Monday, December 17, 2012


The textrual and material properties of this pallet are for appropriation. and more wood to come soon.

This illustration was played-out for the show in Zhukvsky. This is very important now. Gesture and women's piss. I would like to make  a show about it.

Lina's photographs of 2011

 Lina documented some parts of my home in Russia, when I worked there in 2011, before foing back to the UK, for my Art and Politics MA. These images are deeply influential for my thinking of the show "Local Untopias" that i've opened in Zhukovsky at the time. It gives some visual insight into what was going on in my head, and some lines of thinking i am updating now with passion.

 My new flower at the time, "Gaskarov's Freedom"- to celebrate the positive conclusion of Alexei Gaskarov's court case.
I would reuse some of the "boy" copies and selected images from the fridge above.

Special attention to hand gestures.

Wednesday, December 12, 2012

CUNTemporary night: Queering traditions documentation


Very beautiful night it was, a lot to learn from CUNTemporary girls and Giulia Casalini. As usual left Alina's to those who liked them.  In other ways it was a usual version of Alina (Pure art), but with different colour. Being more specific about cuntemporary printing process I am using cyan, magenta and yellow.
 Pinky triangle > Cuntemporary special. 
Enormous pleasure to show along Teresa Buskova and others. Inspirational.

Tuesday, December 11, 2012

Alina (Hamsters)

 Alina (Hamsters, after 5 December 2011), 2012

Queering Traditions / CUNTemporary event

Some of the images from 10 December performance at The Georges Tavern. Amazing night of flim, love, performance and music. Plus - very interesting q&a along with Nik Rawlings, Tereza Buskova, Zoe Simon and CUNTempoary crew Giulia Casalini, Diana Georgiou and Ana Grahovac. Thanks to all for being there!
(post-performance and pre-performance documentation)

Monday, December 03, 2012


It is a pleasure to be invited to perform for CUNTemporarty, new radical feminist curatorial group. I am presenting new experimental attempts to join issues of labour and gymnastic performance for the event, and exited to be shown in this a bit unusual context for my practice. Keep you posted!

MONDAY 10 DEC 2012
from 18:30 until midnight
@ The George Tavern, 373 Commercial Road, E1 0LA, London

‘Queering Traditions’ will present a selection of artists' videos and performances that attempt to re-configure the perception of vernacular traditions and nationalism according to new registers and idioms. The works have been selected in relation to their present engagement towards the rituals, traditions and nationalisms the artists belong to or have related to. These explorations will re-appropriate, deviate and criticise the written, oral, personal or political traditions and ideologies. A discussion will follow and a performance from sound artist Nik Rawlings and Russian artist Tatiana Baskakova will precede the screening. The programme is part of a series of events, pop-up shows, performances, talks and screenings that are organised by CUNTemporary: a platform for the visual arts at the intersection of feminism and queer, which also provides a monthly newsletter and daily notifications around London-based events.

Performances by:

Screening + discussion:
Videos by

with Dj Holly Would

Organised by CUNTemporary.

CUNTemporary is a platform that provides (thanks to a monthly newsletter and through daily notifications) listings of exhibitions, talks and events in London at the intersection of Visual Arts, Feminism and Queer. Parallel to the listings, Cuntemporary brings a multidisciplinary group of members to curate exhibitions, host screenings and organize discussions and artist talks. We are constantly expanding and developing new connections with artists, curators and theorists from London and abroad.

Facebook: CUNTemoirary Event "Queering Traditions"

Wednesday, November 28, 2012

Portrait of firend Alina with a hoop, 2012 / homage to Komar and Melamid

Please read with reference to Vitaly Komar and Alexander Melamid's Portrait of Wife Katya with a Hoop, 1972-1973

Tuesday, November 27, 2012

Monday, November 26, 2012

Katya with a Hoop

Currently I am conducting gallery assistant job in Saatchi, for the historical show on 1960-80s Moscow art displayed on the top floor. It is a great luck for me to work there and meet the artists, but I am not here about that. Meeting Vitaly Komar, of Komar and Melamid i have suddenly realised that they have the whole pre-history of my gymnasts somewhere there. But it was hard to find illustrations. One of the paintings displayed in Sots art section of the gallery Portrait of Wife Katya with a Hoop 1972-73 attracted a lot of my attention today.
First of all, it works in a direct relation to my works that I link with the name of Alexander Deineka, Russian Socialist realist artist. Though this piece examines Soviet sexuality in relation to Russian architectural monumentalism, Monumentalism that was very big part for the Soviet society and its understanding of itself - its might, and its power of propaganda. This painting includes three archiectual phallic objects: Ostankin Tower (place where TV was and it based till now), Kremlin's Spasskaya Tower (famous for its outstanding beauty and tradition of having a government behind the wall), Monument to the First Space Flight located above Moscow Cosmos Museum - obviously space exploration was one of those big projects that held Soviets and post-soviet's pride of the country.
Also in terms of pivotal symbolism, Spasskaya Tower of Kremlin has its famous ruby-red star on its top. Space monument - includes a rocket, and Ostankin Tower - in basically a big antenna. So information, communism and technology are the stage for the body technic the woman is practicing, basically trying to become a part of a hoop circle as it seems.
What is also interesting, is the anonymity of female figure on the painting. I think it is very important - despite the fact that one can say that media today is obsessed with a persona. I think it is helpful to understand media as a process that separated person from her/his media image, and this is one of the reasons why we can start speaking about symbolic meanings in this work: apart from the title it does not point to persons. As well it produces de-individuation of the wife Kayta with a hoop - first as every other wife Katya, and then every other woman with a hoop. This is an appearance of the body of the people. (See "body of terror in the Dictionary of Moscow Conceptualism"[3.]) And also outlines one of the key lines for artistic oppositions to the Soviet state - question of the individual.
I think this piece somehow gives us clues to the understanding of the symbolic in the political education of the body. And relation of Soviet ideology to key women's sports techniques: ballet, gymnastics, figure skating. I can only say what I want to do in my work now is to go much further in this interrogation.

Dictionary of Moscow Conceptualism is brilliant:

1. It makes me consider my beloved Alina-fake as ILLUST [Illjust] – phantasm produced by various mechanisms of illustration. The Illust is a carrier of enjoyment (of lust) whose generator may be considered the “libido of illustration” (the libido of arbitrary visualization). (P. Pepperstein. Vvedenie v ideotekhniku, 1989).
2. This is interesting, but does not include enough women (Most work I do IS with women) COSMONAUTS, TITANS, FIRE-BARS, RUNTS, AND GEORGIANS [Kosmonavty, titany, kolosniki, korotyshki, Gruziny] – five “incorporeal ranks” of the Soviet collective conscious, which are represented in the sacred architectural and sculptural discourse of VDNKh [the Moscow Exhibition of Achievements of the National Economy].(See A. Monastyrsky. VDNKh – stolitsa mira, 1986).
3. Consider term in the terror-paintings BODY OF TERROR [Telo terrora] – simultaneous victims and agents of a certain type of Terror that destroys bodies in order to preserve the eidetic fullness of orthodox speech, which perceives this destruction as something completely positive. (See M. Ryklin. “Bodies of Terror,” 1990).
As Ryklin argues in his “Bodies of Terror,” Bakhtin's ostensibly joyous book on Rabelaisian carnival is the product of a complex trauma. In writing about Rabelais during the Stalinist 1930s, Bakhtin was composing a requiem for the individual body. Your body, my body, became incidental, synthetic, disposable, mute-and in its place the collective body of the people was granted all the reproductive and rhetorical rights. It could not die, so others were set free to kill the individual you. But what is this “body of the people” in Bakhtin, and during the Stalinist epoch? In fact you cannot see or hear it: it is too brilliant, threatening, primeval, and depersonalized, it “strikes blind anyone who dares to glance at it.” This anaesthetizing monumentality is nowhere as richly condensed as in the Moscow subway. As Ryklin suggests, the resultant invisibility of real bodies and the blind--literally blind--faith in utopia that followed were essential for the “ecstasy of terror” to work.[124]

4. Принцип который я использую в Гагарине. CRACKED MATRYOSHKA [Tresnutaya matreshka] ­– demonstration principle (in a discourse) in which a number of internal objects belonging to a particular discourse are demonstrated without exteriorization, by means of a specially prepared demonstration section (“fissure” or “crack”). (See P. Pepperstein, Belaia koshka, 1988).

Sunday, November 25, 2012

Next Monday

Next Monday I am performing in the Georges Tavern for Cuntemporary event curated by Guilia Casalini. Put that into your diary!
Because of lack of space I am planning to squeeze new experiment into lower scale format (sad :() But still believe me it would be cool. I am excited to have this move - very influenced by Performance and Labour symposia of last month in the UCL. And I think there would be hope for new coherence. Political education of the body.

Monday, October 22, 2012

Alina. Poop - 2012

Alina. Poop 2012

/// on the final trauma of Alina Kabaeva's sports career

Saturday, October 20, 2012

Alina (Pure art)

Some earlier documentation of the performance (December 2011), don't like the photographer hired for the event added his copyright signs to my performance shots and published on facebook. Getting to document properly is a tough work.
One of the reasons to recess this exhibition from a year ago is that I now consider reworking it, with more emphasis on rhythm.

Sunday, October 07, 2012

Pussy Riot punk prayer - debate @ Pushkin House

Very pleased to be be given a platform to speak about Pussy Riot on Wednesday debate in Pushkin House. Please come around. Ivan Gololobov will introduce give us some insight into Russian punk music and its connection to Orthodoxy, and I will speak about Pussy Riot's feminism. Ludovic Hunter-Tilney, pop music critic at the Financial Times will chair the discussion.

Wednesday 10 October 2012, 19-00, 5a Bloomsbury Square, WC1A 2TA London

there is a fee at the door £7 and £5 concessions.

I am aware of being exploited, as I am not receiving any reward for this job. This is a consious decision, and I believe my participation can widen the feminist cause in Russia.

Monday, September 10, 2012

Aesthetics of anger and desperation

My recent work was led by the tendency to deal with the function of an object and a tool. The set of pieces prepared for this show takes a different route to the gestural enactment of the function of an object.  This set of pieces is produced as a refusal of a function that is contrary to the strategy of my performances - Alina, Forest and the Rifle. Focus on the object which is not defined by its value, but rather function. Object-comrade, object comrade-helper in building of the new society that struggles together with human to bring futurist ideals to live.
Objects presented here refuse their function, they are objects of death. Concrete shoes are not used to kill, the gun is not used to shoot, banner fails co carry coherent political message. These pieces are made to express the sense of violence and anger that comes with current political condition in both of my countries and in Europe. This anger and suffering of political and ideological crisis that became a part of people’s lives is what I am interested in here. Anger for me is connected to the general loss of function, that is based in general sense of helplessness and impossibility to bring positive change. This set of pieces is about it. While aesthetically I am keen to reference the leftist resistance groups of the 70s, and their optimism in relation to Leninism and early USSR.
The development of this work started a banner: Sexual Freedom to the State Duma was exhibited in the Westminster Central Hall, at the day of Pussy Riot arrest, during the Citizen Poet performance made to be before Putin's re-election on the 4 March. Originally most of the work was made to be presented with the show from which only Concrete shoes made its way to the general public.

There is some critique that needs to be stated to the end. I think that this pieces of work are merely repeating existing aesthetic expressions... They exist as a number of uprooted quotes... But probably there is need for different language, some discursive misplacement?

Two Human Beings: The Lonely Ones

This is a shot from Munch catalogue for Tate Modern show that is a very interesting curatorial take on his work, overly concentrated on his "instagrams": the pictures by Munch taken himself taken on the camera. This is an interesting twist for the presentation of an artistic practice first of all.

Secondly, I was deeply shocked by the second hall. It presented about eight or ten of his pieces, motifs that are painted and then repeated by the author past 20 years. I nearly fall in love with his change in relation to paint surface and representation. So the image above points to one of those "progresses." This motif, Two Human Beings: The Lonely Ones was repeated by Munch many times in print and paint... I should not fall into the investigation of why he was so interested or why there was a compulsion to do so (tate show concentrates on that) but I wanted to point to the transformation that happened here. It got so abstractly present, it lost disturbing particularity, canvas somehow started its own life... Colour got really vibrant! And fragile, unstable, momentous//

(This lunar phallus or "I" is also impressive, this lunar motif...this image is not a part of Tate Modern show on Munch...)