THE EKATERINBURG BRANCH OF THE NCCA functions both as a museum and exhibition center and as scientific research organization. The branch first began its work in 1999, having chosen as the basis of its activity the strategy of introducing contemporary art into the public spaces of the city. Currently EBNCCA’s top priorities include taking an active part in the strategic planning and cultural policy regarding contemporary art overseen by the Ministry of Culture of the Russian Federation, formulating and carrying through programs and projects in the realm of contemporary art, integration into international cultural processes. We offer a wide conception of culture that will enable people to understand and to feel that culture is a part of our everyday life.


EBNCCA is currently active in the following areas:

- educational programs (scientific research conferences on the federal, regional, and international levels devoted to current problems of contemporary art and culture), a lecture-and-debate society “Half-open Mondays” or “Mondays on the jar” dedicated to the problems of contemporary art

- public art projects (art within public spaces) that continue the dialogue between contemporary art and the cultural landscape of Ekaterinburg

- publishing activities that contribute to the formation and expansion of an information space in the area of cultural activity in Ekaterinburg

- international projects. Integration of the currently relevant Russian art into the world artistic process. Projects representing currently relevant foreign art in Ekaterinburg and in Russia, and Russian art abroad.

- active cooperation with cultural institutions throughout the city, the region, the country, and the whole world.


As part of the Centre’s activities, the ZAART magazine for the creators and consumers of art is being published 4 times a year. September 2005 has seen the launch of a wide educational program “Mondays on the jar” (in the form of a lecture-and-debate society) in collaboration with the Department of Art History and Culture Studies of the Ural State University. The branch also oversees the creation of the Ural and Siberian Video Collection (5 DVDs distributed both in Russia and abroad). Since 2005 the EBNCCA supports the festival and prize in the area of contemporary poetry LiteratuRRentgen” (“Literary X-Ray”).

Director of the EBNCCA

Alisa Prudnikova



Ekaterinburg 620014, 

19a Dobrolubova st.

8(343) 380 36 96, 

8 922 20 75 045,




National Center for Contemporary Arts, Ekaterinburg branch

Ministry of Culture
Russian Federation

National Centre for Contemporary Arts
Ekaterinburg branch
620014 Russia Ekaterinburg, Dobrolubova st. 19
tel./fax +7 (343) 380 36 96, 

6th edition of St. Petersburg International Dance Film Festival "KINODANCE" in Ekaterinburg

November 20-29, 2009 / multiplex “Salut”
Curator (Ekaterinburg): Anna Pyankova
EB NCCA Program: interdisciplinary experiences

National Centre for Contemporary Arts, Ekaterinburg branch
Multiplex “Salut”
Kannon Dance Center
ProArte Institute

The program of the International festival “Kinodance” (St.Petersburg) presents the unity of dance and cinema art and consists of the outstanding and world-renowned dance films and video works with a specially ingenious image choreography. The genre of “kinodance” comprises such diverse forms as ballet-documentations, MTV clips, entrancing animation, performance art, parkour from the streets of Los Angeles, contemporary dance, Hollywood musicals and American avant-garde of the 1960s.
The “Kinodance” festival has been taking place in St. Petersburg since 2001, every year expanding its audience and gaining professional assessment as being one of the most intensive and vivid dance film festivals in Europe.

Ekaterinburg program includes 6 parts:
1) “Together: Director and Choreographer – New in Dance Film 2007-2008”
“Heroes for an Hour” by Christopher Harding & Mara Mattushka (AT), “Death Dance” by Robert Lepage (CA) & Pedro Pires, “Nora” by David Hinton (GB) & Alla Kovgan (RU).

2) “Retrospective of French Film Dance: Josephe Nadge”
Auto-biographical documentary “Joseph Nadge, the Last Landscape”, and dance-performance “Paso Doble” – collaboration between Nadge and sculptor Michel Borchelli – alive sculpture that has traveled around the globe.

3) “Director-Choreographer: New Works by Irgi Kilian and Vim Vandekeibus”
“Now and Then” by V. Vandekibus, «Car-men» by I.Kilian and B. P. Konen.

4) “Dancer’s Corner: Djok Soto (US)”

5) “Choreographer’s Corner: Alan Platel and William Foresight”
The story of creation of provocative and shocking dance performance “VSPRS” by Platel and his dancers, and choreographic work of the illustrious William Foresight.

6) “The Best from the Collection of the Kinodance festival 2001-2009”
The most peculiar and interesting works selected by the festival curators.

"The Inner Ural". Exhibition of the Ural video art 1993-2009
October 7-25 / M’ARS (Moscow)
November 5 – 30 / Ekaterinburg Fine Arts Museum (Ekaterinburg)
EB NCCA Program: Ural – Regions

Curators: Alisa Prudnikova, Vladimir Seleznev, Svetlana Usoltseva

"The Inner Ural" is not an adaptation of Victor Pelevin’s and not an homage to Joseph Beuys. It is alchemy, which appears in the geographically unique territory between Europe and Asia. It is a deceitful metaphor for a region with an extremely rich existential background.
The Ural video art that rapidly developed in the 1990s – from documentation of radical performances to independent genres – fell into almost complete oblivion by the end of the 2000s. The 1990s were the "heroic period of riots and attack" (the works of Alexandr Golizdrin, Oleg Elovoy, Alexandr Shaburov; of groups such as "The Zetkin's Ambush", "The Atomic Province," and others).
New creative people and art groups appeared in the 2000: "Zer Gut", "Ne s ruki", "Conservators", "SISTRA" in Ekaterinburg, Nizhny Tagil, Berezovsky, and Zarechny. But their activity could not compensate for and support the energy of the previous generation. The situation became more structured: creative process found its gravitation points (both geographically and in terms of content), new institutions for contemporary art presentation and of art-criticism were established. Many groups disintegrated, and new figures have arisen.
Leonid Tishkov identified one of the main principles of the Ural artists: "the true art comes from the insides". It is impossible to explain the local "cultural explosion" in any rational way – rather, the various "mutagenic agents" create the reality of irreal space with illusory identity.
Alisa Prudnikova, Vladimir Seleznyov

Artists: “The Atomic Province” , Victor Davydov, Alexandr Shaburov , Oleg Lystsov , Leonid Tishkov , Where the Dogs Run, Zer Gut , Den Marino, Oleg Blyablyas, Yulia Bezshtanko, Elena Klimova, Spoup Studio, Feodor Telkov.

“VISION”. International video art exhibition
October 30 - November 22, 2009 / Business and trade center “Europe”
EB NCCA Program: Collaboration

PERMM. Perm Museum of Contemporary Art
National Centre for Contemporary Arts, Ekaterinburg branch
Business and trade center “Europe”

Curators: Juan Puntes, Natalia Milovzorova

The fascinating genre of video art is represented by the works of over thirty celebrated masters, including many world-famous names from Russia and abroad. The international section includes the creations of the founder of video art, Nam June Paik, and such classics of world art as Bill Viola, Shirin Neshat, Fischli & Weiss and Marina Abramovic. Many works are shown in Russia for the first time.

The Russian section includes the famous installation of the AES+F group, shown in the Russian pavilion at the Venice Biennale in 2007; an installation by Alexander Gnilitsky. The younger generation is represented by the Sehr Gut group, Vladimir Logutov and others.

Artists: Marina Abramovic, AES+F, Victor Alimpiev, Blue Soup, Gor Chahal, Aristarkh Chernyshev, Ilya Chichkan, Peter Fischli & David Weiss, Alexander Gnylytsky, Gary Hill, Anna Jermolaewa, Vladimir Logutov, Vladislav Mamyshev-Monroe, Erbol Meldibekov, Vyacheslav Mizin, Shirin Neshat, Nam June Paik, Pipilotti Rist, Michal Rovner, Bill Viola, Zer Gut

Open Monday, Autumn 2009

Lecture and Discussion Club
EB NCCA Program: Education

October 5 - Moscow, Venice, Lyon: a Biennale for Each, presented by Alisa Prudnikova, Ksenia Fedorova, Irina Kudryavtseva

October 12 - Observing Time, presented by Vladimir Seleznev

October 19 – Ars Electronica 2009: Art in Technology, Technology in Art, presented by Ksenia Fedorova

October 26 – Art of the Famous: Alive and Dead (Enthony Gormly, Damian Hirst), presented by Marina Sokolovskaya

November 2 – Made in Urals, presented by Vladimir Seleznev, Svetlana Usoltseva

November 9 – Andy Warhol as a hero of romance novels, presented by Marina Sokolovskaya

November 23 – Where to look for contemporary art in Samara? presented by Vladimir Logutov

November 30 – Die kunst ist super! Berlin art now, presented by Alisa Prudnikova

International ART-FACTORY Festival
“Material Resistance: Elements and Effects”

August 27-30, 2009
former Sverdlovsk Worsted Factory, Ekaterinburg, Novinskaya 2

Industry, shored up with the results of scientific research has utilized the sphere of material world, tailoring the intricate qualities of the elements and the laws of their interaction to the pragmatism of economic value production.

The Festival Art-Factory 2009 focuses on industrial spaces as environments of change and transformation. Manufacturing processes are akin to alchemical operations: raw matter is modified into a certain product. Unlike in real factories, the “means of production” can be the most ephemeral fabrics – light, sound and other intangible materials. Providing powerful sensual effects they expressively respond to the challenge to de-solidify and to de-realize/ (de-materialize) both the product and the process of industrial production.

Industrial facility is a congenial environment to accentuate one of the cornerstones of contemporary civilization – production of ideas, constant information exchange, search for new areas to apply innovative technologies. Physical matter is no longer an inert object to be mastered by human mind but a creative force with intelligence of its own. The structure of material world, its inner order and connections between the elements can be seen as parallel to mental and social structures and their workings. While material production seeks to utilize these laws, art operates on the pure metaphorical level, unwinding the potential of materia’s formal qualities and concentrating on the aesthetic side of their being.

Artists will model situations to explore the nuances of perception and to create environments and objects that would disclose the power of interconnectedness between the elements of material world and the viewer’s sensory and cognitive dispositions. Features of interactivity and immersion, as well as any other means will be used to solicit the viewer’s active response and to liberate the generative energy of industry itself.

The exhibition will be accompanied by the audio-visual, theatre and dance performances, film&video program, workshops and lectures by invited artists and curators.

The participants will include artists from Russia, the Netherlands, Germany, Great Britain, Lithuania, and the USA. Among the most celebrated participants are Edwin van der Heide (The Netherlands), Vladimir Tarasov (Lithuania), Leonid Tishkov (Moscow), Danil Akimov (Kaliningrad), Ilya Trushevsky (Moscow), as well as the electronic music group LoveLiveElectronic (of the Theremin-Center for electroacoustic music and multi-media, Moscow), members of the DEREVO Theatre, Ekaterinburg and Chelyabinsk contemporary dance companies, and others.

The festival became an unprecedented experience of interaction between contemporary art and industry in the Ural region. An large-scale exhibition with a total area of more than 1000 square meters occupied 5 workshop pavilions of the factory.

More than 3 000 citizens of Ekaterinburg and other Russian regions have visited the festival.

Participants:Alexander Belov Alexander Solnetchny (Perm), Anna Titova (Moscow), Anatoly Vyatkin (Ekaterinburg), Arseny Zhilyaev (Moscow, Gothenburg), Victor Oborotystov (Ekaterinburg), Vladimir Tarasov (Lithuania), Danil Akimov (Kaliningrad), Dan Marino (Ekaterinburg), Yevgeny Umansky (Kaliningrad), Zlata Ponirovskaya (Moscow), Ivan Sergeyev (Ekaterinburg), Ilya Trushevsky (St. Petersburg, Moscow), Ilya Gaponov & Kirill Koteshov (St. Petersburg), Ilya Shipilovsky (Perm) , Kilian Kretschmer, Thorsten Schwanninger (Germany), Leonid Tishkov (Moscow), Michael Kontopoulos (USA), Olga Mosina (Nizhny Tagil), Oleg Elagin (Samara), Paul Pazukhin (Ufa), Peter Weibel (Germany), Sergey Laushkin (Ekaterinburg), «San Donato» (Oleg Blyablyas, Yevgeny Umansky, Alex Chebykin, Irina Chesnokova, Kaliningrad), Tatiana Yatsuta (Kemerovo), Slaventy (Nev'jansk), William Cobbing (Great Britain), Fedor Telkov (Ekaterinburg), Felix Thorn (Great Britain), Center «Prometheus» (Kazan), Love Live Electronic (Oleg Makarov, Viktor Chernenko, Dmitry Morozov, Sergei Kasic, Moscow), «New Art» (Ekaterinburg).

A special round-table discussion “Art and Industriality: Resources of Transformation” will be held as part of the event to discuss Russian and International experience of integrating contemporary art and culture into industrial spaces that. The following topics will be considered at the round-table:
- Ural Industries: Past and Present;
- Urban Development and the Promises of Post-Industrialism;
- Art as an Alchemical Laboratory and a Resource of Transformation of the Industrial into the Post-Industrial.
Participants of the round table will include art managers, curators, artists, critics, social entrepreneurs, businessmen and politicians.

Invited speakers: Kuba Szreder (author, initiator of the Passengers festival, Warsaw, co-founder of Unsound festival, Krakow, curator of the Industrial Town Futurism project, Poland), Michail Mindlin (director of the National Center for Contemporary Arts, Moscow), Asya Philippova (director of the Factory of technical paper "October" and the Center of Creative Industries “PROJECT_FABRIKA” (Moscow), Elena Zelentsova (director of the “Creative Industries” Agency, Moscow), Sofia Trotsenko (director of the Center of Contemporary Art “Vinzavod”, Moscow), Marat Guelman (galerist, director of Museum of Contemporary Art, Perm), Anton Belov (director of “Art Management” Agency), and others.

Director: Alisa Prudnikova
Curator: Ksenia Fedorova
Curator of the Ural part of the exhibition: Svetlana Usoltseva

ART-FACTORY Festival 2009

August 27 (Thursday)

18:30-20:00 - Opening of the Exhibition
18:30 – performance «The Rusty River», by «Velosiped» (Alexander Solechny, Alexander Belov)

20:00-23:00 - Performance Program:
- Edwin van der Heide (, the Netherlands), «Light & Sound Performance»
- LoveLiveElectronic, Theremin Center (, Moscow) / electronic music

August 28 (Friday)

12.00-23.00 – Exhibition

16.30 - 17.40 – Lecture «Prometheus» Theory and Practice of Color Music in Kazan», Anastasia Maksimova (Kazan)
18.00 - 19.30 – Lecture&Workshop «Between Time and Space», Edwin van der Heide (the Netherlands)

20.00-23.00 – Performance Program:
- Danil Akimov (Kaliningrad), «23 minutes of field notes in the industrial inlays»/
music video
- NIMB (Ekaterinburg), «Heterocyclic Self-regressive Ejaculation» /
music video
- maimy (Ekaterinburg) / electronic music
- Ekaterina Zharinova, Stanislav Bagley (Ekaterinburg, Moscow) «Experiment» / dance, music
- Leo Gutovsky (Chelyabinsk) / «The End of the Composers’ Time» / performance

August 29 (Saturday)

12.00-23.00 - Exhibition

12.00 - lecture «Deindustrialized Eastern European Cities», Kuba Szreder (Poland)

14.00-17.30 – the round table «Art and Industriality: Resources of Transformation»
18.00 - 19.30 – «The Art of Synchronicity. Interactive Media Art in Staatliche Hochschule für Gestaltung (HfG Karlsruhe)», Kilian Kretshmer, Thorsten Schwanninger (Germany)

20.00-23.00 – Performance Program:
- «Silence Pro. A Separate Reality»(Chelyabinsk) / audio visual performance
- NLO12 (dir. Tatiana Vdovina) (Ekaterinburg), «The Sky is Stifling» / plastic theater
- Performance theatre «The Others’ Dreams» (dir. Helen Demi) (Moscow), «Pro MOZG» / performance, body-art
- Kilian Kretshmer, Thorsten Schwanninger (Germany), SCOMP / videoperformance
- Vladimir Lilo (Medialab «CYLAND», National Center for Contemporary Arts, St. Petersburg), «DrumPainting» / interactive audiovisual performance
- «4 Positions of Bruno» and Vladimir Seleznev (Ekaterinburg), “Constructor Barkhatov’s Decline” / music, video

0.00-1.30 - DJ-party

August 30 (Sunday)

12.00-23.00 - Exhibition

12:00-14:00 - Meeting with the participants of the festival
14.30-16:00 - Workshop by Helen Demi (body-art, Moscow)
16:30 -18:00 – Presentation of a photo project by Alan Gignoux (UK, USA) and Den Marino (Ekaterinburg)

19:00-22:00 - Performance Program:
- «ID Company» (choreographer Maria Kozeva) (Ekaterinburg), «B/m» / dance
- Thanks, Yes (Anna Budanova, Alisa Oleynik, St. Petersburg), «PARADOX» / plastic theater
- Okoem (Choreographer Alexander Gurvich, Ekaterinburg), «The Silence Area» / Dance
- Sergey Mangeldorf (Misyurev) (Perm), «Smoke and Noise» / music, video

The Festival continues “Art-Factory” festival-laboratory “Urgent Melting” (16-22 August, 2008) and is realized within a program of the EB NCCA “Ural Factories: Industry of Meaning”

Ekaterinburg (formerly Sverdlovsk), capital of the Urals, occupies a crucial niche in Russia's evolving economic, educational, and cultural ecology. As the region's industrial landscape is in flux under the impact of changes in the world's economic and value system, Ekaterinburg is asserting a leading role in integrating the global cosmopolis with the local community in a way that will enrich both.

We see contemporary art as a powerful resource of addressing a range of questions concerning the current state and the future development of the regional historic heritage.

Unprecedented penetration of contemporary art into the city's functioning and abandoned factory spaces will help to establish a unique quality of Ekaterinburg as an internationally recognized creative center with the magnetism and infrastructure to attract ambitious art projects by artists from around the world. Series of exhibitions, festivals and laboratories will enable Ekaterinburg to play a leading-edge role in the dialogues about the direction of post-industrial civilization.

The highlight of the program will be Ural Industrial Biennale of Contemporary Art that is to be launched in September 2010.

Open Mondays, Spring 2009

February 2 – Artist's Theater, or Living Pictures of the World (contemporary theatre and dance), presented by Anna Pyankova

February 9 – “Innovation”: How to Get It? (contemporary visual art), presented by Alisa Prudnikova

February 16 – Acoustic Structures: the Spatial Dimensions of Sound (sound art), presented by Ksenia Fedorova

March 2 – Video-Installation (video art and experimental cinematography), presented by Vladimir Seleznev

March 9 – "Deus ex computing machine": Theatre and Virtual Reality (contemporary theatre and dance), presented by Anna Piankova

March 16 – Method as a Concept (contemporary architecture), presented by Polina Ivanova, Antonina Savilova

March 23 – Sound Installation: the Borders of the Acoustic (sound art), presented by Ksenia Fedorova

March 30 – From Experimentation to Video Art (video art and experimental cinematography), presented by Vladimir Seleznev

April 6 – Can Theater be Nonfictional? (contemporary theatre and dance), presented by Anna Piankova

April 13 – Art-market in the Context of the Economic Crisis (contemporary visual art), presented by Alisa Prudnikova

April 20 – Vocal Intensities: Performance and Sound Poetry (sound art), presented by Kseina Fedorova

April 27 – “Designer Barkhotov’s Twilight” (video art and experimental cinematography), presented by Vladimir Seleznev

May 4 – Filmdance: When the Camera Dances (contemporary theatre and dance), presented by Anna Piankova

May 11 The Art of the Industrial (contemporary visual art), presented by Alisa Prudnikova

May 18 – Networking the Soundscape: Sonic Dislocations (sound art), presented by Kseina Fedorova

May 25 – Film Techniques: the Expanded Field (video art and experimental cinematography), presented by Vladimir Seleznev

Art on site

Artist-in-residence: Agnes Meyer-Brandis (Germany)

The international project "Art on Site" stimulates the creation of new works of art by plunging seven German artists into city spaces previously unknown to them, making it possible to see Ekaterinburg, Kaliningrad, Moscow, Nizhny Novgorod and St. Petersburg through the prism of each artist's perception. The project develops the artist-in-residence program in Russia and supports an intercultural dialogue in the sphere of contemporary art. The realization of the whole program takes 19 months. The project "Art on Site" was initiated by the Goethe-Institut Moscow and the National Centre for Contemporary Arts and is realized with the assistance of the European Union. The final stage of the project "Art on Site" in September 2009 is a joint exhibition and a symposium in Moscow in the framework of the 3rd Moscow Biennale for Contemporary Arts.

In her career, Agnes Meyer-Brandis is engaged in fine arts and new media. Her works, presented and praised at international exhibitions, describe a journey at the juncture of art and science, and research the boundary between fact and fiction, fantasy and technology. She similarly devotes herself to places and situations both public and imaginary. Agnes Meyer-Brandis is the founder of the Research Raft for Subterranean Reefology u.V. ("Forschungsfloß FFUR"), a small institute that carries out research focused on investigating and studying underground phenomena and forms of life.

During her residency in Ekaterinburg, Agnes Meyer-Brandis has conducted several activities that resulted in her final project -

IMPACT: Studies in cause and effects

In January, 2009, Agnes Meyer-Brandis of the Research-Raft FFUR began a study of mineral treasures and meteor activity in the Urals, in and around Ekaterinburg. Intense explorations and fieldwork allowed her to make a projection: Ekaterinburg is very likely to face a collision with an NEO (Near Earth Object) on May 16th at 22:32 local time. According to calculations, the meteorite's trajectory will lead to impact on the field right behind the NCCA.

May 16
Meteor Watching and Meteorite Scanning

Visitors of the Museum Night 2009 in Ekaterinburg received a unique chance to witness a fall of a celestial object. The impact of the meteorite was promptly investigated by the FFUR Institute. The viewers were invited to participate in the process of meteorite scanning and to discover special worlds inside each of the meteorite pieces – populated with cosmic creatures engaged in suitably extraterrestrial activities.

May 24
Moon Walk. Space Travel for Beginners
. dance workshop & performance

How to achieve the sensation of being on the moon while remaining physically on Earth? Is it possible to sense the “moonness” (as analogous to “sunness”) in the center of Ekaterinburg? “Moon walk”, or “slipping backwards” is a dance technique when a dancer moves backwards while creating the illusion of forward motion. The workshop is led by Alexander BOOMER Chervinsky – choreographer, director of a dance studio «BOOM-DANCE».

May 27
“Golden Crater” Opening

The Research-Raft FFUR and Agnes Meyer-Brandis undertook a research of the crater that was formed by the fall of the meteorite on May, 16th. Ten days later, a public-art object, “Golden Crater,” was erected on the location of the “impact” to commemorate this rare and monumental event in the history of the city.

Alisa Prudnikova, curator of the project:
“Artists would pretend and play, making up stories and telling fairy tales. Agnes Meyer-Brandis discovers her own miracles in a realm where most people only see boring graphs and rigid formulae – the Earth Sciences. To do that, she runs her own research institute and a laboratory, formulating her ideas with maximum precision, enabling her to find a common language with any expert. And, after she has learned everything about the problem she poses, she sets about creating her world.
The projects undertaken by Agnes and her "research institute" may be described as art & fiction, large-scale simulated explorations of the terrestrial depths and heavenly heights. When a work of art strives to incorporate the history of a specific location, the whole array of various semantic levels comes to the surface. The peculiarity of such projects is that their status as art works is not obvious; to appreciate them requires tolerance and competence, but rewards us with an intensity of experience, and gives us the incentive to investigate something new and (seemingly) distant.”

Agnes Meyer-Brandis:
The "Golden Crater" sculpture is a memorial for the meteorite impact and a monument to new possibilities – possibilities in daily life; a memorial for the unknown, for imagination, for storytelling. Stories form our lives and our reality. Even science could be seen as common storytelling. "The universe is made of stories, not atoms." (Muriel Rukeyser)
We do not only need the luck of a meteorite touching ground right “here” and right “tonight“, but also need to know how to recognize a meteorite amongst mere terrestrial stones. Meteorites look like stones, but they contain cosmic material. Sometimes they are very heavy and consist of material with high density, compressed by heat and millions of years traveling through outer space. And sometimes they are light, containing voids with extraterrestrial atmosphere – encapsulated pockets filled with preserved weightlessness. How can we know, if this is a stone from earth or a fallen shooting star, an alien stone? Meteorite scanning is one of the methods to identify cosmic material.”

Further information about the IMPACT project and Agnes Meyer-Brandis residence in Ekaterinburg:

Roundtable: “Critique, criteria, crisis. Modern art-process and specialized media in the sphere of culture present and future”

EB NCCA Program: Cultural journalism

April 30, 15.00

“Critique”, “criteria”, “crisis” are the words of the same root if we look into the language of the ancient Greeks. To criticize means to divide, a criterion is something that helps us to separate one from another. Crisis is something that divides, delineates the border one period of development from another. Today crisis, together with criteria and critique---or to be more precise, all meaningful paths of critical expression - is under the threat. Then the question arises not only of criteria, but of the functions of critique, journalism and the context in which they are operating. In an article for Moscow Art Magazine, Evgeny Barabanov says that “modern understanding of critique is an ability to give a well-founded judgement, valuation, argument, reference, to verify, to examine, to bring all merits and faults to the light. But most importantly – to give a well-founded judgement ”. The question remains – for what, for whom and how? One new popular edition on the art-market starts with the words of Jenny Holzer – “Money Shapes Taste”. In that case, where does the function and the real position of an art-critique lie?

Special quest of the roundtable – Elena Panteleeva (Moscow).
2007-2009 editor-in-chief of BLACKSQUARE magazine, 1998-2007 editor of art section in L’Officiel magazine. The activity in L’Officiel magazine was combined with editing the news section in “Art Chronica” and “ArtGuide” magazines. She participated in development of pilot projects based on these issues.

Performance “Democracy.doc”

April 30, 19:00

Democracy… On 19th of August 1991 we were almost sheltering it in our arms. 18 years have passed since then. Civil society, liberty, democracy – for many Russians these words have become almost abusive, for others, a source of deep disappointment or seemingly futile yearning. The belief that things depend on people is lost. But is there democracy within ourselves? Do we know how and do we want to build it up? And what is democracy itself ,and does it exist after all? The performance “Democracy.doc” by the group “Theatre.doc” is about these urgent inquiries.

No performance duplicates the previous one. Spectators themselves, out of expectation to appear on the stage this evening, are also becoming the authors and the performers of the play. The persons running the process – two psychotherapists – are not dealing with psychoanalysis. Participation in the performance is safe for the spectators – the action will not invade in their inner world---and anyone may refuse the invitation to enter the stage.

Author group: Arman Bekenov, Nina Belenitskaya, Elena Margo, George Gennault, Ivan Ugarov.
Director: George Gennault.

"The Inner Ural". Exhibition of the Ural video art 1993-2008

April 6-26, 2009

Loft-project "Etazhi" (St. Petersburg)

May 29-31, 2009
"Live Perm" (Perm)


Genius of this place dissembles and disappears

Olga Slavnikova

Curators: Alisa Prudnikova, Vladimir Seleznev, Svetlana Usoltseva


"The Inner Ural" is not an adaptation of Victor Pelevin’s and not the homage to Beuys. It is the alchemy, which appears on the geographically unique territory between Europe and Asia. It is a deceitful metaphor for the region with the extremely rich existential background.

The Ural video art that rapidly developed in the 1990s – from documentation of radical performances to independent genre – fell into almost complete oblivion by the end of the 2000s. The 1990s were the "heroic period of riots and attack" (the works of Alexandr Golizdrin, Oleg Elovoy, Alexandr Shaburov, groups :"The Zetkin's Ambush", "The Atomic Province" and others).

New creative people and art groups appeared in the 2000: "Zer Gut", "Ne s ruki", "Conservators", "SISTRA" in Ekaterinburg, Nizhny Tagil, Berezovsky, and Zarechny. But their activity could not compensate and support the energy of the previous generation. The situation became more structured: creative process found its gravitation points (both geographically and in terms of content), new institutions for contemporary art presentation and of art-criticism were established. Many groups were disintegrated, and new figures have identified themselves.

The main principle for the Ural artists was orientation, that could be phrased by Leonid Tishkov: "The true art comes from the insides". It is impossible to explain the local "cultural explosion" in any rational way – rather, the various "mutagenic agents" create the reality of irreal space with elusory identity.

Alisa Prudnikova, Vladimir Seleznyov
Part I (1900s-2000s) "The Ural. Video-History"

The documentation of the performances and "The Gallery of Art-clips"


“The Atomic Province” "Iskunstvo", 1993

Vyacheslav Mizin "Kunstfurer", 1998

Victor Davydov "Hands", 1999

Victor Davydov, Oleg Elovoy "The Ural Body-Art", 1999

Alexandr Shaburov "The Victim of Titanic", 1999

Oleg Lystsov "My Bows", 2000

Victor Davidov "Night of the Caviar's Devourers ", 2000

The Gallery of Art-clips

"The Gallery of Art-clips" is devoted to the period of formation of the Ural video art. TV played an important role in this process. TV-channels provided first art works of the Urals artists. In 1994 U-7 Studio premiered. The Studio was engaged in creation and distribution of TV-shows and instigated appearance of the first video-communities outside itself. Victor Davydov, Alexandr Shaburov, Vyacheslav Mizin, Leonid Lugovyh, Dmitry Bulnygin, Elena Sharova were among the first video artists in the area. The clips were orientated towards the wide audience and employed simple and accessible language based on irony and anecdotism.

Part II. The Mythologisation of the Urals

Leonid Tishkov "The Snow angel", 1998

Where the Dogs Run "The Road", 1998

Zer Gut "Visualization of Domestication", 2002-2003

Victor Davydov "Dunia the Spinner", 1997

Dan Marino "The Clouds", 2008

Ne s ruki "Fuck da Shakin", 2005

Oleg Lystsov "887788", 2001

Vladimir Seleznyov "Girl and the Death", 2005

Alexandr Belov, Alexandr Solnechny "The Swamp", 2005


Special project: "Communication Tube, or Video Art under YouTube"

curated by Vladimir Seleznev

During the recent years art has penetrated all spheres of life: from urban streets and night clubs to media-spaces including the Internet. At the rise of video-art, artists were fascinated to reach the wide audiences and since the advent of the Internet the quantity of viewers became incalculable. There is no more need for artist to be exhibited in galleries or museums. The video-blog's culture sets itself off against both TV and video art (that in its turn became a part of fine art). Video art sunk in the scale. The development of high technologies, production of cheap computers and software easy-to-use serves the successful realization of the slogan by Joseph Beuys – "Everyone is an artist".

"Communication Tube, or Video Art under YouTube" is a program of films by independent authors taken from YouTube. They are not "highbrow" but rather quite light and simple movies.


Oleg Blyablyas (Kaliningrad)

PNK-group (Kemerovo)

Alexei Bart & Denis Sutkin (Nizhny Tagil)

Vladimir Logutov (Samara)

Where the Dogs Run (Ekaterinburg)

Alexandr Belov, Alexandr Solnechny (Perm)

Vladimir Seleznyov (Ekaterinburg)

Zer Gut (Ekaterinburg)

Cardboard Workshop

March 28,The Urals State Art and Architecture Academy

Curated by Antonina Savilova, Polina Ivanova

Cardboard is one of the cheapest and most suitable for experimentation materials. Young artists and students create art-objects on the topics of "The Nomadic Space" and "Big Puppet Theater".

 “Performance Art: the History and the Secrets of Mastery”, presented by Liza Morozova (Moscow)

March 21, Ural State University, Lenina 51

Performance artists often challenge the audience to think in new and unconventional ways about theater and performing, break conventions of traditional performing arts, and break down conventional definitions of art.

Liza Morozova:

«You need to find a place and create something meaningful for a certain time that would not be created by another person. This is an ideal connection with the moment, absolute perception of the ambient.

You have to be aware of the current social and artistic environment as it compounds a necessary background for your performance. «Black square» became the work of art that completely changed society, consciousness. It is impossible to duplicate «Black Square».

The main criterion of a classical and serious performance that traces its roots back to Marina Abramovich is a high degree of internal risk, but not external. You can bleed and have ambulance nearby and it also would be showy. But will the artist feel anything? You are making something about yourself, with yourself and that's why you're absolutely helpless. This performance is an existential act, process and it cannot be acceptable anytime. In relation of the time continuance performance can be compared with aesthetic of such long texts as «Ulysses» or «Iliad». Though there are lots of different forms and strategies of performance.»


Liza Morozova is a performance artist. She has a Ph D in Performance Art. She has been a member of the Escape program in 2002-2008 (with V. Ayezenberg, B. Mamonov, A. Litvin). She took part in more than 120 exhibitions and festivals in 17 countries of the world (in particular, 51st Venice Biennial, 1st Prague Biennial, 1st and 2nd Moscow Biennial). Her writing includes articles on psychology, art-therapy and art. Last time Liza Morozova engaged in creating educational programs. She leads her own course «Performance and Installation Art Applications to Art-therapy». She keeps a column on


Who am I and What’s my Name
A Program of New Video Works from Israel.

March, 17-18 Ekaterinburg

Salut (Tolmacheva, 12)


The compilation presents video works by Israeli artist that were done in the last two years. The programs attempt to define and survey subject matter that appears to be dominant in Israeli video creation in the present. In this aspect, Mi ANi UMa Shmi is the continuation of “Zoom in – Zoom Out, Realities, Media and Myth in Israeli Video Art”, a program that circulated by the CCA between the years 2002 and 2004 featuring works that address critical subjects regarding the history and the political environment during the first years of the second Palestinian Uprising (Intifada). This new compilation stresses, instead, issues of identity in the light of modern-life constrains like the search- or maybe rather the loss of identity, whether artistic, historical, social, economical, geographic, or political.


Curated by Sergio Edelsztein, director of the Center for Contemporary Art, Tel Aviv.