Exhibition "Untitled (after defeats)" media artist, graduate of the Rodchenko School and laureate of the Kandinsky Prize in 2013 in the nomination "Young Artist" Evgenia Granilshchikova opened at the Multimedia Art Museum with the support of the Triumph Gallery. On the second floor of the museum, strictly hung and with a well-thought-out architecture, there are photographs, lightboxes and screens broadcasting short films "Munich", "Empire" and "Ghost". Today, the young artist is a favorite of the public and critics, his works were shown at the Central Exhibition Hall "Manezh", London galleries and at the festival in Oberhausen. ARTANDHOUSES talked to the artist about his video sculptures and about those for whom video art is made.
On the website of the Triumph gallery you are listed as an independent director and artist. How did you decide to get into video art?
Through photography, which I studied at the Rodchenko School. But before that, I always dealt with lyrics. I always had to start from some kind of “near-literary concept”. The literary-centric position was organic for me, because before the School, I studied at the Literary Institute (IZHLT). Then everything changed, and I started doing video. How did I come to this? I don't know, it's kind of random.
Literary institute, passion for photography… It seems that you have a penchant for documenting, for archiving… Do you keep a diary?
No, and never did. But the works that we see at the exhibition in MAMM, I found in my archive. I selected them, pushed them into a single, open space, where they intertwined into a single landscape. I filmed something on the phone, something on professional camera. For example, panoramas. These two landscapes are places where I once lived. As a result, there are random videos at the exhibition, and there are detailed ones. But I don't treat them individually as works of art. They can only work together.
Do you write scripts for your videos?
Yes, it happens that I write, but I never shoot according to the script. Intuitive search prevails in my work. By nature, I am very rational, so I fight with myself, with my tendency to analyze, and try to work more with random things. I shoot as if backhand, without looking. I want this to be a find. Works must be on the verge of art and garbage. Sometimes I just find photos on my phone that it's impossible to identify what exactly is in them. It's just a collection of pictures that don't have anything on them, and they look like they weren't taken by me. But they ended up in my phone's memory, and I'm working with this as with an archive. I'm sure everyone has such pictures, I just decided to catch them, collect them, pay attention to these visual failures. What impression can they give of me? What are they even talking about?
As for the videos presented at the exhibition, I think it would be right to treat them as video sculptures. How does a person relate to sculpture in principle? Sculpture does not always have a plot, it is important to know what material it is made of, as this is dictated by the will of the artist, from granite or marble, for example, this also matters. The same goes for my videos. To understand them, you need to understand the technology of creation, the material.
Returning to literature. What writer would you compare your style of building a cinematic narrative with?
It's hard to say, but I immediately thought of Beckett. His developments are the starting point for so many video artists of the 1990s and 2000s. He has a work that is simply called "Film". It is a 1964 short black-and-white silent film and is the only film written by Samuel Beckett. A rather strange work, reminiscent not so much of cinema as of video art. He was interested in some kind of linguistic heaps, repetitions, relations between subject and object, deformations of these concepts - that is, exactly what video artists of the last two decades were interested in.
But, on the other hand, there is another important writer for me - Henry Miller. And here we are talking about a certain mode of life, such a protracted performance, from which works grow, being simply artifacts, by-products of this life. That is, in order to produce some specific work, you need to somehow definitely live. And the works that we see at the exhibition are just such artifacts that explain something about this performance.
Where do you see your work - in museums, private collections or other institutions?
I don't know, I do something new every time. Now this is a museum exhibition, but tomorrow I can do an exhibition in the basement, because I will need to work with some other spaces. These include social spaces. In the MAMM hall, it was interesting for me to combine a long film narrative with short videos, to see how their narratives develop, whether the museum hall turns into a cinema, how the viewer lives time in this space. I used to be very fond of early video art, and there is something nostalgic in this exhibition, connected with that first experience when I looked at the work of artists of the 1960s. Therefore, in this rather large hall, I wanted to do something simple, maybe even frivolous. My works “Munich”, panoramas are works-gestures, perhaps naively reminiscent of the euphoria of the first video artists.
Do collectors directly ask you to buy your work?
This happens extremely rarely. For all the time this happened maybe 2-3 times. In addition, I have never positioned myself as an artist who sells something. Still, I have completely different tasks.
Social and political video art in general can fall into collections on a par with meditation videos, like, for example, Bill Viola, what do you think?
Bill Viola has a moving painting, yes. Social and political videos can hardly be created in the context of the market. I don’t think that such naive expectations exist in Russia…
What do you like to work with most, what media?
Lately, cinema. This is the most important thing for me. But I tend to be eclectic, juggling with techniques. Tomorrow I may need to make a sculpture, it all depends on the project.
I understand that you are a cinephile. Who is close to you in spirit? Maybe Wim Wenders...
No. Definitely not him. Actually, I can read quite a long list now, and there will be a lot of Asian movies. But if this list is greatly reduced, then these are several directors who did not influence stylistically, but rather gave an understanding of what cinema is right now. These are, for example, Lav Diaz, Michael Haneke, Hou Xiaoxian, Raya Martin, Miguel Gomes, Jarmusch…
The new hero of the column about young artists is a graduate of the Institute of Journalism and Literary Creativity and the workshop of Igor Mukhin of the School of Photography and Multimedia named after. A. Rodchenko, laureate of the "Kandinsky Prize" in the nomination "Young Artist"
Where were you born, where did you study?
In 1985 in Moscow on June 23. It's almost the longest day of the year, in a way I'm lucky. I studied in Kuntsevo, went to several art schools. In the tenth grade, I decided that after school I should enter the architectural institute. For two years I was engaged in drawing, preparing ... But at the same time I attended a lot of things: different circles, from boxing ...
Have you been into boxing?
Yes, can you imagine that a man of my size is engaged in boxing? This went on for 2 years. And before that, I had been playing hockey for 4 years, but I was often sick, and it became clear that nothing would work with professional sports.
At the Moscow Institute of Architecture, I went through all the stages, except for mathematics, in which I really did not understand anything. And then a friend of mine, who also did not pass this subject, persuaded me to enter a rather strange place - the Lyceum of Animated Cinematography on Radio Street. Old school animation, tracing paper, Disney and that movie house that doesn't exist anymore.
It was two wonderful years at the Lyceum, like Pushkin. But there I forgot how to draw completely. And in the second year I decided to study music. Next to the lyceum, on the next street, was Prokofiev School No. 1. At the end of the first year, I came to take exams there. And they told me something like this: “We have children studying here, and you are 17, but we can enroll you as if you are 15, and then you get into our free program.” And for five years I studied classical music in the piano class. There I began to seriously study composition, arrangement, instrumentation in the class of Sergei Udaltsov - he was a very difficult person, but we got along well with him ... But about two years later I ran away ... Because it required a serious choice. At that time I was studying at the Institute of Literature and Journalism on the Arbat. In my third year of study, I graduated from the Prokofiev School. But to be honest, I was not allowed to take the final exam because I did not pass one subject: solfeggio, arrangement or choir. My piano teacher was incredibly upset.
After that, I had two years of light drunkenness at a literary institute. And there I made very close friends. We were regulars at Jean-Jacques, talking about literature ... Such a cliché, future hipsters.
Fragment of the three-channel video projection “Positions”, 2013, 22’44 // Photo courtesy of the author
Did you want to write directly? Why did you go there?
No, I wanted to read. I only thought for the first year that I wanted to write something, but it quickly passed. Since the second year we have a new subject - the history of cinema. It was directed by documentary filmmaker Tamara Grigorievna Dularidze. I really fell in love with it all very quickly. And the next four years I was engaged exclusively in cinema. That is, I worked almost like a film critic - at least three films a day. Tamara Grigorievna and I became close friends, and I often went to visit her. In Moscow, she lived in a one-room apartment, completely littered with books and antique furniture: instead of walls, shelving alone. Now she spends almost all her time in Tbilisi, and, unfortunately, we hardly see each other.
I graduated from the institute as a photojournalist. Of the photographers then, Ralph Eugene Meatyard, Francesca Woodman or Araki were close to me, and not reportage photography. Then I screwed up for a year. But it had to be determined. Intuitively, I chose Rodchenko's school. That year, the group was recruited by Igor Mukhin. I went to him, and he completely knocked me out of all the landmarks. After the first year, I was in decline: I came to school, did not talk to anyone. I think a lot of people felt it at first. During the first year, I became convinced that the language that I speak in photography does not work. I went to Prague for the summer and wrote the script for my first video there.
When I returned to my second year, I no longer took photographs. But at the same time, he still remained in the Mukhin group. For me, Igor has always been important, despite the fact that he could not give advice on the video. But from the second year I clearly understood what exactly I wanted to do.
Did you have friends there?
Yes. There were very good relations within our group from the very beginning. But if we talk specifically about friends, then for me it is. In my opinion, on the first day he came up and said: “Probably like movies?” And we immediately understood each other.
"Positions", 2013, three-channel video projection, 22'44
The film "Positions" - your thesis?
Yes. At that moment in the Rodchenko school, our pedagogical council seemed to have forgotten all the formalities. They did not demand a photo project from me and supported the first version of the “Positions” scenario at that time. It turned out that technically no one taught me how to edit, shoot, record sound. Then I just set tasks for myself and tried to consistently solve them. I remember that at some point, when I decided that it should be a three-channel video, I consulted Alimpiev, and he explained something to me in words. I had to go to the Savelovsky market, talk to some guys, buy a video card with three video outputs from us ... At that time, it was good that we at least knew how to turn on the camera.
Did you write the text for Positions yourself?
Yes, it mostly consists of quotes. Then I watched a lot of political films, and some things got stuck, remained in my head. For the film, the language spoken by the characters was extremely important, and I wanted this language to be somewhat archaic.
At the same time, this was an attempt to rehabilitate a certain rhetoric, but at the same time I wanted to raise the question of language as such. Why do the characters use vocabulary from the twenties or sixties? For me it was an open question.
When did it start for you, your interest in politics?
This happened when I entered the Rodchenko school, I became interested in political technologies, and this is connected with the language of art, media. Then I delved into the Russian political situation. During this time, I read texts by Georges Agamben, Jacques Rancière, or situationist texts such as Raoul Vaneigem's The Revolution of Everyday Life. This is an amazingly poetic book. Political events, in general, serve as a pretext for the emergence of a new rhetoric, precisely one that is adequate to these events. Politics starts with simple words, which you use, how exactly you name some things. By virtue of my literary education, I turned out to be sensitive to the word as such, its meanings, connotations. For example, I am interested in political debates. A work of art always reveals some other levels.
" Letter » , 2012, single channel video, 06’26
Is your position the position of an observer from outside or active from within, an interested person? Or do you not care? Do you want to communicate your position?
It's a question of how to be an artist and how to be an activist at the same time. The question is very complex and unsolvable. Actually, this is a game in position. It is never possible to solve this completely. And it is not in vain that the heroes of the film remember Courbet - a figure in which it was very difficult to combine an artist and a political activist. It is the inability to speak from the same position.
But there are also artists or activist poets. Pavel Arseniev, Kirill Medvedev?
Yes, the first one, Arseniev, is really interesting to me, but perhaps his position is too simple. After all, everything is more difficult.
Is it easy for you? What about Pussy Riot? War?
It may be simple, but it's hard to talk about it.
So you are interested in a reflective, distant look? Here is the same Mukhin, he also films demonstrations, rallies?
The position of maximum vulnerability is important to me. My personal vulnerability. I must constantly be torn apart by doubt from the inside. In our situation, it seems to me that this is the only honest position. For example, it is very difficult for me to defend my film. True, the "Positions" are attacked very often, and even by close friends. This movie is very different for people. And for me it is the simultaneity of everything, there are no exceptions, everything is included. I don't understand people who see this film as just an irony over the situation. For myself, I explain it this way: my heroes pronounce all these words, because I remember them too. And let in some places it is pronounced seriously, but in some places it looks ironic.
But it turns out such a postmodernist position.
This is a difficult question, because this quotation is not here for its own sake. It's not postmodernism that's important to me, it interests me least of all. This is a description of the realistic situation we are in. And we ourselves do not know how to perceive what we see. Therefore, we use templates, impose familiar grids and say that this is, for example, modernism.
Furgue (flight), 2013, audio installation, 20’20
At the same time, your form is postmodernist, but the content is not. And there is such a dissonance, it seems to me. And such a counterpoint, it can be good.
Well, look, there is, for example, Virginia Woolf, who exists in her time. But sixty years pass and a certain artist appears who makes works about the disintegrated modernist hopes, using the same modernist moves. He works with it like with history. It's about something else. I don’t think that I am doing something postmodern, I think about various traumas, including postmodern ones.
Are you still trying to overcome them? Then it turns out that the emergency room is located on the territory of the same postmodernism. Hostage is like that.
Well, yes - this is about the fact that even if we want to get out of postmodernism, sometimes we simply cannot.
At the same time, there are such layers in your works when the medium is decomposed into its own components: light separately, sound separately, picture separately. In “Positions”, however, the picture is very attractive, it magnetizes, in form it is almost Alimpiev. It's like in Godard's "Socialism": you can watch it without sound, then go to another room and listen to the sound separately. And all this will work. You have it on purpose Nice picture, aesthetic?
Yes, but I deliberately applied this visual language here. I wanted the characters to be contradictory, to speak the language of another time, and at the same time look like the boys and girls of today, so that they ate at McDonald's, danced in the club, but discussed Tretyakov in the kitchen, and so that it was all woven from what something hellish inconsistencies, because everything is so. My poetics is full of traumas, including in the Lacanian-Freudian vein. I'm such a neurotic - in my opinion, this is a typical state of the present. And this trauma, neuroticism I'm trying to convey, trauma different levels, trauma from modernism, from postmodernism, trauma from a blow to the face in the street, from situations.
But it turned out too smoothly at the same time, the transitions from quote to quote are not so noticeable.
Yes, a person may not know that there are quotes here at all. For me, the main thing is that these inconsistencies, anachronisms should be visible.
" Interview » , 2012, single-channel video with sound, 1’23
Who made the music?
We found one composition from the group Motherfathers. We liked a lot of their work, and we contacted them, asked for one track for the film, it sounds towards the end when the characters are in a nightclub. We are still working with the guys. Dmitry Paich (vocalist of Motherfathers) subsequently wrote a track for another video installation. Now Yasha Vetkin and I are shooting a feature film, and I really hope that Dima will join the project again. The rest of the music was written by my friend - Mitriy Grankov, a young composer. He plays in the group "Table-Chair-Walls", but sometimes does solo projects. When I was editing "Positions" he just recorded a small album. He did not see the film. But it turned out to be very suitable music, the right key for the film. That is, this is also a coincidence, we were lucky. I didn't know what the music would be in the film. But on the other hand, our film did not even have a script at first. Rather, it was a sketch. We started shooting on it, but nothing worked. And it became clear that a different principle of work was needed. Before every shoot at night, I would write one or two scenes.
How long did you film it?
Eight months.
Where did you find these girls? Are they just your friends?
These are my very close friends.
What are you filming now?
Ultra short videos. On the different topics they are like little plays. On average, their duration is about a second.
Untitled (dracaena), 2012, plant, clay pot, sprayer, water container, instructions // Photo courtesy of the author
Rather, these are separate works: “Youth on the March” by Pedro Costa, “Syndromes and a Century” and short films by Apichatpong Weerasethakul, “Boy meets Girl” and “Bad Blood” by Leo Carax, “Mommy and Whore” by Eugene Eustache, “Male-Female” Jean-Luc Godard, about six films by Hitchcock, The Alphabet by Gilles Deleuze, Lectures on Proust by Merab Mamardashvili, books by Noam Chomsky, Michel Foucault...
Of the artists of my generation, I am interested in Lesha Korsi, Evgeny Antufiev, Dmitry Filippov and Kirill Makarov.
From the older generation - Avdey Ter-Oganyan, Mukhin, Pivovarov.
And from literature - Miguel de Cervantes, Samuel Beckett. Now, unfortunately, I rarely read fiction. I've been rereading Joyce's Ulysses for the last week. Because this text is related to the film that I am doing.
Of the composers - Leonid Desyatnikov, indie, but I'm also interested in pop music, for example, I listened to all the albums of Lana Del Rey. My last discovery is Nina Carlson, such a St. Petersburg singer.
What do you live and work on?
Now I have returned to my parents temporarily. They support me, although they have nothing to do with art, sometimes they even like something. I also received a grant from the Garage and so far I am spending it on a film. Sometimes I shoot interiors or something else. Triumph has been helping a lot lately. Recently - "Kandinsky Prize".
Is there anything else I forgot to ask?
I do not think so. Everything.
Video clips from the Moscow Diary project, 2013–2014 // Photo courtesy of Evgeny Granilshchikov
Fragment of the video "Sweet Cigarettes", 2013 // Photo courtesy of the author
A fragment of the ultra-short video That Sounds Scary, 2013 // Photo courtesy of the author
Fragment of the video "Phobias", 2014 // Photo courtesy of the author
Evgeny Granilshchikov is one of the most titled young artists: he has the Kandinsky Prize, grants from the Museum contemporary art"Garage", international cinema and art festivals. He brings cinematic techniques to art, blurring the line between video art, cinematography and clip culture, and also sarcastically sneers at the inertia of the artistic community.
The generic features of his sketch films, which, as a rule, turn out to be inscribed in a total installation of graphics, photos and videos - fragmentation and desynchronization - are approximately the same that settled in the minds of his peers, that same generation Y.
Press service of Winzavod
The "Last Song", re-constructed from several vague plots with barely perceptible outlines, is shown on two screens, which are surrounded by several photographic series of works. It is a symbiosis of scenes snatched from everyday life, feature films and sketches wedged into the narrative. Something similar could be seen in Granilshchikov's Positions, which was exhibited at the Manege as part of the Great Expectations series of exhibitions. Her heroes
handsome and anxious young people who might appear in, say, a film, spoke of the impossibility of any kind of political involvement in the life of society - neither for a poet, nor for a citizen.
Press service of Winzavod
Now, Granilshchikov has pushed politics into digital reality: saying goodbye to high hopes and fitting into the new concept of farewell to the cult of youth proposed by Winzavod, his characters talk against the backdrop of an unceasing news flow, now integrating into it, then, on the contrary, moving away. Even quite everyday life is thus subordinated to the current agenda, and this tension is very clearly felt. A similar feeling of anxiety and initial trauma of the world is left behind by films from which Granilshchikov obviously adopts some formal techniques. There is only one major difference:
Press service of Winzavod
Granilshchikov likes to shoot beautifully, sometimes to the point of complete aestheticization.
Exhibition curator: Anna Zaitseva
June 7, 2017 in the Workshop White Center contemporary art WINZAVOD will open the third exhibition of the anniversary cycle "Farewell to Eternal Youth". Evgeny Granilshchikov, one of the brightest Russian video artists, will present a multimedia installation "The Last Song of the Evening" about his generation, love and politics. At this exhibition, the artist, a graduate of the Rodchenko School, winner of the Kandinsky Prize, will for the first time show a two-channel video installation of the same name "The Last Song of the Evening" and other works, including the short film "In the wee hours our dreams become brighter", photographs and graphics made over the past year .
The exhibition is a single installation in which each work in one way or another touches on the theme of love and mutual understanding against the backdrop of tension created by the news flow. There will be a lot of improvisations, random conversations and true stories - spied on and later recreated in the works. The heroes of Yevgeny Granilshchikov are generation Y, to which the artist himself belongs, and which has become the central theme of the entire cycle “Farewell to Eternal Youth”.
The key work of the exhibition is the two-channel film "The Last Song of the Evening", originally conceived as an experimental series. The author himself defines the genre of the film as "documentation of a performance that has dragged on for a year and a half." To implement this project, the artist and director invited his close friends. Every day, the heroes start by watching the news and discussing what's going on live.
Another film that the audience will see at the exhibition is "In the predawn hour, our dreams become brighter"; it is filmed entirely mobile phone. The action takes place in Paris and is built around the daily life of the two main characters, who, despite their happy Parisian everyday life, still feel out of touch with home. Video sculptures, abstract photographs and a series of graphics will also be presented.
Artist and independent director Yevgeny Granilshchikov: “I still don't understand that I don't like watching films or making them anymore. Now I'm thinking of giving it all up and opening a money-losing popcorn shop like Scarlett Johansson."
Evgeny Granilshchikov was born in 1985 in Moscow. In 2009, he graduated from the Institute of Journalism and Literary Creativity in Moscow, and in 2013, from the Moscow School of Photography and Multimedia. A. Rodchenko. Among personal exhibitions: “Something will be lost” (Manezh Central Exhibition Hall, Moscow, 2014), “Untitled (after defeats)” (Multimedia Art Museum, Moscow, 2016). Participated in group exhibitions: Triennial of Russian Contemporary Art (Garage Museum of Contemporary Art, Moscow, 2017) IV Moscow International Biennale for Young Art (2014), Burning News: Recent Art from Russia (Hayward Gallery, London, 2014), Borderlands (GRAD Gallery) , London, 2015), 6th Moscow Biennale of Contemporary Art (2015), “One inside the other. Art of new and old media in the era high speed internet» (Moscow Museum of Modern Art, 2016). Laureate of the Kandinsky Prize in the nomination “Young Artist. Project of the Year (2013), goEast Film Festival Open Frame Award (Wiesbaden, 2016), finalist for the Innovation Award (2014, 2015).
Exhibition curator: Anna Zaitseva.
Cycle author: Nikolai Palazhchenko.
On June 7, 2017, the third exhibition of the anniversary cycle "Farewell to Eternal Youth" will open at the White Center for Contemporary Art WINZAVOD. Evgeny Granilshchikov, one of the brightest Russian video artists, will present a multimedia installation "The Last Song of the Evening" about his generation, love and politics. At this exhibition, the artist, a graduate of the Rodchenko School, winner of the Kandinsky Prize, will for the first time show a two-channel video installation of the same name "The Last Song of the Evening" and other works, including the short film "In the wee hours our dreams become brighter", photographs and graphics made over the past year .
The exhibition is a single installation in which each work in one way or another touches on the theme of love and mutual understanding against the backdrop of tension created by the news flow. There will be a lot of improvisations, random conversations and true stories - spied on and later recreated in the works. The heroes of Yevgeny Granilshchikov are generation Y, to which the artist himself belongs, and which has become the central theme of the entire cycle “Farewell to Eternal Youth”.
The key work of the exhibition is the two-channel film "The Last Song of the Evening", originally conceived as an experimental series. The author himself defines the genre of the film as "documentation of a performance that has dragged on for a year and a half." To implement this project, the artist and director invited his close friends. Every day, the heroes start by watching the news and discussing what's going on live.
Another film that the audience will see at the exhibition is "In the predawn hour, our dreams become brighter"; it was filmed entirely on a mobile phone. The action takes place in Paris and is built around the daily life of the two main characters, who, despite their happy Parisian everyday life, still feel out of touch with home. Video sculptures, abstract photographs and a series of graphics will also be presented.
Artist and independent director Yevgeny Granilshchikov:“I never realized that I don't like watching movies or making them anymore. Now I'm thinking of giving it all up and opening a money-losing popcorn shop like Scarlett Johansson."
In 2017, the Winzavod Center for Contemporary Art, one of the first private art centers in Russia, turns ten years old. During this time, together with WINZAVOD, a generation of artists has grown up, who today can already claim the title of new heroes of the modern Russian art scene. The main event of the anniversary was the cycle "Farewell to Eternal Youth". Throughout the year, 12 large solo exhibitions of representatives of a new generation in contemporary Russian art will be organized, for which the time has come for a transformation - the transition from the status of "young" artists to the status of established ones. As part of the cycle, exhibitions have already opened - “Palazzo Koshelev” by Egor Koshelev, “City Sauna” by Urban Fauna Lab (in the Red Workshop until June 25). Exhibitions by Dmitry Venkov, Arseniy Zhilyaev, the ZIP group, Polina Kanis, Taus Makhacheva, Irina Korina, Vladimir Logutov, Misha Most and Recycle are planned. The participants in the cycle are diverse in the areas in which they work. Their personal statements will demonstrate various processes in contemporary Russian art. Together with the artists of the cycle, the audience will look into the future of Russian art: who will become the hero of our time?
Evgeny Granilshchikov was born in 1985 in Moscow. In 2009, he graduated from the Institute of Journalism and Literary Creativity in Moscow, and in 2013, from the Moscow School of Photography and Multimedia. A. Rodchenko. Among solo exhibitions: "Something will be lost" (Central Exhibition Hall "Manege", Moscow, 2014), "Untitled (after defeats)" (Multimedia Art Museum, Moscow, 2016). Participated in group exhibitions: Triennial of Russian Contemporary Art (Garage Museum of Contemporary Art, Moscow, 2017) IV Moscow International Biennale for Young Art (2014), Burning News: Recent Art from Russia (Hayward Gallery, London, 2014), Borderlands (GRAD Gallery) , London, 2015), 6th Moscow Biennale of Contemporary Art (2015), “One inside the other. The art of new and old media in the era of high-speed Internet” (Moscow Museum of Modern Art, 2016). Laureate of the Kandinsky Prize in the nomination “Young Artist. Project of the Year (2013), goEast Film Festival Open Frame Award (Wiesbaden, 2016), finalist for the Innovation Award (2014, 2015).
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