Projects
Author's crucifixion, installation
Stiftung Künstlerdorf Schöppingen, Germany
Question is one of the most beautiful syntactic forms and usually signifies curiosity, interest, and the questioner's willingness to interact with reality. But sometimes questions are carnival costumes that dress up judgment, misunderstanding, criticism, condescension, etc. That's what my project, The Crucifixion of the Author, is about.
Questions on this window are crucifying. Some of them we, authors (and artists) ask ourselves it a fit of self-abuse. Some we are set by the people around us and society. Some of them are still funny, some — only depressive.
I didn't put all the annoying questions in here, only that one that could be universal for everyone. But apart from the ones you see in the picture, these two years I have been tormented by questions like "how can I continue to write in Russian?", "Who will I write for, to be an excellent writer in my native country and a bearer of a painful identity in another?", "Who will want to read about painful things now, when everyone is tired?", “Have you found a normal profession to survive in emigration”?
It's just that now I know how to stop these questions and get off the cross.
But some questions can be deceptive, already containing a strong belief or a certain context, sometimes lacking attention and respect, often devaluing. Such questions are crucifying.
There are times when writers, or I'm sure artists, ask them of themselves, but more often they hear them from those around them. I was interested in putting them together and seeing what context they reproduce in order to show pressure the author is under when he writes. Of course, I think this is true not only for writers, but also for artists.
Bolotnaya case
Moscow, Russia
Theater.doc performance about the most high-profile Russian political process, the defendants of which were sentenced to criminal terms due to participation in a protest against the inauguration of Vladimir Putin on May 6, 2012
The forest
where?
The play, on the basis of which a promenade performance, an Instagram series and a full-length film were created. The performance in Krasnoyarsk received exceptional reviews, the Instagram series and the film made by the Latvian creative agency received the Latvian award "Kilograms Kulturas" and entered the program of the Riga International Festival. This is a detective story consisting of monologues that revolve around the story of a missing girl. This is a drama about the indifference of the closest people to each other.
The run: refugee rave
Ballhaus Prinzenallee, Berlin
Dramaturgy: Polina Borodina
Directed by Anna Demidova
Since Russian full-schale invasion of Ukraine more than 11 million Ukrainians have become war refugees in Europe. Thousands of Russian citizens speaking against the regime has left the state. These are not just numbers; they are real people with real stories. And "The Run: Refugee Rave" is here to tell those stories.
1000 year together
Scientific and theatrical laboratory + performance
The performance "1000 Years Together" explores the attitude to death of people of different generations, social status and experience. In each cell on the wall there is a personal story of a person, media and “ordinary”, adult and young, afraid of death and indifferent to it. Through headphones, each of a small group of viewers can connect to a particular story. In exchange, you need to leave your phone and personal belongings in the cell. Everyone has their own route, but the frame with the beginning, climax and epilogue is common. As well as on our road to death.
Kanishevsky
Skype drama that turns all stereotypes about love triangles upside down.
During the covid lockdown, this play was staged online in Mexico, USA, Latvia and Russia.
LÜBIMOVKA - ECHO. BERLIN
Unabhängiges Festival der Antikriegsdramatik
Directors of readings: Polina Borodina, Satchel Reemtsma, Lena Binski, Yuri Shekhvatov, Waseem Alsharqi, Philipp Grigorian