At the Yandex Plus site in Gorky Park there was a presentation of the clip "Good Evil" directed by Oleg Trofim and a concert of the band Sirotkin, for the first time I saw the clip and myself on the big screen and it is an incredible feeling. I am very glad that despite the great excitement and uncertainty in my abilities, I decided to participate in this project!
The clip contains quotes and references to Jerome D. Salinger's novel "Catcher in the Rye" - a legendary bestseller that influenced the world culture of the second half of the 20th century. The novel turns 70 years old in 2021.

The animated part of the clip was created by Honk Fu using a mix of three-dimensional animation and artificial intelligence.

It is no coincidence that the work was released on June 1, Children's Day. With this clip, the film crew wants to draw attention to the problems of neglect of teenagers and the consequences they may face when there is no close adult around. The new work of Oleg Trofim and the group Sirotkin tells about the problem of lack of attention of parents to their children. Abandoned and deprived of support, affection in the family, equal dialog with the "adult world", young hearts go astray, flock together on the road from which it is so difficult to return home.

The exhibition is built on the junction of two seemingly opposite phenomena: poetry and technical illustration. Despite the seeming gulf between them, they have much in common. They both strive for brevity. Brodsky called poetry a superlanguage for its high throughput, through a very precise arrangement of words. Technical illustration strives for the same effect - to discard the superfluous, leaving a maximally simplified, comprehensible visual form. In the gap of their opposition, a strange effect is born, simultaneously ironic and paradoxical. I really like the schematically shown movement, as well as the effect that the titles make the paintings seem like clippings from textbooks with captions like look at figure 1, like some kind of rule that you have to follow.

Exhibition of a new series of paintings by Pavel Pepperstein “Dinners”. The artist believes that the life of the art world often takes the form of collective meals, modest or luxurious feasts, lunches or dinners. It is in such situations that artists, museum staff, gallerists, art critics, art historians and art researchers discuss burning issues, which together form the “soil” from which art then grows. Such dinners mark the opening of exhibitions, and dinners accompany other notable events in the field of contemporary art with heartwarming frequency. As a rule, these dinners take place in restaurants located near art spaces. But sometimes the dinners take place in the art spaces themselves. I have attended such events more than once and every time it is all shrouded in some mystery and even ritualism. All the paintings presented at this exhibition depict a series of dinners that supposedly take place in major museums of contemporary art. The dinners are depicted in a frankly mythological manner, they feature not only people, but also animals, birds, aliens and other outlandish creatures whose origin is unknown. Pasha has a great eye for detail and we see small references everywhere, which is certainly a great example of good work with context and relevance.

Not a big fan of the theater, usually for me it's too unmodern, irrelevant, pretentious. But not the theater “Praktika”, this time I left in full delight from all four acts of the play. We watched the production “Chapaev and the Void” and I honestly admit that it was the best production I have seen in my life. In the first part, phantasmagorical, in the red room, a freak band plays heavy music and chants Pelevin's lyrics. Apparently, these scary creatures are stuck in the protagonist's head and he is agonizingly trying to get rid of them. Everything plunges us into some kind of madness and at the same time the costumes and the actors' playing of musical instruments from the movements and movements on the stage, everything was perfectly honed and looked harmonious. In the second part, psychedelic, in a yellow room the actors play out the text, there is almost no movement except for the movement of one character along the wall, which is death circling around them. The third part, meditative, is based on plastic etudes. The text moves into the realm of physical actions that do not illustrate it, but work to create associations. The hero, finding himself in a blue room, seems to get rid of the phantoms, which are drowning in a river of plastic balls, carried away by a maiden in a white mask, chanting a single line: Oh, it's not evening, it's not evening." I can say that each scene fully conveyed exactly the feeling it was meant to evoke in the book. The director was completely free to work with the text, because there are no canonical interpretations and ideas about how Pelevin should be staged. In addition, the novel is a moving, unstable reality, which on stage can look as it pleases, and it is thanks to this that Didenko was able to convey the images so fantastically and immerse himself in them.

Anemoya is a feeling of nostalgia for times in which one did not live. I myself have felt nostalgia many times in Peredelkino for times when I was not even there, and this exhibition reflects this idea perfectly. Alexei Luka involves the viewer in a certain narrative about the everyday life around us. Masterfully combining fragments of the past and the present, Alexei seems to build new links between historical epochs of Russian culture. Integrating his works into the hut as a space of life, Alexey Luka deliberately relies on utilitarianism - so the objects become not so much an exhibit as a comprehension of arts and crafts, an attempt to find new forms based on historical motifs. I like the fact that the artist works exclusively with found objects, which serve also as a kind of recycling.

We passed a large number of historically important churches and monasteries and for myself I found some interesting details. For example a large number of different bas-reliefs depicting animals rather than religious sitting as digging would have been logical. They all have an uncharacteristic look and are very similar to something from medieval books where unfamiliar animals were depicted only by test description. I also want to note the wooden architecture, I still admire how fragile and at the same time monumental all the buildings are built. For the first time met so blue color of the vaults, it is also interesting to study its appearance there.

This is just pure delight, I am very fond of various plans, maps, drawings. In my understanding, based on my knowledge of physics, entropy is interpreted as a measure of the probability of a system staying in a given state. The more disorder, the greater the entropy. Any system gradually moves to its more probable state. In the process, disorder increases in it, chaos increases, and hence entropy increases. The new Petro project presents this paradox not as an attempt to defeat entropy, but as a search for a method of working with it. Huge, impeccably structured canvases capture the viewer's attention - looking at them it is hard to believe that the world is ruled by an irresistible movement towards chaos. And I think that the work is flawlessly executed, it really seems that the victory of the system has taken place. I also like the origin of the work itself, because the main motive of the exhibition was the calendar. Before any major project, Petro prints out the months needed to plan the work."But due to a technical error, the months layered on top of each other, similar to the way our minds mix things up without caring about structure. The calendar is the tool with which we essentially unravel our lives. It is the epitome of emptiness and at the same time the easiest way to overcome it." Another recurring motif is “digital emptiness,” what in Photoshop is called a transparent pattern, or transparent background, which is more about conveying a sense of the daunting new digital infinity. I'm also a big fan of using it as one of the main graphic elements in my work and it's there for a reason. That's why I really like this series of his.

Tarkovsky delays the image on the moments that are more important to the viewer, thus allowing him to delve into them at the root. From these same pauses, certain images begin to emerge, providing logical explanations for the past. And so on. As a result, the viewer puts together a logical chain for himself and formulates the finished meaning of the movie, which many people have different, depending on their preferences and soul wounds - this is the main genius of all the director's films. The movie is marvelous in the way the drama is presented: not by plot twists, not by unexpected situations - it is unhurried and sustained. When you give in to the movie, you forget about everything and just stare at the screen: the feeling is as if you are lying on the water, and the river is carrying you somewhere downstream. It's incomparable how flawlessly the details are played out. But still my favorite scene is the final scene, where all the realities and time segments are combined into one picture, and I still puzzle over how it was shot, because the perspective breaks and distorts really forcing the viewer to see that everything is happening as if in parallel.

Very expositionally good installation, a lot of total installations that are united in meaning into one. There are a lot of bright colors and extraordinary solutions that attract the eye. Very much liked the interactive component, because there are few places where there is really direct contact with the viewer, it still attracts.

The exhibition is dedicated to the famous Ural-Siberian fly painting, the peculiarity of which is that two colors are applied to the brush at once: saturated red, green or blue on one side and white on the other. When moving the brush there is a smooth transition from one color to another. Therefore, it is not surprising to see the Ural artist on it.The artist actively uses this pictorial technique recalling that the technique using two colors is very simple and at the same time spectacular. Folk art is plastic and open to all - with minimal means you can achieve maximum effect. It is nice to see familiar motifs in a playful slightly reduced version, for me they refer to my Ural childhood with their colors and simplicity of elements.

Very much liked the installation with the house, which was split into pieces and it is only from a certain angle reunited. It's a popular technique, but it was informative to see the fixings. They were made with the help of wooden strips that were joined together. The children's library of Kornei Ivanovich Chukovsky was also fascinating, there were many toys from the USSR, which attracted us with their look and abstractness. For all their simplicity they looked very mesmerizing.

During the day we bed on a general ticket and both, I really enjoyed the restored interiors. I would like to point out that the exhibition does feature a lot of interactive canvases, video installations, which does not go into the usual description of a history museum at all. I really liked Catherine's dress made of papier-mâché and illuminated from inside, I will definitely take this technique into account. Also not banal combinations of colors also went to the records for future use in the works. I want to note and not classic for such buildings vaults in the form of stars and flowers.

Even when I go for a walk in the woods I choose a place where I can see something related to art. So in Malevich Park I had the pleasure to enjoy Infante's works in real life again, and it is even more interesting experience when you see not just a photo, but really recreated and live installation. I would like to say that Infante's work works very well with space, it is important to take this into account when working.

I remembered the silk wallpaper most of all, I was interested in trying to work in the technique of stuffing silk. I had imagined working with fabric many times, but here the intrigue is in the gloss and in how reverent the material is. I also put up an exhibition of ceramics, where I was interested in vases made almost under Gzhel print created not ideal and even wavy line because of which it seems as if the whole vase is floating or you look at it through the water, an interesting effect.

MOSTICK is a creative association and independent exhibition project dedicated to contemporary street culture.

Their seventh festival was held at ARTPLAY. There was an exposition of many works by street artists, an art market with local brands and an interactive program of the event filled with art battles, master classes, workshops, customization of clothes, tattoos and music. Also on display was a unique collection of thousands of author stickers collected from all over the country and a personal collection of street art from Not Found Gallery. There was also a program with electronic music and hip-hop from the Buryat Underground Creative Association.

The idea of the exhibition began with a conversation - participants shared their personal sense of “private”, recording the lines: “private, which can be shared” observations served as an impetus for thinking about an abstract psychological portrait of people born after the 1990s. The project “between you and me, I am not ashamed of myself” was the result of a search for that very generational pattern. Indeed, with the advent of the Internet, the private has ceased to exist. I really liked the work where all the objects were preserved in bags and put on display, thus forming a portrait without a face.

It's not the first time I've admired in an artist's work just how reverent he is about pre-preparation. We see about 20 or sometimes more sketches for one work. Incredible work with typography and words. I really like the compositional decisions here. I would also like to mention for myself the technique of applying the material, it is very unusual and creates cool transitions and emphasizes the texture of the sheet.

I would like to mention the photo works of Erwin Blumenfeld and Horst P. Horst, it is very nice to see their works live. I also liked Alexey Kallima's installation “The Rain Theorem” A forty-meter mural painted with fluorescent paints, which appear only in ultraviolet light, depicts the stands of a raging stadium crowded with fans. Once inside the installation you are alone with the recording of the roar of soccer fans and the noise of the stadium, unwittingly becoming part of the cheering crowd. Then a white light turns on and the image disappears. The sound is cut off. Just silence and an empty white room. The contrast of the experience is very great and you can't help but think about the feeling of being in the crowd. That's why I liked the technique with the increasing sound and the image that appears only in a special light. The only thing I can say is that I would like to go through the exhibitions again. The opening was so large that it was hard to immerse oneself and concentrate on the art without interrupting meetings with acquaintances.

A lot of cool works with texture, volume. I was most of all focused on the work of space, but also a great emphasis for me on the frames for the works and also on the interesting selection of materials.

Mark Twain's great novel “The Prince and the Beggar” tells us that already in the XVI century social elevators worked unpredictably but effectively. However, not only this novel should be remembered in order to enjoy the proposed party. Dress code: all girls are princesses, all guys are clochards and ragamuffins. We revive the tradition of musical and poetic cabarets of the Silver Age.

An infinite amount of beauty. Many examples of good layout, many new fonts and compositions on the arrangement of information on the sheet. I will try to create the same spreads by examples.The number of variations in the shape of the book itself is very large, it really broadens the vision of what the final product can look like. I really liked the way the content and theme of the book directly influenced the cover and its shape.

This time I liked the way Zotov worked with the exhibition space to create a mini version of the bread factory that was originally envisioned in the building. I was also very interested to see the old drawings, they inspire me to work with the archive and to create something that would have the same drawings, fonts, colors, aged paper effect. I can't say that I saw much new, I spent all my childhood in Yekaterinburg close to constructivism and I've always loved how simple and concise these forms look, how ergonomically everything is laid out. The Bauhaus, which had a strong influence on what was created here, is also very visible. I like the way they approached the fact that the exhibition presents materials, drawings and models, so you can see more. Also very interesting archive videos of the construction.

I am a big fan of the universe that the artists of Our Utopia create among themselves. But also separately from this co-authorship I individually love the work of each author, this time I was able to visit the studio of Lisa and Vova, and I can say that I am every time in admiration from the fact that easily come out of the hand of Vova his characters and how thought out the universe in which they exist. In each picture there is a whole story on which it is possible to write books. I also got to see the archival works of Lisa and I like the embroidery that she created earlier it looks like something treasured and taken from the trunk of the grandmother, something also made with love from scraps, so trust in the characters more and it is very disposing.

I often check this library to find new resources. I often find interesting new artists, fonts and techniques that I have never tried before. Last time I saw an unusual use of silkscreen and risograph.

Nothing intrigued me in this exhibition except the latest children's book, which I saw by chance. It had various constructivist buildings that you could assemble yourself. It's quite an old book, but I loved the color selection, typography, layout, and design of the objects themselves. Everything combined together looked very stylish and concise despite the fact that it's a children's scrapbook.

I really liked Pushnitskrgo's previous exhibition at Masters and now I think this is a great continuation of the series. So far my favorite series is still “Garden”, but nevertheless “Forest” and “Island” are also very appealing to me with their combination of colors and the technique of applying paint to the canvas. I also liked the fact that the works have a larger scale, as if fully immersing in the world created by the artist.

Not knowing in advance the properties of brass and the mold making process in general, I chose a rather difficult to carve figure from my sketch. I really liked how finding the right position of the string made it easier to work with the mold, even a difficult one. I will go to a full workshop to have access to the workshop, I really enjoyed working with the material.

For the first time I saw such a technique of work, at first it is not even immediately clear whether it is print or charcoal and oil. I didn't quite like the works from afar, they are much more interesting to look at up close, the technique looks much more interesting when you look at it carefully. I also liked Igor Samolet's work with the total installation, I like the way the room was competently chosen, it reflected the idea of the installation itself very well and emphasized it with the distance between it.

I liked the textile work most of all, it's gaining momentum as a technique, would be interesting to try it too. I like the combination of ready-made fabric textures, printed photos and released threads that together create the effect of found somewhere in the folded things of the album with memories. I also like the ceramic works in the form of sheets and would really like to work with more material.

It was a very useful workshop. First we saw with examples how differently books, magazines and zines can be sewn together. Then we tried the techniques ourselves, sewing three small zines by hand. It's a skill that will come in very handy in the future. And I was very happy that I practiced, because I had not done it professionally before, which caused the sheets to bend and deteriorate.

Visiting Alexei Kuklin's studio was also a very interesting event. I have been following the artist's work for a long time and saw the blanks of new works. I like how the artist works with color and composition. I especially want to note the circulation works with the help of linocut.

I can't say much about the costume, I am most often in contact with it in performance. I have participated more than once in Roman's performances directly in his own costumes, and it is an incredible experience, because the body is no longer directly felt and the movements adjust to the shape of the costume itself. I was also pleasantly surprised by the new mini tests for future sculptures, if you want to learn how to compose abstract forms, you should definitely come to Roman. I am a big fan of the work he does in sculpture because it carries the idea of the fifth dimension, which in ours is transformed to adapt to our world. And the way we see them is a certain position of the dance of these figures, that is, in another dimension they come into motion. I like both the duality of realities and the way the brain completes the possible movement of these sculptures.

Delight, I really love Lisa Bobkova's graphics. It's the first time I've seen the process of creating works so closely, I've already been to her workshop at Garage once, but I still admire her washes, they look very smooth and I've never achieved such precision when I tried to use this technique in my works. I am also fascinated by the way she works with sculpture and space, I would also like to get into the scale and interact with such self-sufficiency of one work.

I'm not an opera fan, but when an opera is accompanied by Sasha Frolova's costumes, it takes on a new character. I really liked the costumes of the minions of the Queen of the Night. And in general, in principle, the whole production looks much more modern and clear with the help of visuals.

I really liked the poplar fluff exhibit that was in the space at the time of my visit. The way the temporal passage is betrayed could not have been more accurate. The poplar has only been spreading for two weeks and it is in such a slightly ruined space that there is an emphasized statement in the form of the temporality of this phenomenon. Also during the visit to the studio, the artist showed his archival works, I liked his projects related to the laboratory approach to the study of a certain area, but also no less intense for me was a series of photo prints in a special technique. I have already tried this method in our studio for tests.

The Moscow Museum of Modern Art in partnership with the Rukavishnikov Center has created a grant for students of art universities in Moscow with the opportunity to take part in a series of lectures, public talks and master classes as part of the grant project “Laboratory of Contemporary Art CEH”. Classes with MMOMA curators, contemporary Russian artists, owners and curators of leading Russian galleries. Being a key structure in the artistic life of Moscow, where different trends, currents, and meanings intersect, MMOMA is constantly expanding and improving the ways of interaction with new generations of masters. Thanks to the course, I was able to learn more nuances in working with institutions, got motivated to participate in Open Calls and sent my work to Blazar Fair and several other Open Calls, improved my portfolio and learned how to compile it correctly for different tasks, and in general, gained a lot of practical skills for creative realization.

In this ballet I was disappointed by the ballet itself, because for me the production itself was extremely weak and I did not expect such a thing from this theater. But nevertheless I went not for that, but to see the costumes of the artist Yuldus, I really liked the way she stylized her film about tsarevn, so when I saw the tickets I immediately bought them. I really like how detailed her approach to how all the elements look together, for me it looks modern stylish and it redefines the classical approach to costume.

It was a very useful conference for me, as I am interested in scientific art now. By signaling systems we mean our senses, I was interested to see and hear how science interacts with art now and what specific technologies and experiments are being introduced and interested in both the scientific part and the artistic part of the conference participants.

The change of exposition in the main halls of the Tretyakov Gallery also came as a surprise to me. A whole hall of Kandinsky appeared, and it was a shock to see the space in which more than one of his works was gathered. It was a great pleasure to immerse myself in the colors. I also met Pivovarov, I've always loved his work and his unique style, with lots of cultural references. I also had the pleasure of enjoying Kabakov's work, which I saw not for the first time, and Malevich's work, which I met for the first time.

I am very intrigued. I love things with deep meaning, something that can be further explored and penetrated and when I saw the sketches of each of the works that spelled out the meaning of color and placement in the painting I was thrilled. I really like the author's style and really think I should take an example from him in how well composition works for him. I will look forward to reading his book and further exploring his work.

I like that the works are site specific. The flower store has botanical sketches and other images of flowers. In a flower store where there are super rare flowers it looks appropriate. I really like the te-nika that the artist is painting in. The charcoal and oil combination looks very sketchy, yet finished.

I definitely want to get myself a library card so that I can immerse myself in the study of folios in a non-touristic way. I am happy that it is available, so I can book and see the books and their design and typography. It is also impossible not to mention the interiors, and sadness that unfortunately the building has not been restored for a long time.

Peredelkino is a place for contemplation and inspiration. I often come just to read and walk in the forest. But this time I revisited all the houses and found something new for me again. I sketched the area, took a couple of shots on film and found details of the interiors that will go to other developments.

I've been doing analog animation since childhood and originally it was Nina Bisyarina who guided me and taught me the basic skills to create it. This time we were observers, I like to explore reality and capture moments that are temporary. In this workshop we found characters in the weave of branches and trunks and then created a brief animation with them. I learned how to use the program to stitch together frame-by-frame animations in more detail and also resumed my series of graphic sketches.

I am a big fan of ceramics and this exhibition only emphasizes my interest. I like the way Andrei works with ornament and pattern. I have also been following his work for many years and I am pleased to see the graphic style that follows him, changing form and materials.

Alexey Luka is also one of my favorite artists. Despite his street art past, nowadays the artist mostly creates sculptural objects, but there are still murals. I am very intrigued by the search for “keriks” characters in his works as it is a separate part of street art. For myself I can emphasize works with scale and composition.

It's hard to say anything about the exhibition, for me it was too visually noisy. I can say that I was pleased to see Timur Noviky's original work. I also liked the archival works and pieces of the movie, which are now hard to find online. It's a big layer of culture and it was interesting to see a slice of it.

I am very impressed with Andrei Berger as an artist. This time I visited his studio to see new works that have not been exhibited yet and are in development. I like Andrei's approach in the way he works with data and found objects. I emphasize for myself the laboratory approach to the projects, the feeding stories, seriality, colors and the incorporation of materials into his work. Andrei Berger showed an exhibition presented in 2022 in Japan. It was very interesting to listen to his story about how the exhibition was held, his residency and his future projects.

A crackling fire, a set table, everything creates a feeling of coziness, but looking at the details one realizes that everything is in a dilapidated state. This project is based on coal, which the authors used primarily as an artistic tool, while focusing on the associative series that coal evokes as a material. Coal can be both a product of combustion, symbolizing destruction, and a resource for creating something new.I'm putting this exhibition on my list of some of my favorites of late, a very good example of total exposure of work. The immersion in the context that I try to reproduce in my works.

Universal University
“Bye New Year's Eve. While adults.”
I liked the way all the participants addressed the theme. In one way or another everyone worked with the theme of collective memories, something that almost everyone had as well as New Year's Eve. Thus creating a new emotional outline for the work.

It's hard to say what I emphasized specifically, I've long been interested in working with ceramics and different decals to experiment with textures and effects. At the exhibition, I got a glimpse of different printmaking techniques.

I really like the dynamics of the stroke, the artist is not afraid to go beyond the framework of the “contour” and gain volume with a large number of lines. I really like the childishness and intensity of this technique. In the process of drawing, Lev invents a story, telling it in a stream of consciousness, in which there is an adult logical sequence. But at the same time this lightness of narration is preserved.

It's hard to talk about photography, but I definitely enjoyed the many types of documentary Borodulin presented. During his career he has collected all directions from military documentary to fashion photography and erotica, he has known and shot Andy Warhol, Mickey Rourke, Truman Capote. I definitely like how many moments in time he has collected, thus creating a portrait of the time.

“Drying” is a popular photo sharing project and photo movement that unites people all over the world. The essence of the project is that any participant can bring their photo works and hang them “dry” on ropes with clothespins. In exchange for their photos, any other photos can be taken away. You can sign your photo, leave a contact on the back or an unusual message to its future owner. This is the first time I've encountered this format, which pleasantly surprised me. I am an active user of a film camera, so I was pleased to see a large number of interesting photo works together.

“White Noise” is a feature film of the PPSS group, telling about the last chords of the Russian Civil War. The movie is set in 1921 in Eastern Siberia, when the troops under the command of Baron Ungern are preparing to cross the border and start military operations in Mongolia. And really I was amazed by the way the film was created, throughout the whole picture the effect of posterization or comic image is preserved with the realism of the frame itself. It creates a dissonance as if you were seeing an animated comic book, it was the first time I saw such a technique in a movie. I also can't help but talk about all the visual effects of the snow, they just for me created this white noise. Very good compositions of the shots.

We specifically went to see the works in storage at the gallery so that we could get a closer look at the works. Thus I saw “Nettle” in its small form and a couple of other works. Thanks to this experience I realized how important it is to choose the right varnish for my works and to test the lighting so that at the exhibition everything does not glare and do not reflect the strokes if it is not the idea.

Artist Gosha Ostretsov breaks, scrapes and scratches geometric shapes and pure colors of suprematist compositions and shows the viewer the gut and lining of the avant-garde, adds patina to century-old ideas. He designs into works of art.Viewers are presented with a phantasmagoric world of the artist's ideas. Ostretsov's favorite and constant heroes are robots, robotic members of the “new government” are both objects and subjects of this world. In “ROBOBOBURO” is kept a relic - a leather apron of the chief master, incognito, unnamed chief creator. On the apron is an emblem - a zigzag of lightning, in which Gosha puts many meanings: a fire of knowledge, a flash that illuminates the creator's intellect, an additional light granted from above, a light that extends the daylight hours for art. I am a big fan of dystopias and I became very close to this exhibition, both its rabotized members and the incredible colors of the sculptures. I am also actively working with the theme of the new ideal reality that is broadcast to us in dystopias.

During the public talk the artist shared her perception of performance as a moving sculpture. It was also interesting to emphasize that the costume can become a living sculpture, as well as a second skin in the future because latex is a living material. I have always been interested in the synthesis of art and multidisciplinarity, so this was an opportunity to learn more about it, which was very useful in shaping my own practice. It was also interesting to hear how technology, texture, form and color work to make an artistic statement.

Elena Anosova is that artist for me is an example of unmistakable exploration and immersion in culture, heritage. Anosova is currently working on a game and a book, Atlas of the First Snow. They focus on the history of the artist's family in the Far North. They ask questions about heritage and survival in extreme natural conditions. Through questions of the sociology of food, themes of climate change and isolation due to natural boundaries are raised. About 300 years ago, her ancestors established a small settlement in the Far North. The harsh conditions of an isolated community, an exiled lifestyle, a special relationship to nature. Her family still lives there - about 100 people with the DNA of the indigenous small-numbered people - the Tungus. Modern civilization influences the whole world, but our isolated community retains its identity thanks to isolation and harsh climate.The landscape, unchanged for centuries, makes us wonder: who are we? Where did we come from and - the most important question for the next generations - where are we going? This is what she talks about in her project “Atlas of the First Snow / Off the Road”. Modern civilization has penetrated here slowly and piecemeal, it is intricately woven into the local way of life. Electricity, supplied by a diesel generator, is available only in the mornings and evenings. Temperatures in winter average -45° Celsius. These lands are immersed in the flow of their own livelihood, where past and present are intertwined in surprising ways. For myself, the work with archive and memory is very important to me and the legacy she preserves in her footage amazes me. Despite the brutality and harshness of the realities, it is rather mesmerizing than repulsive. I was also very impressed by the project “The Ward” where she worked with the social boundaries in a real ward and how the human personality is deformed in women's prisons.

Workshop on heat press with silkscreen printing
Before I had already taken a workshop on silkscreening in combination, so here I took an additional technique of applying the material with it. I really enjoyed working with flock and mirror films. It turned out to be not as difficult as I initially thought, so I adopted the technique.

Most of all I liked the space recreating the artist's studio, I really like total installations and here you feel as if you are immersed in the process of creating the work, you see sketches, sketches, palettes. I also liked Mural on the whole wall, it is impressive, as the work was made on the wall itself and not a separate canvas it refers to the street art sphere of the artist, where all works exist temporarily. In the exhibition the artist explores astrology on human life. Exploring this theme, Anatoly wonders how and why modern people are increasingly turning to esotericism. Having received detailed forecasts according to two systems, during a year the artist recorded all the events happening to him and interpreted them according to esoteric teachings. The result and subjective understanding of the main ideas Anatoly Akue reflected in his works. I like the approach to something imprecise and elusively untrue with such scientific precision.

I was not able to stay without tears at the end at all. The movie came out as a retrospective on all of the director's previous films, as if he had summed it up by putting it all together piece by piece into a single picture. It's incredible how subtly the moment was felt and how the whole story immerses you completely into the world. It's the best goodbye I've ever seen, despite hoping it wasn't. I love how everything overlaps with each other, and for me I'll note the number of references, both to the movie itself and to the rest of his films. As always there is a powerful connection to mythology and culture, tradition and all that together creates an impression of content. I can't help but note the color combinations and detailed frame dynamics.

It's incredibly addictive to create your own fabric canvas by hand, it inspired me to take a workshop on an already specialized technique to learn how to make larger printed fabrics. But even at this stage it looks very exciting. Of course this workshop is not related to my direction, but I think I will 100% come back to this technique to create textile posters or something similar.20:17

A very useful working technique for me, I have long wanted to master working with printmaking for myself as well as for my studies. I like how you can actually reproduce the same image in different ways, just by changing the amount of dispersion on the preparatory material to create the screen itself. Experimenting with this can highlight different gradients and stretches between colors which can make the work more interesting.

I like the main motif of the current exhibition - fleeting subjects of scanned still lifes or random internet pictures take shape in slabs of ash wood or in oak rootstocks. It all creates a sense of paradoxical, impossible subject matter. The artist said that the works are part of a typical strategy of recent years - a “generator of happy accidents”, when a work appears as a result of a certain constructed chain of circumstances. I really liked the way this chain was reproduced, because despite the algorithm the works are very different. As a result of complex combination of materials and new high-tech processes - scanning, digitization, processing, software deformations, 3D technologies - printing and milling, including robotics, abstract and unique reliefs are obtained. It is the use of natural found object and technology that appeals to me the most here.

I liked Sasha Frolova's costume and installation most of all, I like the forms she uses in her inflatable sculptures. I would also like to mention Glazun's work “Burning”, I also like her technique of execution and her work with fire objects. I liked two works with the change of the usual purpose of things, for example, a fire box used as a sideboard for plates. A kind of reference to Redi Seydoux and Duchamp's works.

The transparent futuristic object encapsulates a familiar golden-colored Christmas tree. The outer shell, resembling a soap bubble, creates a sense of ephemeral and fleeting holiday. And New Year's garlands and golden branches, reflected and refracted in the mirror elements, evoke associations with the glitter of Christmas decorations and champagne splashes. I really like the work with volume from inside the object. I am close to the theme of mirrors, so I was very interested in the design of light reflection with transparent and mirrored surfaces. Also the work with the fleetingness of the moment that is preserved as if forever, with this emotion I would also be very interested to work.

Shabalin's works are a huge storehouse of memory, a visual attraction, extremely understandable to any viewer, regardless of his age and degree of initiation into the mysteries of contemporary art. The joy of recognition that erupts when the eye picks out the outlines of familiar things from the multicolored mass equates a child with a sophisticated aesthete. I like this certain second skin, where the mask creates a visual dossier on you, for each mask contains different objects that may be understood more from personal experience. I myself, looking at his work, have more than once encountered the phrase “I had one just like it when I was a kid” or “I used to collect them”. In some ways this is close to the now fashionable concept of post-memory. The face-personality is made up of bits and pieces of memories, one's own and others'. I am very close
to this theme in what I do and, of course, it is a global immersion in the context, which I also want to broadcast.

The exhibition featured the artist's largest graphic canvases created over the years 2017-2022. The title “Exit - Exit” comes from Erik Bulatov's iconic work “Entrance - No Entry”. The works presented are often references. The repetition of the word “Dangerous” is linked to Erik's painting of the same name, while the sketch work “Forward” - a sculpture with the same title. This is not done by chance: the artist stays true to the visual code, and the personal principle that it should reflect time. This is how Eric Bulatov analyzes the events of recent years. I like the way the artist works with the space of the canvas and its composition. I am very impressed by the number
of sketches the artist makes before the final composition. For myself, I would like to emphasize the work with text and font.

The exhibition is a research project involving the study of the flow of water, the artist has made a large number of movements documenting the flow of water. The exhibition features a series of photographic works, a series of sketches on tracing paper, as well as video material. I really like the artist's in-depth approach to exploring a single element, this project is really interesting to observe and study while at the exhibition. It is a new experience of working with the background and the final result, which did not leave me indifferent. Catching the moment is something that is very close to me, as something that is always with me, breaking the ordinariness of some phenomena.

TUPIK is a new type of fair where each artist acts as an independent author. The participants of the fair are artists both invited by the museum and selected through open call. The fair includes many works prepared especially for the exhibition. The fair showed me a cross-section of some of the most productive artists in my opinion. I would like to mention the works of Igor Samolet, Vladimir Abikh, Utopia Art Association and Sasha Frolova.

Together with photographer Alexander Egorov we discussed his solo exhibition, talked about the process of creating works, unpredictability of the result and "poetry" of the material. It's fascinating to see the result of chemical reactions that you can't recognize and only after the tour you realize what somehow influenced the analog process of creating these works. I am fascinated by this artist's work with color and series.

I would like to focus on each of the three exhibitions I visited that day, but I will focus on the one that attracted me the most. "Star Revenge" An essay exhibition devoted to ideas that seem fantastic, even though they were invented by scientists - and at the same time artistic concepts and plots that are quite believable. Today, in the context of the development of social networks, artificial intelligence and personalization in all areas of production and consumption, the early New Age promise of the "kingdom of man" seems more realistic than ever, although it does not guarantee human freedom. In one way or another, we are once again alone in the flow of digital information, the density of which knowingly exceeds the cognitive capacity of any individual. Each of us is once again forced to search for a formula of the world (the philosopher's stone), which will help to assemble any complete picture of it from the infinite variety of knowledge and practices, symbols and objects. The heroes of the project are united by the idea of searching for such formulas.

The dramaturgy of the exhibition is simple: from household lamps to divine light. Vladimir Dubosarsky depicts chandeliers underwater, Vladimir Potapov depicts them on plywood, Dmitry Samodin turns a subway car illuminated by a dim lamp into a confessional, Alexey Spirenkov makes a running line with a quote from Peter's second epistle ("...the morning star will rise in your hearts"), Tatiana Badanina installs "Ray", which "illuminates the darkness and guides us to the true path" through humility and prayer. The epilogue is a video work by Anton Batishev, immersing the viewer in rainbow nirvana. The exhibition evokes tranquility, walking through the exhibition a sense of interest is evident. Raising questions: what will be next? What next interaction have the authors come up with? The works combine working not only with light, but also with text.

The task of this master class was to create a bag by reference, in my case the work of the artist had many circles, which led me to the idea of creating many balls that would instead form the basic shape of the bag, but I only had time for the first part. The master class helped me to remember the skills of constructing voluminous models from paper, which I used to do at the architecture academy.

This is an annual exhibition of diploma projects by students of the School of Design of the National Research University Higher School of Economics Diploma23. This year's works created in various mediums - video art, photography, performance documentation, objects and sculptures - are united by the theme of "mistakes". The most memorable was the work of a student who created her own tracks and music videos right at home, documenting the whole process in a live format.

Seeing the experiences of past students on our course was very helpful. As we visited the exhibition the day before we opened our own exhibition, it helped us to take a closer look at the layout of our series of works. Allowing us to enhance its uniqueness with an interesting arrangement of frames on the wall.

The exhibition "The Process. Franz Kafka and 20th century art" traces parallels between the works of the writer and the major artistic phenomena of the 20th century. The architectural solution of the exhibition space suggests several directions of the viewer's movement leading to the center of the exposition, formed as an allusion to the novel "The Castle". The first route is built along the line of one of Kafka's most famous stories "The Transfiguration". The transformation of the main character's habitual world is visualized by the works of German expressionists such as Georg Gross, Max Pechstein, Egon Schiele and others. The second path leads to a space that recreates the interior of an office similar to the one where Kafka himself and the protagonist of the novel "The Process" Josef K worked. This section presents works by conceptualists such as Joseph Kossuth, Ilya Kabakov, Viktor Pivovarov, Dmitry Prigov and other artists. Having gone through both routes I got a huge cross-section of key information about the author and I can fully agree with the curatorial work in the selection of paintings and installations. I can call the exhibition not disposable, because not knowing one of the works of the writer, the exhibition becomes though not less interesting visually, but having for me personally not such a strong immersion in the context that I could have.

The task of the exhibition was to form a dialog between the works of Andy Warhol and leading Russian artists and to demonstrate the diversity, depth and continuity of the creative methods of the King of American Pop Art. This dialog between the stages in art and the close connection with light/ could be traced. The exhibition turned out to be full and lively, fully reflecting the image of the artist and revealing the ideas of his work.

This exhibition presented me with a large number of different historical photographs. As I studied each of them, I realized the importance of composition, perspective, and the proper use of light and shadow. This insight will help me to make my photographs more effective in the future by using the techniques I have emphasized.

The production combined powerful work with sound, new technologies, new techniques in the approach to costumes. Most of all I liked the work of Tanya Akhmetgalieva with the projection of her works in which she worked with the term neural networks.

"Notre Utopia" is an association of very productive artists. Visiting their workshop was a very exciting experience. The amount of sketches and preparatory work is very inspiring for one's own achievements. The colorfulness of their work and the atmosphere of the creative process is so high that the concentration of art is literally at every step.

This was one of those workshops from which I didn't expect anything in advance. Despite all my experience with photography, I have always worked mainly with natural and reflected light. For me, this workshop was a great experience in staging light. I learned how to use multiple light sources to create volume in the frame, which was a very useful skill for me.

In honor of the birthday, the space presents the exposition "Presnya: Exhibition of My Memory", which will recreate the image of the Presnya district at the intersection of cultural, geographical and personal coordinates. The history of the neighborhood will be shown through the prism of everyday life and memories of its residents: from exhibits in state museums to personal diaries of residents. At the exhibition there were a lot of archival photographs of the time of construction and functioning of the plant. I would like to note the interesting solution of the exhibition space itself, which recreates the layout of the building.

A photograph, a letter, a personal item - all this creates a "cast" of the moment, revealing Alexander Rodchenko's multifaceted personality from different angles. How he feels, how he thinks and what he dreams about is reflected in the creative methods he uses in photography. The famous "Rodchenko angles" are nothing but the embodiment of his soulful desire to "see unusually ordinary things".

Over the past three years, the foundation has worked to expand its collection of nonconformists and street wave artists, while also focusing on experimental female practices, kinetic art and video art. After the opening I was left with a pleasant feeling of being filled with various new techniques, I would especially like to emphasize the work with mirror materials and kinetic objects. It really catches the eye, I am interested in working with such materials in my projects.

BATO is a grouping of artists and musicians who create a total immersion in their cultural code. Never before have I felt such a dense contact with culture presented in a modern way. The guys from the group recreate the full atmosphere, using the folk sounds of Buryatia in their tracks and the symbols of Buryatia in their artwork. At their workshop I tried to make cast bas-reliefs with their popular images and made a small print using silkscreen on my bag.

Before this workshop, I have only experienced handmade X-rays and their transfer to photo paper once, so I expanded my horizons in analog photo printing. Very interested in the experience of printing also on fabric, I hope to try it this year.

The conference "Photography: More than Art". The conference was an overview tour into the world of photography from history to the present day and started with a master class on the early analog process - cyanotype, experts told about different types of photography: from documentary and conceptual to reportage and fashion. The conference was very helpful in broadening my horizons and looking at photography nowadays from all available angles.

The tour fully emphasizes the architectural significance of the structure and the life stories of its creators and occupants over nearly a hundred years. It was incredibly fascinating to look at all the cell types, learn about the reasons for the unusual structure of the building itself, the selection of colors to paint the walls, and the history through the years of this building. Every detail carries a function, just like in the human body, nothing was done without a reason. The restoration was done according to the original drawings, allowing you to fully immerse yourself in the learning process.

The installation consists of 250 mirrors mounted on ledges and walls. The mirrors are configured to reflect sunlight onto the walls of the quarry, which are in shadow, and onto the water. The artificiality of the landscape, its contemplation through the mirrors and refracted light creates a space similar to a Japanese rock garden. Many of the mirrors are installed in the shadows of the ledges, behind the stones, and reflect the quarry itself from sides that were invisible to the viewer. The installation allows the viewer to engage with areas of the quarry that have been hidden and change the familiar viewpoints of its landscape. Through mirrors and reflections, the quarry is perceived in a new way. But it is obvious that a new form of perception of the artificial landscape is impossible without the presence and reflection of man. The cosmos is reflected in man, and through the mirror installation we see the human world reflected in the quarry. In time, the quarry will be flooded and together with the installation will go under water, thus the viewers at the moment of creation of the work witness its disappearance. The gradual flooding of the quarry will take more and more mirrors away from the viewer. Complete flooding will lead to the impossibility of seeing the reflection, to the absence of the observer and, consequently, to the absence of reflection.

The installation is a metaphor for the growth and development of new technologies and services of the future, which, by weaving them into our lives, make them more comfortable and colorful. Fantastic flowers hung throughout the summer and autumn in Gorky Park, which allowed me to enjoy their presence many times.

Dialogue as one of the most relevant forms of interaction requires mutual respect and attention to the interlocutor. It is a way from rethinking the communication "man - technological environment" through dystopian plots to the harmony of space through information interaction. The visitor can decide for himself how to build communication, interacting with the installations and leaving behind a digital trace inherently running through the entire exhibition.

"I Think Everything Smells Like Burning" presents massive cast-iron sculptures and cast-aluminum bas-reliefs domineering in their scale above human stature. The objects - the pedestal from the monument, the carousel, the hook and the cast semi-abstract images - charred and melted, and, perhaps, those that survived and hardened, are markers of some kind of life "after". In general, any story always looks very logically "after," retrospectively tracing its intent. But if you try to live it here and now together with its participants, the structure falls apart. Nothing looks predetermined. Her characters are always wrong, circumstances change, and it's as if nothing depends on the players. Pershko's project is an excuse to stop and see some after-the-fact. "When the world is hurtling somewhere and you don't know the way out, you roll with it and catch a fleeting high. I wanted the viewer to enjoy the plasticity, the materiality of the objects for a moment."

Ilya and Emilia Kabakov's wings are attached to a "harness" woven from leather straps: for the time being they hang on the wall, but if something happens, you can put them on and save yourself - or others.

Universes are something that always captures the imagination, and creating new ones is a very laborious process. For me, artist Vova Pekin and Utopia are the perfect team that embodies absurd, bright and unbridled works in their art. Watching such a scale you just can't help but plunge into the universe of gorging, fun and bright colors. This world is able to absorb reality entirely. The detail, the selection of colors and the scale of the unfolding exhibition can't help but amaze.

This workshop was not my first time, but it was the first time I had a closer look at the technique of ink wash. Lisa Bobkova is an artist who has created huge series of works using this technique. In the process there is a complete concentration on the piece you are working on, which causes a certain thrill at the end. A technique that I definitely include in my list of the most meditative practices.

Working on the risograph was not as difficult a task as I had imagined, during the induction I learned how to prepare a file for printing and start printing my print. I will definitely come back to this technique and more than once.

I've only sat down at a sewing machine a couple of times in my life as a child, and naturally never used anything like an overlock, so it was very interesting to try my hand at it as an adult and more aware. I can't say it's something I'd want to do with my life, but it's definitely a useful fabric skills for my future projects and my brand.

The darkroom indacsion was incredibly inspiring, our indacsion fell on a day when we were in Halloween costumes, which gave the first part an atmospheric feel. I'm very fascinated by analog photography and always carry a small film camera with me, but to be confronted with the more impressive cameras in terms of technology was very interesting. The film developing, printing and the whole process was very immersive. It made me want to experiment with film developing.

The most honest impression after the lecture and presentation of his two new books, I went and bought both of them into my collection, without thinking whether I needed them or not. His series of works "Forest" and "Garden" have such a mesmerizing effect that it is simply impossible to pass by. The abstract works clearly read the atmosphere of mystery of these places.

I was not impressed with Cosmoscow at all, all the works that I singled out for myself were partly known to me or were created by authors I have been following for many years. But in spite of this I am glad that this event continues to exist and develop in spite of everything, promoting more and more new faces.

This performance lasted two days, both of which I was lucky enough to catch. For me, as a street artist among others, it is very important to understand and distinguish for myself the time period of the existence of my work. So this kind of self-irony of destroying and transforming one's work the very next day after its creation is very appealing to me as a concept.

Floris Vitae blossomed on the surface of the flooded Tal'kov Kamen mine. The eight-meter airy flower represents the famous symbol of Bazhov's tale in a new interpretation. The Stone Flower is a fantastic image that reveals the power and magic of creative energy, which overcomes the limitations of matter and transforms inanimate stone into a living flower. Acting as Danila Master's alter ego, Sasha Frolova allows us to see the future in a fantastic image, because the materials of the future are plastic, able to stretch, fit or inflate. The shape of the Talc stone turns the sculpture into a symbol of awakening energy, of love blossoming in the stone heart of the quarry.