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The last exhibition. The book

Exhibition plan 2010

Early February in "Aidan gallery" I show a  work "Indoor Plant. Full Version". It will look like psychedelic, impassable composition made of scrap metall in a genre of installation. Thus a specific marathon will start and it will be continued by a difficult and complex work, quite nice and interesting - a sort of  grand serious Art.

"Golden Fleece" in the Antique halls of the Hermitage museum is an absurd and eccentric situation in the spirit of our Time of Trouble. For this project I apply rust, it is a unique universal material and module.  

Shortly after "Golden Fleece" I will show "Hummer" in Gisich Gallery. Hummer is equivalent to the image of modern system of values. It is an idol, its contours are being drawn by our imagination about dream.

In March I'll have a solo exhibition "Continuation of Display"' in the Moscow Museum of Modern Art in Ermolaevsky lane. In that project opposite elements - polarities will coexist in the single space denoted conventionally.

"Continuation of display" is traditional sign for any museum. Using of phrases from everyday life is quite typical for me, for example the names of my earlier projects are "Household devises", "Institution of Culture", "Special place", "36 positions", "Sculpture and Painting". "Continuation of Display" is a main and final project of my 4-part marathon. This exhibition is about tightness and excluding, about movement and interaction, about contacts and confrontation. Marathon will be over by continuation.

The four parts of this project  explore the limits of formats of private galleries and state museums. At the same time this marathon is devoted to the unity and integrity of common, infinite and limitless Art space. By the means of substitution and delicate provocation of traditional technologies of contemporary art I'd like to bring up an issue on the agenda. My question is: what, where and why has or has no right to exist?  Museum piece or gallery product?

December 2009


In Russian language the word communications besides its meaning in English, means also utility lines and is used in a context of technical wires, pipes and equipment for the feeding of electricity, water and gas. Utility lines is something that is hidden behind special panels, floor and ceiling.An artist is looking for the links, the links between everything in the world, he turns invisible into visible.Art exhibitions reveal the process of interaction, connection between people. What I devote this work to are parallels, intersections, junctions, points of contact, beginning and continuation of infinity.


This work is about visible and invisible, about special and casual, about real and unreal, about true and fictitious, about all in the Universe. Two territories for my work indicated by the curator gave me an idea of an approach to the space. Place No.1 is a point of entrance, place No.2 is a point of exit. In the place at the entrance the utility lines emerge. Part of them as images are drawn on the walls, some of them are outlined with metal contour. They start in some points, go into the others, come back into the walls, floor and ceiling. At the exit one can meet them again, as if they have penetrated the Arsenal throughout. They were invisible through the exhibition, but at the exit they appeared again.


June, 2009


The hole on the territory of the exhibition centre Nord Art is a very special place, a complex and interesting element of the industrial architecture.

Each year the hole was a source of persistent temptation for many artists. This year the curator of the NordArt Wolfgang Gramm gave his blessing to me and I submerged into the depth of this industrial interior and started to develop it. My installation is called "Bunker". The "Bunker" is a long-term project. Carrying on the dialogue with my countrymen artists Andrey Rudyev and Petr Shvetsov I occupy my corner in the hole where I create a model of comfortable existing in the artistic environment. We were invited to the Nord Art for the third time. This is the third summer in succession. Due to the regularity and appropriateness of the season of the year and of location of the place it do remind the summer holidays in a village cottage or in dacha. It makes possible to make a project "to be continued" amplifying, supplementing and transforming it later on. In 2009 I sat myself a task of maximal clearing of the room and making it accessible for the work on the "Communications" subject first presented at the Venice Biennale. The link between these two projects in Venice and Budelsdorf is very strong as they continue and amplify each other.

"Bunker" appeared as a result not of a simple alteration but transformation, not of an intrusion but a penetration, interchangeability and succession. Submerging into the hole and its accessibility for the spectators means the transition to the lower level of the space what is absolutely in tradition of the Nord Art where each year the new doors are opened and the boarders of the exhibitions are extended.  

Overstraining as an essential part of the creative activity

To penetrate into the space is like to have it.  It is a process hidden from the view of the public. I don't think it is necessary to turn the technical part of the project into the performance. Just a few people know how this or that work was created. There are not so many people who witness  the process of the preparation of the space before it becomes the work of art. Those who could estimate the artistic significance of this action do not observe it and do not think of its existence. Those who watch and know what I do could not take my activity as artistic. Lately I often feel the creative reflex while doing some absurd work not applying to the art during the preparation of the ground for the installation. Taking away a rubbish, painting walls, moving heavy loads, replanning are those conditions which help me to make up my mind what I'm doing. Every following time I need obstacles to become more difficult, the amount of the rubbish to be cleaned and the weigh of materials to increase.  The preparation takes more and more time than the project to which it was meant. They always tell me: "Anya you will knock yourself up" but on my part I think that my activity is more important than unchangeable final result. 

The project «Communications» is devoted to the links between all the parts of the Universe. It is about real world and invented world. It is about coexistence of art and everyday life which is not less interesting.

June, 2009

Thing for Love

Recently I had an exhibition called "Thing for Love" in Moscow Museum of Contemporary Art. This series of work was devoted to drawing attention to negligent attitude to the things, which had been a part of our being not long ago, and now they turn into easily unloved, thrown away, not needed. Thus, I didn't try to raise them to the rank of favorites, I tried to touch upon an issue concerning disappearance of such a quality as delicacy. I believe that delicacy as it is will be more loose, and progressing technological world, which  is more and more attractive to mankind, will turn into reflex of consumption of inanimate nature and wildlife.

December, 2007

Scheme of Space non-elementary happiness

This way Scheme of  Space 1 appeared.

I supposed that an artist is able to see more than other people can, because the artist also see through things. Recallecting academic constructive drawing, basics of construction of space in  plane, ways of  perspective drawing by means of graphical line, I created a somewhat spoonerism, returning illusion into a real space.

In Scheme of Space 1 the names and quantity of objects indicate existence of one man in space. Scheme of Space 2 forms a model of nonelementary happiness where two people live. Where is the end of neuterism and nonbelonging of things? What is a characteristic of nonloneliness? What out of objects can belong to W or M?

March, 2007

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