Thursday, December 22, 2011


Monday, December 19, 2011

Coup d'état @ Arthaus

A coup d'état (English: /ˌkuːdeɪˈtɑː/, French: [ku deta]; plural: coups d'état; translation: strike (against the) state, literally: strike/blow of state)—also known as a coup, putsch, and overthrow—is the sudden, illegal deposition of a government,[1][2][3][4] usually by a small group of the existing state establishment—typically the military—to replace the deposed government with another body; either civil or military. A coup d'état succeeds if the usurpers establish their dominance when the incumbent government fails to prevent or successfully resist their consolidation of power. If the coup neither fully fails nor achieves overall success, the attempted coup d'état is likely to lead to a civil war.  (from Wikipedia, the free encyclopedia)

When: 22 December 2011 7-10pm
Where: Arthaus, 199-205 Richmond Road, London E8 3NJ
Patrons: Arthaus and Olga Grotova

Coup D’Etat’s newest venture is an exhibition of new Russian art from London. The event will showcase works of up-and-coming artists born in the last years of Soviet decay, who later moved to London to pursue their practices.
The works in the show range from video to photography, large-scale drawings and performances.


Sergey Kudryashev
Tatiana Baskakova
Olga Grotova
Maria Gruzdeva
Iulia Filipovscaia

7pm- Show opening/ Guests arrive
8pm- Performance by Tatiana Baskakova
9pm- Performance by Olga Grotova
9.30-10pm music and drinks reception

Please come over to enjoy the new Russian art with us! 

Cultural Politics = Politics. 

Sunday, December 11, 2011

Q-Art annual show, my work in the toilet. Dederol and Unknown product. Specially re-arranged and thoroughly cleaned by myself for the gallery. Suddenly seen, the work could have soiled pee process for men, was knowingly less disturbing for women, most of them would see the work while flushing the toilet.
I think this is my first truly feminist work.
by shyzgara

Wednesday, December 07, 2011

Cleansing products (for Bernadette)

Thursday is the opening at APT gallery, Q-Art London annual show. I am having two sculptures there.

One of them, Dederol (Federol originally) is produced to playfully reflect on the ideological but non-explicit connection between consumption of cleaning materials and state-induced violence of the civilised West on the barbaric other.

Wednesday, November 02, 2011

People's Deputies Dance Танец Народных Депутатов

Sunday, October 09, 2011


The project was carried out  in the Garage Centre for Contemporary Culture in Moscow from 25 April 2011 till 26 July 2011 where I was holding a position of contractor-invigilator.

In this three-month performance project matters of institutional critique coincide with practice of experimental exploration of Russian society. The performance was hugely relying on social, communal spirit of gallery's staff, their understanding of hopelessness of the condition, and disbelief in change for better that produces inability to have a collective action -  and I think that the process I followed though within this work opens up a certain perspective on today’s Russia’s ways of existence, some level of  political and social inadequacy.

The work runs  though three stages of performative change in invigilator's attitude - from happy enthusiasm to "revolutionary" moods and attempts to organise trade union.

The culmination proceeds  when myself performing an invigilator is being fired from the gallery for an attempt to defend my legal right to choose bank that would process my payment, by spreading the information over social network for an attention of my fellow colleagues. The head of department formulates this action as "sabotage", and insists that on the occurrence of any doubt of this king I could not be addressing to the collective.

Through the process of overidentification with Garage's causes and Russian official norms, the performance brings one's attention to power relations that are representative of condition of Russian reality. The persistent fact that institutional structures ran with big budgets still take personnel as a mere consumable material for their big beautifully presented causes, bring us back to what was Soviet State's take on its people. The law does not matter either. Pretentiousness of the Garage to be "Western" does not coincide with its workings on the level that goes just a few inches under visual presentation. Its corporeal ethics depends on impulses of those in charge at the moment, either collective emotional moves.  We see centre for high art ran by chaos.

For those who happen to view the performance on relative closeness (gallery staff and other participants) action was intended to highlight that what happened to turn out to be norm of the society around is not the norm of all societies, that there is a possibility of an alternative perception. The naivety of an actor-outsider becomes the only powerful media in this piece.

media and internet documentation of the performance

Friday, September 30, 2011


The project where I tried to reflect on my personal affection. This became an inspiration to use beautiful Psyche and Amour painting...  (Psyché et l'Amour by William-Adolphe Bouguereau) I hoped to express the sense of desperation and appreciation after an impossible breakup with  my fascinating friend Alexander. Ideally my plan was to spread pictures all over our small town Zhukovsky where myself and him resided at that time (The project came up on the first days of September).
Also this was to grab the space and pretend to have more universal presence in local community. To somehow be in more places at a time, and shout "hello" from everywhere. This street work is completly driven by the desire to be reconised, by public, (not as an individual artist though, but certain language, as this work is not signed, it is a siganture) and by Alexander, of course.
I was pleased that my friends, and those who has seen my work recognized the style... we can also pretend that this was a style exercise. Essentially.

LOCAL UTOPIAS | documents

This is some documentation of the show I made just before I left Moscow region Zhukovsky... after 6 month of my self-inflicted residency. This is a continuation of the exploration of national body metaphors explored in LES(ru -Forest) performance.  I was happy to present to local public, and be playful and experimental for my very own selfish reasons. I honestly tried to play out in a non-serious manned, but still deal with issues like extremism, and national identity. Deep-cut corruption and the society's desperation also formed by the impossibility of ideology of post-soviet condition.
I should probably more specific about conceptual grounds - for now I would explain myself only with keywords - forest, body, deeds.  I will be more specific about public response and my own ideas about the happening further on. But here you go - some picture documents... They are more details, sadly no general views yet.

Burning - photocopy with metaphorical fire inflicted on the local governmental building. 
Yogin, the video of local boy Alexander doing yoga exercises. 

BURAN, the photocopy, large frame with broken glass, lighting 
detail of the RASPIL, meaning SAWCUT - the toy, artificial flowers, the saw, carpet, fluorescent lights,  rope
Little Lenin sculpture - turntable, red lamp, plasticine, paper dove, vinyl

Wednesday, September 21, 2011

Локальные утопии

The image of woman pissing on Mausoleum and Kremlin follows me in Russia

Saturday, August 27, 2011


13 AUGUST 2011.
SVLK Festival, Moscow reg.

LES / FOREST from electrovolk on Vimeo.
This is a performance inspired by protest against government's huge deforestation plans in Moscow region and especially in my native town Zhukovsky.

The performance is about exploration of Russian national identity as it was rendered by Soviet propaganda (I use slogans from 1988 ABC book), and as it is dictated by eternal national metaphors that see Russia as a young woman, and a young woman as a beauty of a birch tree.

Contemporary politics of vandalism goes cross with things that people of this country were made to think about themselves as collective entity. I think this is pure ideological violence.

Thursday, August 11, 2011

The new project I work on since I am in Russia is under this working title. Boys is a project again about body, but not about femenine, it is about men. I am trying to be consentient with the researches on the problem of cirsis of masculinity. Probably the way my own relations here work out, the way patriarchal and more traditional than european society works here with all its critical corruption of values and impossibility of the collective are the initial push to start looking at masculinity in Russia. I am also keen on homoerotic images. And the issues around gay and lesbian community come really close to my heart, because my grown-up life started in the county that managed to come over hatred to sexual minorities as many as 20 yeast before now... And Russian majority is freakingly inadequate about sexuality. Boys is the project that is stretched now between many of this miscellaneous discourses that I think could be brought to our consciousness via this bodily depictions. And of course it will all be much more solid and fancy. But hey you go! Призы в студию!

Hands became important, the gesture when hands go up, the possibility of fluorescent shining, the Goddess images of Alina, queen Elizabeth, the girls and trees photocopies and the national package (packaging that uses national pathos to sell the product). The pieces of the birch tree again and artificial flowers... vaginas.

/// why care about making this project  to *look* in a certain way? I think that this is the way I see locality. Magority of people who will see the work are not familiar with contemporary art practice, so I can let myself play as if I am outside of art world - as I would not expect to have any reall professional criticism. And I am also feeling like showing art as a more seductive- although difficult subject. Seductiveness in important here.


I had a performance show for my friends on Saturday 6th of August in the local forest that is to be cut for the sake of building new fancy big highway. LES is forest in Russian. This is the performance I wanted to do for a while, and I now I am planning to re-show at local festival SVLK. The reason why I decided to have it shown just the week before the bigger event and make a repetition is that Russia constantly stages the possibility of the police inadequacy. I did not wanted to postpone the show anymore, and whilst my sister is here to support me, I have more of possibilities of making things to happen. Going to different levels of risk taking etc...

Now I am in the process of making a film of the performance, so hope to have it online soon or later. But for now I can share some pictures (they document the key gestures), so hope you will be able to appreciate them.

Tuesday, July 26, 2011


LAST CHANCE TO SEE the Invigilator's Revolt
at Zhukova's Centre for Contemporary Culture Garage.

Thursday, 28 July is  my last day of the performance (and my first show in Moscow!). I am going to be invigilating from 11am till 9pm, and everyone is welcome to see it before it is over.

On Thursday 28the July it will be exactly three month since I started the performance that coincided with New York Minute exhibition opening on 27th April 2011. Thanks to all local celebrities and art public for coming over!

Press documentation: 
( pictures)

Garage Centre of Contemporary Culture
Obraztsova st 19A, Moscow,
Metro stations: - Novoslobodskaya, Mendeleevskaya, Marina Roshia, Dostoevskaya

Friday, July 22, 2011

Invigilator's Revolt, Press Release (in Russian)

27Aipril-28July 2011, Moscow, CCC Garage

Бунт смотрителя. Пресс релиз.

«Обвинять в бланкизме марксистов за отношение к восстанию, как к искусству! Может ли быть более вопиющее извращение истины, когда ни один марксист не отречется от того, что именно Маркс самым определенным, точным и непререкаемым образом высказался на этот счет, назвав восстание именно искусством, сказав, что к восстанию надо относиться, как к искусству, что надо завоевать первый успех и от успеха идти к успеху, не прекращая наступления на врага, пользуясь его растерянностью и т.д., и т.д» В.И. Ленин, Марксизм и Восстание.
Бунт Смотрителя Татьяны Баскаковой  представлен зрителю в виде текстового документа, пресс релиза и нескольких сопутствующих бумаг. Бунт смотрителя это социальный перформанс где художник демонстрирует невозможность скрытого компромисса с организацией, нарушающей законодательство, и по своей сути является (форомой локального акционизма), открытой протестной провокацией  администрации Центра Современной Культуры Гараж (aka фонд Айрис), начальства экспозиционного отдела и группы старших смотрителей. Одна из центральных целей перформанса состоит в том , чтобы демистифицировать структуру давления на людей, и создать образ героя-борца за законность.

Это создание наивного, поэтического, но тщетного образа напрямую отсылает к более ранним работам Баскаковой например, Гагарину (2009), где она напрямую сталкивает лондонскую публику с перформансом пропанандного нарратива о «победе» советских людей. Демонстрируя свою приверженность советкой мечте быть космонавтом она подводит нас к критическому осознанию того, что идеализм любого человека по своей сути культурно-пропагандистский констракт.
Главные черты героя Баскаковой всегда связаны радикальной идентификацией с очевидными номами, так или иначе связанными с властью. Важно, что создание ситуации субъективного оживления всегда будто делают трещенку в отношении человек-власть, и немного изменяют эти  отношения. В них появляется кпуринка сомнения. Это сомнение художник и считает центральным моментом в художественном произведении. В данном перформансе, как цветок, раскрывается безсознательность организационной струкутуры организации, которая относится к своим работникам как к расходному материалу. И несмотря на внешнее утверждение этики, живет по личным внутренним законам, не связанным с правовыми нормами России, но завязанными на внутренних течениях и коллективных эмоциях.

В процессе перформанса художник полностью перевоплощается в смотрителя, который изначально лучшим образом выполняет должностную инструкцию, вносит советы по улучшению работы отдела и галереи, активно сотрудничает с другими смотрителями и работниками. Смотритель тщательно соблюдает форму одежды и с энтузиазмом рассказывает посетителям о тех или иных произведениях. В целом выполняет все требования начальства и работает с особым рвением, но до поры,  до времени.

В данном перформансе бунт осуществляется на нескольких стадиях. Первая – это внешнее «борзение» смотрителя, выраженное в облегченно-небрежном внешнем виде (Которое в нарративе перформанса объясняется неуважительным отношением сотрудников галереи к творческому процессу, искусству, зрителю-посетителю экспозиции. Так же отсутствием должного уровня профессионализма или стремления к нему и общей дискурсивной тухлости), выражается в жестком откровенном выражении мнений  об отсталости, открытом общении со зрителем, рассказе о личном разочаровании.  
Вторая стадия  состоит в публичной декламации стихов Рембо (via Serega):
Снять шапки, буржуа! Эй, поклонитесь Людям!
Рабочие мы, сир! Рабочие! И будем
Жить в новых временах, несущих знанья свет.
Да! Стуком молота приветствуя рассвет...
Третья стадия – «экспрессивно-правовое противостояние» - она выражена в отказе заключать необоснованные контрактом сделки с банком ВТБ. Зритель-коллега сталкивается с повторяемым перформативным жестом - в течении дня смотритель говорит всем, мало-мальски знакомым людям «я не могу это подписать, а вы подписали?».

Четвертая часть перформанса состоит в сетевой публикации документов объясняющих правовые нормы. (Важно учесть, что в этот момент все работники фонда Айрис (aka Гаража) замечают, что они были вынуждены работодателем на неправомерную сделку, которую никто не хотел заключать и расстраиваются). Созывается экстренное собрание экспозиционного отдела.

Бунтующего смотрителя увольняют на специально созванном собрании всего отдела, с неофициальной формулировкой «за саботаж».

Начальственная манифестация «чтобы не повадно было» сопровождается описанием зрителя как «быдла» и насмеханием над трудовой позицией младших галерейных работников. Общего возмущения не следует.

Перформанс состоялся с 27 апреля 2011 года по 28 июл. 11 г. в городе Москва по ул Образцова-19А (ЦСК Гараж).

Sunday, July 17, 2011

Im working working workin. Im workin workin workin, Im workin workin workin.
And get things done. ()the song()

Russia is slow like a road on the white Christmas.

Im posting up the pictures from the last month - as an instruction for those with fantazy - you can see what will happen as my Kunst soon. Quite soon.

I promise to make a big writing on the gallery I work in, and on the invigilation experience.
This is important for the end of Russian cycle.

Performance LES (rus. - forest) will happen in a week.
After the 4th Aug I will film Sputnik, or Bearing Sputnik. (I did finally sorted the energy to do work, and wrapping up general existential desperation, thanks to my two inspiration persons - Alexander Love and Anna Dream Sister)

I will be posting regularly, as the Silentium is death. Even local activism does not prove there is a chance to survive after silence in the only Practice of Art blog.

 sketch in fluorecent coulurs, photocopies, packaging, white sheet, paint

 studio shot
canvas paint, photocopies artificial flowers.
I have a nasty feeling that the things I am making here, I make specially for the context. I have no proper real resoning why the hell I am so much about homoerotic use of bosy and why the hell such an entertainment coulours... Maybe I just want to be liked. Or maybe its that I want to play.

Tuesday, April 26, 2011

They’re standing there, boys were beaten up
And then I throw myself of window crashing fatal
I’ve turned a paint on greyish asphalt metal
And this is where I had my artist’s start.

Они стояли и смотрели как их бьют.
Я бросилась тогда в окно развибшись насмерть.
Я на асфальте сером стала краской
И это был мой творческий дебют.

Wednesday, April 13, 2011

Moving to Moscow, even for a little while was a big thing. Living back here is very emotional and comes out as a number of unknown behaviors. I've managed to organise a studio space in on the former bedrooms in my family flat.

And now palnning to start the paint project - although, not leavivng other things away.

I did not found yet the ground to realise Les, the Forest performance. This is something I am working on now...Difficulty of the local enviro is in that I did not yet found anyone who'd do art sriously... Which is a bit worrying. No-one cares. I want to produce 5-6 terrorist paintings and show them somewhere as well. And the project with Sakharov is something I want to offer for Moscow. A lot of work. A lot of excitement. Some bits of madness. Crazy love and huge burning emotions stare at me everywhere on the street.

Good to be "home".

Кто-то в Жуковском занимается современным искусством??

Wednesday, March 23, 2011

Jonathan Meese's "play" was so important!

I am making an outline for "forest" performance, I think it would be very fascinating to see people react on it.

Today's also a "big" show, which is conceptually unclear for stupid- or overcritical me. none of this matters. everyone should get up and see  Practice For Everyday Life – Young Artists from Russia at Calvert22. Haha, and I'll let you know what I think

Alina wallpapers: Knikers and Baby Jesus, comments to follow///

Saturday, March 19, 2011


Mayday is an experimental video I was working on a while ago, while on the course at Goldsmiths. Just youtubed it. The idea is based on Soviet ABC book's portrayal of the Mayday celebration.The process of creation was quite complicated, and the work in the college media lab stopped me from having to finish it. However it is my first experiment with stop motion animation, and for sure it will work for the future projects in one way or another.
Originally I was planning to crate a projection space with a condition similar to earlier MAYDAY projection, the one with the picture of Lenin. The idea of a multiplication into a mass ornament, and self-portrayal as a Soviet kid were the key for the last college year. And here is also a great nuclear dream of going to Chernobyl and performing there. Practically I wanted to recreate one-man demonstration as it happened in Chernobyl after the disaster - when people were forced to the streets of Kiev despite the danger of contamination, and health threats.

Thursday, March 17, 2011


PEACE TO THE WORLD, сrude translation of the Soviet slogan, just found this poster from the last year within my files.

Sunday, March 06, 2011


Some workinprogess collages.

(Anti-aircraft rockets drive past the Kremlin in Moscow on May 7, 2009 during a dress rehearsal for the May 9 Victory Day parade celebrating the end of WII; (Parade photo credit Andrei Smirnov/AFP/Getty Images; the girl is and Internet image)). Topol-M intercontinental ballistic missiles drive past St. Basil's Cathedral on Red Square in Moscow on May 7, 2009 during a dress rehearsal for the May 9 Victory Day parade celebrating the end of WII. Collage. (Missiles photo credit Natalia Kolesnikova/AFP/Getty Images, the girl is and Internet image))

This is probably non-work, or rather work in progress. O

bjectification of body: problematic. But message..! Probably it will have to be removed and reworked. And pornography is bad bad bad bad.

Still not leaving alone the subject of post-soviet sexuality, this experiments expand prints from more than a year ago. I have started making screen prints at home, can say it gives me pleasing flexibility, and sweet promise of new production.
For those not being familiar with Russian-Soviet culture, here I am making the print of the Order of Lenin, the highest order of USSR. The girls are home-made erotics from Internet .

Thursday, February 24, 2011


Simple elaboration on the idea of mass ornament. Mass gymnast performances of USSR and GDR. Mass production.
I am using Tate Modern Gauguin show handouts and photocopy.

Violence erupts is Cairo after World Cup defeat,

2011, newspaper collage

Tuesday, February 15, 2011

Tuesday, February 08, 2011

russian version, just released in social network

Thursday, January 13, 2011


SPUTNIK. sculpture and experimental prototype for the future performance on triumph of communism.