the material object of the sculpture to the non-material processes described in video. The flats of the visual and abstract concepts intersect and form new space - mathematical calculations start to take forms of political, artistic and aesthetic expression.
Investigation of paradox becomes a unifying element between art and science.





No words|no war


The project consists of a series of photos placed insight light boxes, so the viewer can see photo with and without filter. Through ordinary glass, viewer sees the original image, where soldiers and people are painted with red color. When the viewer looks at photo through the filter everything red disappears, and only deserted landscape stays.

In the project “No words – no war” author analyzes properties of human memory and its reaction to such traumatic event as war. In the perception of a person outside the war, the war is always something ephemeral, something that does not happen in real life, what is not in the "here and now", whether it is about the past or today's war. Memory and imagination are working selectively and present images and stamps instead of real people in order to depersonalize evidence of the war. The same as paint and filter for photo, our memory allows to distance and to create a view of the war as an illusion with phantoms. No one died, and the war - it's always somewhere out there behind the screen.






Проект «Цифры» состоит из результатов исследования  методов и анализа собственного восприятия Блокады Ленинграда. Я ищу способ представить масштаб трагедии в понятных величинах, используя  аналитические, технические и визуальные  методы. Пытаясь отбросить субъективные ощущения, я обращаюсь к официальным источникам, и останавливаюсь на тексте Нюрнбергского процесса как наиболее полной и распространенной документации последствий Второй Мировой Войны. Работа с данным материалом усложняется не только его масштабом (весь конспект Нюрнбергского трибунала  состоит из 42 томов), но и языковым барьером – текст в полном объеме никогда не был опубликован на русском языке.

В первом видео и объекте «Миллион» я опираюсь на данные о количестве жертв Блокады.  Когда мы слышим «один миллион», «двадцать восемь миллионов», «пять тысяч» и т.д., мы не в состоянии связать эти числа с реальной жизнью, реальными людьми. Опираясь на два источника – цифры Нюрнбергского процесса и примерные подсчеты историков, – я пытаюсь перевести миллион человеческих жертв в более понятные величины. Впечатляет не только количество жертв, но и разница в статистических данных из разных источников. Сухой, неживой язык цифр только усиливает эффект обесчеловечивания жертв. Бездушный, антигуманистический подход статистики с  округлением и деперсонализацией усиливает эффект отчуждения и деперсонификации.

В следующем эксперименте, показанном в видео «Shotgun Experiment», представляется полный текст Нюрнбергского процесса. Здесь я использую фрагментирование как научный подход. Подчеркивая невозможность вместить текст Нюрнбергского процесса в хронометраж собственной жизни, а тем более в хронометраж выставки, я выбираю отдельные части текста, чтоб затем экстраполировать результат на весь процесс.

Продолжая исследование, показавшее несоизмеримость масштаба трагедии Блокады с масштабом человека, я прибегаю к техническим возможностям, которые предоставляют технологии XXI века. Я  прогоняю текст через программу по воспроизведению звука. Примиряясь с собственной ограниченностью, я возлагаю функцию анализа и принятия на компьютер, даю ему возможность «проговорить» то, что остается невысказанным. Результаты  эксперимента представлены в видео «Big data».

В итоге, эксперименты и исследования  формируют ряд бессмысленных действий. Стройная логика машины или математики усиливает эффект бессмысленности и бесчеловечности войны. Цель экспериментов эгоцентрична. Они не приводят к каким-то выводам или результатам. Испытывая постоянное чувство вины за свою ограниченность, я ухожу в мир логики и цифр, которые должны помочь мне осознать и принять масштаб трагедии, и перевести ее в разряд случившегося.




Diary of Lugansk


The video was created from two news releases describing one day of April 14, 2014 in Lugansk. Author mixes video and sound  from reports of two leading channels in Ukraine and Russia, imposing  the russian sound to ukrainian video and vice-versa . The author proposes to start the game and provokes the active spectatorship. This work creates a sense of confusion, manipulation experienced by anyone turned in the media field. Video is trying to "reconcile" the two sides to show their similarity in the scenery and techniques, and also differences in the interpretation and terms.




Open:space (with the help of Natalia Rodionova)


The project consists of poetry and 3 seconds looped video. The verses which tell of some cosmic accident, are written during the work day in “open space” office.  In the title of video author emphasizes the connection of video with office life - tea cup, paper, machinery lights. The author tries to cling to images of everyday life, which in his imagination give birth to soak up stories since childhood late Soviet fiction. Space for a person of the 21st century – it’s not something from the future, and it is not a part of utopia that existed in the Soviet Union, it is the impossible thing of now, which helps to step back from the recurring reality. Oppositely to the Kabakov’s hero, the hero of “Open:space” will never get to the space. He is expecting it somewhere on the way from home to work.






The project was made in Helsinki as part of «Cabinet of Curiosities».

Since the Dushan’s Fountain the difference between art object and non-art was almost erased. Nowadays it’s complicated to designate exactly what brings “art” to non-art object. These boundaries are almost disappeared, but we cannot say that they do not exist at all. Walking through the city I investigate the natural environment and this phenomenon of created art from non-art objects. With my tape I mark what I conceder to be an art object, in the same time creating it. This visualization shows the paradoxical nature of the art object.


Cube - not cube

This sculpture consists of 13 pieces  with different forms and colors, all of them form the cube. It's an abstract sculpture, sharade and  park furniture. For me it was important to create a piece of art which will be also a urbanistic object. By solving the sharade  the visitors of park are involved in art process. 




This work presents my contemplation and reflection on the situation with academic official supported arts and artists, "grew up" in the government academic environment in Russia today.

During our stay in Helsinki we were asked by the question - whether there are markers that define the face of modern Russia, bearing in mind what is Alvar Aalto and Scandinavian design for Finland. I was 

thinking about this issue. Of course, the history and culture of Russia is extremely rich, but for the country “Russian Federation” where we live now, to find the one obvious opinion will be difficult. In my canvases I try to answer this question and to reproduce an image, a reflection of the "official culture" of the last twenty years, with its kitsch, endless quotations, replicas and emphatically decorativeness. My canvas presents the series of endless copied souvenirs which I found in Saint Petersburg. I use a souvenir because it is a "trace touch to a single axis of urban memory." I'm trying to portray them on canvas with paranoid care, using academic method - infinite copying. Just as a student of the Academy of Fine Arts, I try to maximize identity with a given material, and do it completely irrational, as if his victim trying to prove that I am an artist.



This video is a game between body, art and publicity. It shows the lesson of drawing in the Art Academy.The camera is concentrated on the drawing, which presents nude male body. Affinity and slow motion of camera forces the effect of intimacy and eroticism of this moment. From one side it is nude male body, but from another side it is the piece of "etude" included into the everyday study practice. This video poses question where is the border in perception of the nude body.


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The series of canvas was constructed based on the signs and symbols taken from surrounded information field. Usually they have a utilitarian function, visual aesthetics and the information message. When they are  placed into the exhibition space,  their function disappears, and new meanings acquire.