Media activist collective Kafe-Morozhenoe: Nastya Dmitrievskaya, Daria Iuriichuk with the participation of Katerina Shiryaeva
Shown: MMOMA (Moscow Museum of Modern Art). Space For Art. Conflict Check (August 4 — September 26, 2021)
Filming: Avtandil Chachanidze
Editing: Nastya Dmitrievskaya, Daria Iuriichuk
Set design: Katerina Shiryaeva
Make-up: Yasha Zhukova & Alesya Lavrinovich
Publications: Sasha Shestakova. Revolutionary Interruption. Future Studies, 2021
Shown: MMOMA (Moscow Museum of Modern Art). Space For Art. Conflict Check (August 4 — September 26, 2021)
Filming: Avtandil Chachanidze
Editing: Nastya Dmitrievskaya, Daria Iuriichuk
Set design: Katerina Shiryaeva
Make-up: Yasha Zhukova & Alesya Lavrinovich
Publications: Sasha Shestakova. Revolutionary Interruption. Future Studies, 2021
The video essay “Sorry, but I Have to Interrupt You at This Point” looks at the Social Darwinist approach to precarious labor, which remains persistent in multiple contexts, stretching across borders. In “Sorry, but I Have to Interrupt You at This Point,” artists use a local case study – a public discussion about the “Nemoskva” exhibition, which took place in Pushkin museum on September 4, 2020. In the video, they refer to it as a “collective hallucination,” which allows perceiving the reality, crafted by capitalism and the state as only one of the possible worlds. The arguments used by those who maintain the status quo of the capitalist system seem recognizable within multiple contexts both inside and outside Russia. The artists conduct an archeological investigation of the capitalist metaphors and the exploitative language. This language can be easily spotted and recognized in multiple other colonial contexts. Similarly, the language of not “spitting in the well.” (Russian for “biting the hand that feeds you”) seems even too familiar for anyone who has ever engaged in a critique of an institution. The visual metaphors of the exploitative institutional discourse created by “Kafe Morozhenoe” reveal its absurdity and allow for multiple future solidarities based on discontent and disloyalty to art institutions. (Shestakova)
Devised in collaboration with Ada Mukhina, Olga Tarakanova, Alena Papina
Sound design: Leonid Imennyh
Media design: Katya Pislari
Set design: Aleksandra Alekseeva
Light design: Sergey Vasiliev
Performers: Alena Papina, Olga Tarakanova, Daria Iuriichuk, Ksenia Anikeeva, Asya Belaya, Natalya Zaitseva, Nu Simakina.
Premiere — October 1, 2019, At The Meyerhold Theatre Center (Moscow, Russia).
Selected For The Russian Case 2020 Of The Golden Mask, National Theatre Award
Publications: Caries Of Capitalism: A Statement (eng)
Sound design: Leonid Imennyh
Media design: Katya Pislari
Set design: Aleksandra Alekseeva
Light design: Sergey Vasiliev
Performers: Alena Papina, Olga Tarakanova, Daria Iuriichuk, Ksenia Anikeeva, Asya Belaya, Natalya Zaitseva, Nu Simakina.
Premiere — October 1, 2019, At The Meyerhold Theatre Center (Moscow, Russia).
Selected For The Russian Case 2020 Of The Golden Mask, National Theatre Award
Publications: Caries Of Capitalism: A Statement (eng)
A politically engaged participatory performance about precarity, money, and labour in the theatre industry.
Caries (cavity) of Capitalism was born as a joke about the similar pronunciation of the words 'caries' and 'precarious' in a lunchtime conversation in search of commons during a week-long BlackBox Residency at the Meyerhold Theatre Centre in Moscow, unpaid and providing no food and accommodation.
We aimed not only to share our personal experience and concerns but to raise the general awareness of precarity and to mobilize the community. So we invited four more precarious theatre workers to join our team. During the rehearsal month of (modestly) paid work, they designed their projects addressing precarity and exploitation. On stage, they present their ideas to the public and compete for a quarter of the money earned from tickets, while Alena, Daria, and Olga provide information on precarity and reflect on whether Caries of Capitalism could be considered less exploitative than 'BlackBox Residency', or if the performance is just another project that disguises bad working conditions as subversive art.
Caries (cavity) of Capitalism was born as a joke about the similar pronunciation of the words 'caries' and 'precarious' in a lunchtime conversation in search of commons during a week-long BlackBox Residency at the Meyerhold Theatre Centre in Moscow, unpaid and providing no food and accommodation.
We aimed not only to share our personal experience and concerns but to raise the general awareness of precarity and to mobilize the community. So we invited four more precarious theatre workers to join our team. During the rehearsal month of (modestly) paid work, they designed their projects addressing precarity and exploitation. On stage, they present their ideas to the public and compete for a quarter of the money earned from tickets, while Alena, Daria, and Olga provide information on precarity and reflect on whether Caries of Capitalism could be considered less exploitative than 'BlackBox Residency', or if the performance is just another project that disguises bad working conditions as subversive art.
Co-author, co-creator, performer. Created in collaboration with zh-v-yu dance group.
Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, November 7, 2018), Multimedia Art Museum (Moscow, January 28, 2019), "What if they came to Moscow" showcase, CC ZIL (Moscow, March 23, 2019), Shelter (Helsinki, 7 June 2019), Hellerau (Dresden, January January 24-25, 2020), Kleine Humbolt Gallery (Berlin, February 1, 2020).
Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, November 7, 2018), Multimedia Art Museum (Moscow, January 28, 2019), "What if they came to Moscow" showcase, CC ZIL (Moscow, March 23, 2019), Shelter (Helsinki, 7 June 2019), Hellerau (Dresden, January January 24-25, 2020), Kleine Humbolt Gallery (Berlin, February 1, 2020).
Welcome to our garden! Peep, listen, sniff! Stare, inhale, absorb! Enjoy! Here women and flowers spray the vital forces of nature. Do not get off the tracks! In our collection of flora and fauna woman is presented as a sexual object side by side to other objects of wildlife.
The Garden is a collection of exotic plants, searching for power in vulnerability. It is a research of affect and hybridity ironically built around the concept of objectification.
By monotonous hips-shaking, performers generate energy and charge the space and objects, mutate and allow other forms of life to express themselves. In search of images nobody has ever seen before, the creatures that have never existed, the Garden transforms into the pure experience of where the body ends and starts.
The Garden is a collection of exotic plants, searching for power in vulnerability. It is a research of affect and hybridity ironically built around the concept of objectification.
By monotonous hips-shaking, performers generate energy and charge the space and objects, mutate and allow other forms of life to express themselves. In search of images nobody has ever seen before, the creatures that have never existed, the Garden transforms into the pure experience of where the body ends and starts.
Choreographer & performer. Performed in collaboration with the zh-v-yu dance group
Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, 7.04.2018) and CCZIL (Moscow, 16.12.2017, 16.06.2018)
Based on my academic research "Fabrics of cinematics Screen Surfaces in Contemporary Visual Culture" (2018) awarded in 2017 as Best Student Research Award (HSE)
Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, 7.04.2018) and CCZIL (Moscow, 16.12.2017, 16.06.2018)
Based on my academic research "Fabrics of cinematics Screen Surfaces in Contemporary Visual Culture" (2018) awarded in 2017 as Best Student Research Award (HSE)
Landscape for the dead dog is a cybernetic paysage, reconfiguring relations between human and non-human agency. Through this contact, sensuality extends beyond the human body. Landscape is a melt of surfaces which choreography rebuilds the material world in a new reality. Perception of these materials in many forms relocates dance to the viewer's imagination.
Performance is dedicated to my dog, dead in 2017. I was interested to investigate how she perceived the world we share. According to the Ecological Approach to Visual Perception introduced by James Gibson, an animal (as well as human) perception is a whole-body root system that makes vision possible, responding to arrays of energy interacting with the surfaces of the environment.
Performance is dedicated to my dog, dead in 2017. I was interested to investigate how she perceived the world we share. According to the Ecological Approach to Visual Perception introduced by James Gibson, an animal (as well as human) perception is a whole-body root system that makes vision possible, responding to arrays of energy interacting with the surfaces of the environment.
