Curator: Katerina Chuchalina
The 'Grain' Pavilion, All-Russian Exhibition Center, Moscow 2014
Group show 'ik-00'
Collateral project of the XIV Venice Biennale of Architecture
Casa dei Tre Oci, Judecca 2014
Note. A scientist who recognizes the mundane and the obvious in natural phenomena often turns out to be a charlatan, a wrongheaded researcher. His mistakes become his contribution to science.
Note. The creators of “Star Road” look through the city walls. The pioneers, as they call themselves, have mapped a route across an Italian town Biella in a form of a five-pointed star.
Ist Bergen Assembly 'Monday Begins on Saturday'
Contributors: Anastasia Potemkina, Ekaterina Zavyalova, Alexey Buldakov
Permanenten (Kode 1), Bergen, Norway, 2013
On natural selection in Khoroshevo-Mnevniki district of Moscow. Text from the catalogue of the Ist Bergen Assembly 'Monday Begins on Saturday'.
on the exhibition 'Frontier'
Made by Anastasia Potemkina, Alexey Buldakov
Art&Science Lab, Moscow, 2013
Collective show 'The Way of Enthusiasts'
Collateral project of the XIII Venice Biennale of Architrecture
Contributors: Anastasia Potemkina,
Ekaterina Zavyalova, Alexey Buldakov
Palazzo dei Tre Oci, Judecca, Venice, 2012
Presidium of False Calculations
Contributors: Anastasia Potemkina, Dmitriy
Potemkin, Alexey Buldakov
Museum of Philanthropy and Entrepreneurship, Moscow 2012
The Park of Urban Fauna is dedicated to wild animals for which the city has become a natural habitat.
A sketch of an urban sculpture to be installed in places where pigeons are numerous.
Collateral program of the IV Moscow Biennale
Potemkina, Dmitriy Potemkin, Alexey Buldakov
Art Squat Forum, Mosow 2011
Video by Anastasia Potemkina
Cats bred in the abandoned worksops of Elektrozavod, a former military enterprise. The administration tried to fight them but it was clearly impossible to exterminate them on the whole territory. In our work, the pests are seen primarily as a cultural phenomenon, not an economic one. It is a parasitical culture, an emancipated culture, radically anti-humanist and ani-regional.
We tried to represent this culture in our work. It is a collection of objects — archeological finds, drawings and illustrations to scientific texts — arranged in a stage scenery order. It can be seen as a theater set in a theater where ideas replace actors on the stage.
History of the window. We had to solve a very complicated problem: to describe the realia of gentrification in Moscow in the space of a Venetian palace. The images of contagious cats and crappy industrial workshops didn’t add up with the luxurious interiors and the view on San Marco from our room’s window. We then decided to shut the tourist attraction with a dirty factory window. In fact, what we exhibited was not the window but the light, the workshop lighting. The light brought all the elements of our scenery together.
Transistor lamps, specimens of the Elektrozavod products, and old drafts of lamps.
These calendars were used by workers in early 2000s to decorate workshops. Looking at furry animals distracted them from the euclidian monotony of the industrial interiors. After several years, to fight live cats who invaded the space, ‛specially trained dogs’ were used, in the words of eyewitnesses.
In spite of the fact that the administration introduced fines for feeding cats (raising the rent), tenants still place self-made containers with cat food all over the place. The containers are a communication means between humans and cats and also an element of the parasitic culture.
Five folders. ‛Feral Cats’, ‛Cats of MELZ’, ‛Feral Cats Behaviour’, ‛Feral Cats Breeding’, ‛Deseases and Death’. In the folders: charts from scientific articles (e.g., comparing behavioral patterns) and illustrations to the charts.
The gentrification of large industrial areas of Moscow started several years ago. Urban animals have become one of the subjects of this gentrification. This installation of the Urban Fauna Lab is dedicated to the explosion of feral cats in Moscow's MELZ electric plant, a factory built in 1907 and particularly important for the rise of Soviet industry. In 1990s, most factories ceased functioning and vast territories were abandoned. Today, people have started to return, and finding them inhabited by urban animals. They occupy vacant areas of factories and live there together with artists, architects and entrepreneurs.The particular display in the exhibition is a representation of the parasitic culture of feral cats and is an attempt to predict the Utopian development of this culture in the future. Like the explorers of the Enlightenment, the artists investigate the traces of the partly lost feline civilization, document their behavioral patterns and activities, collect their artifacts, and record the activities of the species in watercolor, drawings on fabric tiles and technical tracing paper found during their trips to the factory. At the same time, they extrapolate the mythological representation of cats as symbols of plague, cruelty, and sexuality.
The multidisciplinary laboratory combines science, architecture and art in a work in progress dedi-cated to wild animals that live in the city as if it were their natural habitat, like pigeons, cats and rats. They are a part of nature and of the urban landscape, although they have no positive function and turn into parasites that attack the urban system. Parasitism is regarded as a behavioral strategy that has a special cultural meaning: the existence of parasites indicates the cultural complexity of the host system.
Katerina Chuchalina and Silvia Franceschini
Collective exhibition 'The Way of Enthusiasts'
Collateral project of the XIII Architectural Biennale in Venice
Curators: Ekaterina Chuchalina, Silvia Franceschini
Contributors: Alexey Buldakov, Anastasia Potemkina,
Palazzo dei Tre Oci, Judecca, Venice, 2012