A RED WORD IS A LIE
2024
video installation, red bench, 08'56"
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The new video essay ‘A red word is a lie’ is a poetic visual study of contemporary Russia through the metaphor of a symptom.
It is primarily based on personal archival materials from Russia, Germany, and Turkey, representing different alarming traces of
socio-political breakage in ordinary life before and after February 24, 2022.
The starting point of the research is the court case of A. Navalny from 2021, when he returned to Russia from Germany after the poisoning with Novichok.
The devastatingly long announcement of the 'final' verdict is visually juxtaposed with the landscape that drags the viewer down.
Furthermore, such notions as imprisonment in a broader sense and the romanization of violence are being actively
developed through the personal video and sound materials of the author, streams of Russian nongovernmental media,
AI-generated files, and abstracts from fictional and documentary movies.
Apart from that, the color «red» plays a special role, referring to the Soviet
and communist heritage
taken outside the initial context and subverted through visual poetics.
PASTORAL
2024
site-specific installation, premium permanent glass decorative Oracal, text in English and German,
size may vary
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A poetic text, primarily in English, is altered through the mixing of Latin and Cyrillic alphabets.
It’s attached in semi-transparent Oracal-foil to two large windows of the Leo Schwarz Foyer in the Gewandhaus in Leipzig, overlooking the park
and the Stalinist architecture on the Roßplatz. The text is a personal artistic monologue about the mother tongue, music, contemporary politics,
and reinvention of own identity in the midst of the ongoing war that Russia has been waging in Ukraine for many years.
Despite the fact that the artist writes a lot about the Russian language, the language itself is physically absent.
KRASN'EN'KO
(SO EXHAUSTED CAN'T EVEN TALK)
2024
different types of wooden plates for furniture (hanged in the following order: 18-19 '2000, 20-22
'2000, 25-26 '2000, 48-49 '2000, 14-15 '2001, 16-17 '2001, 18-19 '2001, '?), steel, acidized zinc,
print on wood, varnish, construction adhesive
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In translation from Russian ‘krasn’en’ko' means reddish. This word is a literal quote by
former Russian president Boris Yeltsin from 2001* when he succinctly
reacted to the
new state anthem, which was clearly just a remake of the Soviet predecessor. In that
one very poetical word lie pain
and loss
of the vague hope for the liberalization of the
new country, administered at that time by the young and promising president.
The work in progress ‘Krasn’en’ko’ is a grieving reflection (reference:
gravestones) on the Soviet past of modern Russian
(reference: ‘Я Молодой’ (I’m
Young)
magazine covers for young people from 2000 and 2001). Apart from the
post-Soviet heritage the culture and traditions of propaganda,
which
traces
could be found in Catholicism (reference: poetic quotes from Matthäus-Passion
by J.S. Bach in collaboration with C.F. Henrici) are being actively subverted.
* – this quote was taken from a documentary film 'Svideteli Putina' (2018) by Vitaly Mansky
IN A MOMENT THINGS WILL CHANGE
(WITH ALL OUR SOULS, EVEN THOUGH YOU HAVE NON)
2022-2023
5 zinc plates 15 x 38 x 0,1 cm, black oil-based paint, acid traces, asphaltic
bitumen, glue, sawdust, 20 sheet-metal screws, dead fly, Russian 10 rub. coin
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