Komentatorki / Women Commentators FESTIVAL

The Katarzyna Kozyra Foundation is proud to present the second edition of Women Commentators. This year we invited female artists from Ukraine and Russia to Warsaw. At a moment when in many spheres of life a dialogue between Russia and Ukraine doesn?t seem possible, there is an urgency to build a platform for a dialogue between Ukrainian and Russian cultural activists and researchers and hear their testimonies of the war. Due to the historical background, Poland seems the proper environment for debate. By organizing this festival and inviting selected artists to Warsaw we are really keen to create another dimension for intellectual collaboration, which differs from boycotting.
Taking the form of a festival, unfolding through a series of public events, it starts with a weekend-long programme of discussions, artist talks, workshops, performances, and documentary and fictional cinema. The programme includes an exhibition of artist works and aftermath documentaries of the public programme opening weekend. The vernissage will be complemented by AVTOMAT concert who will present the project PLEŚNI which combines Ukrainian and other polyphonic folk songs with the modern electronic bass background.

The Katarzyna Kozyra Foundation supports young female artists who use unusual forms of artistic expression and whose common denominator is the compelling need to reflect upon the world around them – namely their social and political surroundings. Each of the invited artists has developed their own way of solving modern-day problems, which adds even more dimensions and value to the project – it invites them to participate in a conversation that does not exclude any group and makes no assumptions.

Combining visual arts with political and social discourses, the festival?s dynamic programme is based on an interaction with a wide audience. It aims to promote the activities of women working in a variety of media as well as their visibility in the public sphere, providing a space for their voices to sound strong and loud. It fights stereotypes, bringing new inputs into existing observations. In other words, it challenges conventional ways of thinking.

The festival will unite the diversity of artistic and discursive activities. All of these will spin around the historical and contemporary relationships between Russia and Ukraine, investigating such subjects as post-colonialism, patriotism, and nationalism within co-called ex-Soviet bloc, as well as exploring the power of media and artistic agency in times of political upheaval.

The project is supported by The Xawery Dunikowski Museum of Sculpture, Królikarnia, a division of the National Museum, Warsaw

Patron: Filigran Sp. z o.o.

Partners: Against Gravity, Planete+ Doc Film Festival, Hostel Pepe, LODOVE, Skamiejka

Media patronage: TVP Kultura, Radio TOK FM, Culture.pl, Natemat.pl

The project is co-financed by the Minister of Culture and National Heritage


Performative Events

Performance: Alevtina Kakhidze, Ukrainian Reality Adaptation Course (EN)
Ukrainian Reality Adaptation Course is a performative event, a playful practice aimed to comprehend the political reality. The artist will present three objects to engage with: Christmas Eve (Christmas tree, texts on paper), Acceptation (colored seed bead) and Variations (painted objects). The exercises for Ukrainian Reality Adaptation Course were created and tried out during February?s evenings in Muzychi Village and Kiev (Ukraine).

Reading Group: Katia Krupennikova, What does it mean to be human? Donetsk Dairies of Vladimir Maksakov (PL/EN)
– please send e-mail to dir@katarzynakozyra.pl to register and receive more materials prior to the event

Vladimir Maksakov is a young historian, anthropologist and journalist from Moscow, who went to Donetsk on his own to make his personal investigation, pretending to be a volunteer soldier on the pro-Russian side. His interest was discovered by the militaries the next day upon arrival, and he was thrown to a ?Hole?, a place, which is worse than a prison, where the spies are kept. Being a friend of the curator of Women Commentators Festival he occasionally sends his notes to her. The text, which he sent her just after his release reveals multiple cases of desperate cruelty and inhuman violence. The notes from Donbass by Vladimir Maksakov will be the subject of the reading group.

Workshop: Lyubov Matyunina, Make Piece. Creation of a ritual piece carpet (EN)
make peace make peace make peace
and no longer fight
and if you will fight
I'll bite
and biting is not trick
I'll fight with brick
brick is breaking – friendship begins!

The workshop is based on a childhood game common for every Russian and Ukrainian kid, which would be used just after every fight they had. Unfortunately in ?mature? world it is not so easy anymore to make piece. Inspired by the idea of ?heterotopia?, expressed by Michael Foucault in lecture On the other spaces (1967) and Dmitry Arzyutov's study on ?Shirdek? (a ritual carpets from Altai), Matyunina uses a carpet as a ?map? that structures the surrounding space. Similarly to the piece Wishmaster Carpet, the carpet which will be created by the artist together with the participants of the workshop will become a mirror of space, a symbolic introduction to the world?s hierarchical structure and rituals. The carpet thus becomes a representation of an ideal world.

Workshop: Mariia Gonchar How to pack and deliver the food from outside to a detention facility. (EN/PL)

The event is inspired by the seemingly impossible ways of functioning of the court system which derives from a modified USSR penal code, where justice is subjugated solely to accusatory tendency and where the law exists on paper, however, not all that is written is put into practice. Mariia Gonchar presents the reflection on her experience of Ukrainian upheaval through the practice, which was used in Ukraine during Maidan riots to send a parcel for a person detained in a custody.

Performance: Yevgenia Belorusets. The eye and the sun.
The performance will take place at The Market Square and will engage accidental publics.

Lectures and Discussions

Lecture: Liza Babenko, (Post) Maidan: critics and revision. From ultra-right nationalism to socialism (EN)

The lecture by a culture expert, curator and documentarist Liza Babenko will explore ideological, political and economic reasons which caused the non-acceptance of Maidan?s revolution at its very origin by a considerable part of Ukraine (Crimea and Donbass). As polls picture nowadays, Ukrainian areas which were not accepting Maidan, did not need a national-bourgeois protest such as Maidan, but searched for a real class struggle, directed against the local oligarchy and its feudal forms of management, which in fact did not transform even after Yanukovitch?s banishment.
Turn-down of Maidan protest by Crimea, Donbass and other regions is in some way connected with the nationalist shape, taken by this revolution. The current carriers of ultra-right Ukrainian idea, while standing last winter at Maidan square next to other people, did not manage to get over the trauma brought by Russian Imperial's and USSR?s colonial history, which terminated the millions of Western Ukrainians. As a result, the national-fascist symbols and ultra-right statements and programs were widely utilized, being imposed upon the pro-Russian eastern and southern regions of the country, historically disengaged with the Western and Central Ukraine and not involved into the same colonial trauma connected with the presence of Russian influence.
The lecture will further investigate what is hidden today behind the notion of ?Ukrainian fascism?, and what real threats of right radicalism that are rising in front of Ukraine only after Maidan, regardless of what is being said by the Russian media propaganda. The neo-colonial interest of the lecture will not only touch upon Russia?s imperialism, but as well it will look at the geopolitical colonialism of USA and EU, each of whom is following their own strategic interests in the Ukrainian war in the middle of Europe, where the rhetoric about the fight for democracy in Ukraine is just a populist move.

Artist Talk: Olga Jitlina, Agency of Utopian News, Russia - The Land of Opportunities, Hodja Nasreddin Joke Contest (EN)

Olga Jitlina will speak about her practice, which employs non-conventional platforms and is focused on the issues of human rights, along with that of nationalism and neo-nationalism in Russia. Jitlina will elaborate on three projects of hers. The Agency of Utopian News, a series of publications in mass-media titled as a humorous and absurdist attempt to explore the power of political imagination and confusion. The migrant board game Russia, The Land of Opportunity (presented at Women Commentators) is an attempt to find a way to depict a variety of life-scenarios of the labour migrants coming to Russia from ex-Soviet states. She will as well speak of her new project developed in the frame of Manifesta 10: the humour competition named after Nasreddin Hodja, speaking about the contexts when the humour is the only weapon.

Artist Talk: Lesia Khomenko, Actions of R.E.S. (Revolutionary Experimental Space) (EN)

The artist talk will be based on the actions of R.E.S. (Revolutionary Experimental Space). R.E.S is an artist union, established in November 2004. It consists of artists: Nikita Kadan, Zhanna Kadyrova, Vladimir Kuznetsov, Xenia Gnilitskaya, Lada Nakonechnaya, Olesya Khomenko. The ?Revolutionary Experimental Space?, which gave the name to the group of young Ukrainian artists appeared on the streets, in the midst of extreme political situation of the Orange revolution. The fake political posters got exhibited the same way as the usual ones, but containing the absurd slogans and symbols. It is significant that many of the posters by RES were in the end expropriated and used as genuine revolution?s agitation. Thus, the first appearance of the group happened on a background of increasing performativity of the Ukrainian political situation. Artists have recorded some brakes in reality which caused the disappearance of the sense of reality itself.

Lecture: Ekaterina Lazareva, Aesthetisation of politics, politisation of aestethics (RU/PL)

In his famous essay The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin introduces the contradiction between ?bad? aesthetization of politics by the rightists and ?good? politicization of aesthetics by the leftists. Examples corresponding to Benjamin's formula can be found in the avant-garde art, in particular, in the history of Italian Futurism and Russian art. However, a number of events and trends do not fit into this scheme, subverting its strictness. Despite, the philosopher?s statement was extremely influential in the intellectual context - to the extent that the official policy was transformed into a thought through performance, artists and curators got inspired to create pieces in ?political? way. The lecture is devoted to a brief analysis of these two strategies based on the issues of the present moment.

Artist Talk: Lusine Djanyan, Art of direct action (Mordovlag / Action of Pussy Riot in Sochi 2014) (RU/PL)

Lusine Dianyan will present the concept of art of direct action. That is the description that can be given to a project started by Lusine Djanyan in the heart Mordovlag (Mordovian Prison where Nadezhda Tolokonnikova was held) in October 2013. The artist was present there during the time of support campaign - starting from the hunger strike of Nadezhda Tolokonnikova to her transportation to Krasnoyarsk. Djanyan will tell about the sub-projects which form Mordovlag and about the action of Pussy Riot in Sochi during Olympic Games (2014), which followed right after the release of Nadezhda Tolokonnikova and Maria Alekhina from prison.

Debate: Pros and cons of rape. Post-colonial syndrome. ?Colonialism? in contemporary understanding, its potential within the frame of interpretation in politics, geography, and culture (PL)

To come closer to understanding of the current situation in Ukraine, it is crucial to explore the relationships between the countries of the ex-Soviet Block and Russian Federation and USSR as Imperialist/Colonialist. The objectives, formal characteristics and instruments of colonization differ from other types of Imperial dominations in Eastern, Central European and Baltic countries, which defines possibilities and instruments of restoring national identities of these countries.

Debate: They live! Looking for reality through contemporary media (PL)
Information Wars for centuries have been one of the most effective strategies of social control. With the appearance of open media and the internet we obviously got access to freedoms, we could not even imagine only 20 years ago. Nowadays everyone can be heard by creating or sharing any content, which would find its audience. However, this intoxicating freedom has an underlying danger. The ability of forming a fake reality, and swiftly spreading it is being widely utilized. We start to realize that internet is becoming a dangerous instrument information wars, since it allows to deliver specific content to certain groups of people.

Debate: David and Goliath. The art of fighting the giants. What is the role of culture in the times of upheavals? Subversive strategies, their impacts and consequences (PL)

Today the world in filled with various activist strategies, starting from numerous Ecological movements, going to Occupy or the Prayer of Pussy Riot. What are the most effective activist strategies of the modern world? Why the mix of creativity and marketing is so important in activism? How to be able to shake the society and at the same time to legally protect yourself from the state? Why should we or shouldn?t we use cultural boycott as a form of protest? The discussion spins around various ?successful? and ?unsuccessful? examples of activist actions.

Debate: To Kill a Dragon. Notes about personal and civil freedom. Can we understand a bit more about what really happens in Ukraine? (RU/PL)

The current war touches upon both Russians and Ukrainians. Together, the participants of the festival, some of which went to the cities where the war actions were held, or have close relatives there, will try to discuss their experiences of the current war conflict. A starting point for the discussion is inspired by a Russian-German film-parable To Kill the Dragon (1988) created just before the fall of the Berlin Wall (1988). The fictional country lives in the fear of the Dragon. He rules the citizens, oppresses them, plays their lives. In this country most of the citizens do not want to be saved, do not want to change anything, they are confident that ?The only way to get rid of a Dragon is to have their own Dragon.? At some point the knight appears and kills the Dragon. This brings the country to chaos and fights, because this is how the citizens envision the ?freedom?. On the wave of anarchy the new leader appears who calls himself a President, and proclaims the Republic and freedom. However, it is just another Dragon coming to power... Finally the knight is back to fight again for the freedom to explain to the people that they need to first of all to kill a dragon ?inside of themselves?, when he realizes that himself he turns into a Dragon...

Debate: Manipulated Mind Twist. The trap of confusing nationalism with patriotism (PL)

In his Notes on Nationalism George Orwell wrote: Nationalism is not to be confused with patriotism. Both words are normally used in such vague a way that any definition is liable to be challenged, but one must draw a distinction between them, since two different and even opposing ideas are involved. The border between the two notions is deliberately blurred.... The discussion will be focused on describing the both notions, and figuring out how to not get lost in translation and how to not hook on the populist rhetoric playing on the patriotic feelings to create nationalist societies.

Meetings? paticipants, among others, Agnieszka Morawińska, Magdalena Środa, Anna Łazar, Katarzyna Kozyra, Małgorzata Jacyno, Agnieszka Wołk-Łaniewska, Michał Przymusiński, Marek Troszyński, Jan Śpiewak

Film Programme

Children 404, Askold Kurov, Russia, 2014 (Polish premiere)

Putin?s Games, Anatoly Gentelev, Israel, Austria, Germany, 2014

For Marx, Svetiana Baskova, Russia, 2012

Against Gravity and Planete+ Doc Film Festival presents:

My Joy, Sergey Loznisa, Russia, Germany, 2010

Pussy Riot Punk Prayer, Mike Lerner and Maxim Pozdorovkin, Russia, UK, 2013

Liza Babenko presents a programme of short movies:

1. Katherine Gornostai, Lenin?s Teeth, documentary, Ukraine, 2014 (10 mins)

2. Katerina Voznitsa , Sleeping, documentary, Ukraine, 2014 (6:05 mins)

3. Vlad Kazakov, Revolution in Ukraine, documentary, Ukraine, 2014 (11:38 mins)

4 . Armyanovsky Piotr, Meat Factory, documentary, Ukraine, 2013 (32 min)

5. Masha Godovannaya, Feast during the Plague, Russia, 2014 (12 min)

6. Masha Godovannaya, Non-traditional, art documentary, Russia, 2013 (6 min)

7. Nadia Parfan, Maria Stoyanova, Exarch, documentary, Ukraine, 2013 (10 min)


Katia Krupennikova (b. 1982, Moscow, Russia, USSR) lives and works between Warsaw, Amsterdam and Moscow. She holds an MA degree in History of Art from the Moscow State University for Humanities and graduated from De Appel Curatorial Programme in Amsterdam in 2012. In her work as a curator, Katia has been investigating how artists comment on social or political contexts, focusing on dynamic art, more than merely representative. She builds exhibitions in the form of dialogues between artists and always aims to involve and activate the audience. Katia currently collaborates with Center of Contemporary art Ujazdowski Castle in Warsaw as a curator and project coordinator. Her recent independent curatorial projects My Joy, a special exhibition of artgeneve (Geneve, PALEXPO, 2014), NO LAND'S MEN (De Punt, Amsterdam, 2013) and Playing Nature within the Special Programme of the 5th Moscow Biennale of Contemporary art (CCA Sokol, Moscow, 2013) are focused such topics as consumerism, ecology, migration, humanity. Katia collaborates with various cultural resources internationally including Colta.ru (RUS), Metropolis M (NL).


Liza Babenko (b. 1988, Ukraine, USSR), an art-critic, curator, theatrefilm director. Lives and works between Kiev and Moscow. Holds MA in Philosophy of Culture from the Russian Anthropological School of the Russian State University for the Humanities (Moscow) and BA in Cultural Studies from Kiev-Mohyla Academy (Kiev). She has graduated from Victor Misiano?s Moscow Curatorial Summer School Doing Exhibitions Politically, The V-A-C Foundation and What, How and For Whom curatorial collective, Moscow (2012). She was an activist of the Visual Culture Research Center (Kiev) which organized exhibitions of critical contemporary art, international conferences about art and politics and left political campaigns. She curated a number of exhibitions and other projects, includingTo the Production of Revolution, Bulgaria Keti Chukhrov?s performance Afghan-Kuzminki within the 1st Kiev International Biennale of Contemporary Art Arsenale, Kyiv, Ukraine (2012), the1st Ukrainian May Day Congress of creative workers, leftist and feminist groups, she co-curated in collaboration with Boryana Rossa the Feminist Workshop, the fridge & Haspel, Sofia, Bulgaria. Her latest research and directing work is the play "Energy of Cosmos Is Indestructible!!!" in collaboration with Anton Vidokle, Research Congress ?Former West: Documents, Constellations, Prospects?, Haus der Kulturen der Welt, Berlin (2013). She participated in Re-Directing East residency at the of CCA Ujazdowsky Castle, Warsaw, Poland (2013). Babenko?s research lies within the fields of art and film criticism, feminism, post-colonial theory as well as in politically engaged contemporary theatre, art-house cinema and video art. Babenko contributes to a number of media, such as Art Ukraine magazine. Currently she is a columnist in the leading Ukrainian journal of social critic Commons.

Yevgenia Belorusets (b. 1980, Kiev, Ukraine, USSR) is an artist and writer who lives and works in Berlin and Kiev. She holds an MA in literature from Kiev National Linguistic Universit (2002), and continued her education at PhD Seminar Group, Austrian literature and Philosophy, Philosophy department, Vienna University, Vienna (2003-2005). She graduated from Viktor Marushchenko Photography School, Kiev, Ukraine (2006). Belorusets is the founder of the journal for literature and art ?Prostory? (since 2008) and a member of the curatorial group "HUDRADA" since 2009. She works with video, photography, installation, on the intersection of art, literature and social activism. She has participated in a number of exhibitions in Ukraine and intenationally: Euromaidan – occupied spaces, Project Space OKK, Berlin, Germany (2014), Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2013, PinchukArtCentre Kiev, Ukraine (2013), Ukrainian News, Ujazdowski castle, Warsaw (2013), A room of my own, Museum of Zemstwo, Chi?inău, Moldova (2013), amongst others. Recepient of Friedrich Ebert Stiftung Fellowship (2012/14) and Joan Wakelin Award of The Guardian/Royal Photographic Society for documentary photography project (2010). Winner of the Photography competition ?Ukraine now? (2007), amongst others.

Lusine Djanyan (b. 1981, Kirovabad, Azerbaydzhan, USSR). Lives and works in Krasnodar, Russia. She graduated from Krasnodar State University of Arts and from Arts and Crafts Academy, Krasnodar, Russia (2004). She participated in Free Workshops course at the Moscow Museum of Modern Art, Moscow, Russia (2010, 2011). Since 2004 Djanyan was tutoring at the Krasnodar State University of Culture and Art, till in 2013 she was fired for creating political art. Her recent solo and group exhibitions include Mordovlag, Moscow, Russia (2014), The Forest, Moscow and Perm, Russia (2013), MeetFactory, curated by Andrey Erofeev, Prague, Czech Republic (2013), Resistance FOREVER ??rte protetesta en en la Rusia actual?, Argentina (2012), Apocalipse and Renaissance, within the frame of Kiev Internatinal Biennale, curated by Oleg Kulik, Kyiv, Ukraine (2012), Rejected Reality, in the frame of the 2rd Moscow Biennale of contemporary art, Moscow, Russia (2012), amongst others. In 2014 two of her exhibitions have been canceled because of ?political content?.

Olga Jitlina (b. 1982, Leningrad, Russia, USSR). Lives and works in Saint Petersburg, Russia. She graduated from from The University of Jewish Studies (philology) (2005) and from the Russian Academy of Art (theory and history of art) (2007). Her recent exhibitions include such as VIDEO AIR?, Galerie ArtPoint, Vienna, Austria (2013), Compromise?, Cittadellarte, Biella, Italy (2013), World of Tango Art Weeks?, Tampere, Finland (2013), Pussy Riot and the Tradition of Russian Artistic Protest?, MeatFactory, Prague, curated by Andrey Erofeev (2013), Living as Form (The Nomadic Version), Fabrika Center for Creative Industries, Moscow (2013), DIE WELT BEWEGT SICH. ??? ?????????, Planetarium, Nizhniy Novgorod (2012), Happiness is a warm gun?, Rizzordi Art Foundation, Saint-Petersburg (2012), amongst others. Recepient of Akademie der Künste der Welt grant (2013), Finalist of the Henkel Prize (2012), Winner of CEE Young Artist?s Prize (2012), to name a few. An author of socially engaged performances and contradictory theater plays.

Mariia Gonchar (b. 1985, Odessa, Ukraine, USSR) is a visual and media artist, curator of sociocultural projects, architect. She graduated with honors from Odessa State Academy of Building and Architecture, Architecture and Art Institute (2008). She had Student Summer internship in Architectural Studio of A.Chernikov, Moscow, Russia (2007). She graduated from School "Animation of civic participation" by Kirovograd Institute of Socio-cultural management (2012-2013), Program ?Cultural Diplomacy?, Warsaw (2012), ?Ahalar School: I and community? by Ahalar Center, Chernihiv, Copenhagen (2013), New Art School: Media Art for practitioners, Kiev (2013), Summer School of Contemporary Art, Almaty, Kazakhstan (2013). Mariia Gonchar is curator of Project ?TV has attacked us all our lives, now we fight back. Now we make our own TV/Nam June Paik? on TV channel "Odessa", Ukraine (since 2013) and Project ?Creative cities of Ukraine? (since 2010). She is Stypendysta Ministra Kultury i Dziedzictwa Narodowego RP "Gaude Polonia" (2014). She has been involved in a number of exhibitions, projects and screenings in Ukraine and abroad.

Alevtina Kakhidze (born 1973 in Zhdanovka, Donetsk region, Ukraine, USSR). She works with performance, installation, drawings, texts and design objects. She is the Kazimir Malevich Artist Award winner in 2008, First prize winner of the Competition for Young Curators and Artists, Kyiv, Center for Contemporary Art at NaUKMA in 2002. In 2004 graduated from the National Academy of Fine Arts and Architecture, graphic department. In 2004 – 2006 studied at the Jan van Eyck Academie, Maastricht, Netherlands. In 2009 Artist in residency at Open House Iaspis, Stockholm, Sweden. Co-founder of a private residency for international artists in the village Muzychi and on-line publication about art www.kram.in.ua. Participant of numerous international and Ukrainian art projects including up-coming public programme of the Manifesta 10, St. Petersburg, Russia, Drawing Class for Collectors within the 7th Berlin Biennial, You are at Home of Vladimir Alevtina Suzi Penelopa at Ya Gallery, Kyiv, Working for Change, a project for the Morocco Pavilion within the 54th Biennale di Venezia, I?m late for a plane that?s impossible to be late for, a performance realized due to the efforts of the Rinat Akhmetov Foundation for the Development of Ukraine, ????/????/IF (Perm, Museum for Contemporary Art PERMM), 1989–2009: Turbulent World – Telling Time (Berlin, Art Academy, Kiev, National Art Museum of Ukraine, Moscow, National Center of Contemporary Art etc.), Endless Sphere (Kyiv, Center for Contemporary Art at NaUKMA) among others.

Olesia Khomenko (b. 1980, Kiev, Ukraine, USSR). Lives and works in Kyiv. She graduated from National Academy of Art and Architecture, Kyiv (2014). Co-founder of ?uratorial Union HUDRADA, a self-educational community based on interdisciplinary cooperation. Since 2004 she is a member of R.E.P. group. She has recently taken part in such projects as AND NOW? THE POWER OF ART Ukrainian Art in a Moment of Crisis, Reflection and Mourning, Centre of Culture Communicstion (former Lavra gallery), Kyiv, Ukraine (2014), Exhibition of the 20 shortlisted artists for the PinchukArtCentre Prize 2013, PinchukArtCentre, Kyiv, Ukraine (2013), Good Girls, MNAC, Bucharest, Romania (2013), as a part of R.E.P. group The Future Generation Art Prize@Venice 2013, Parallel program of the Venice Biennale, Venice, Italy (2013), Ukrainan News, CSW Zamek Ujazdowsky, Warsaw, Poland (2013), as a part of R.E.P. group A complicated relation, part 2, Kalmar Konstmuseum, Kalmar, Sweden (2011), as a part of R.E.P. group Public Folklore, Grazer Kunstverein, Graz (2011), as a part of R.E.P. group Another city. Another life, Zacheta gallery, Warsaw, Poland (2011), amongst others. Finalist of Pinchuk Art Prize, Kyiv (2009, 2011, 2013) and of Kazimir-Malewitzsch-Award, Kyiv (2012).

Maria Kiseleva (b. 1991, Novosibirsk, Russia). She graduated from Novosibirsk Art and Architecture Academy, specialized in Design. Since 2014 she lives and works in Moscow, Russia. Since 2010 she has co-organized annual Monstration marches in Novosibirsk. As a graphic designer Maria has been collaborating with an independent publishing house Common Place. Her works were featured in the calendar issued by ?La Fanzinoth?que?, amongst other artists. Icon SVBD PSRT was featured on the covers of Krytyka Polityczna and The Critical Inquiry. The cover of The Critical Inquiry from 18 October 2013 was placed into the capsule, which was laid in the basement of the new building of Antropology Department of the Harvard. The capsule is due to be disclosed in 100 years. Kiseleva has been participating in RE?ALIGNED ART, Troms? Kunstforening, Troms?, Norway (2013), Pussy Riot and Russian tradition of contemporary protest, MeetFactory, Prague, curated by Andrey Erofeev, Prague, Czech Republic (2013) ?nonymous, PERM Museum of Contemporary Art (Perm, Russia (2012), MediaUdar, a special project of the 4th Moscow Biennale of contemporary art, ARTPLAY, Moscow, Russia (2011), Media Act, ZHYR gallery, Moscow, Russia (2010), amongst other projects.

Ekaterina Lazareva (b. 1978, Moscow, Russia, USSR) is an artist and independent curator, holds PhD in art studies. She graduated from the faculty of art history of the Russian State University for Humanities (2000) and the Rodchenko Art School (2012). She was nominated on the Kandinsky Prize, Moscow (2012). Her solo exhibitions include What we dream, Brown Stripe, Moscow (2013), March 9, Rodchenko Art School, Moscow,(2011), Martha Rosler?s Semiotics of the kitchen, Art Academy club, Moscow (2010). She participated in numerous group shows including Protest, or?, Etazhi, St.-Petersburg (2013), KINO-FOTO-LYUDOGUS, NCCA, Moscow (2013), Anti-Censorial Placard, Fabrika, Moscow (2012), Dada Moscow, Artplay, Moscow (2011), Performative Archive, E.K. Art Bureau, Moscow (2011), Lines of communications, NCCA, Moscow (2010). Her video works were shown at CINEFANTOM New Generation program on the 34th MIFF (2012) and VI International Film Festival in the name of Andrey Tarkovsky (2012).

Lyubov Matyunina (b. 1985, Kaliningrad, Russia, USSR) holds BA from Gerrit Rietveld Academy, Fine Art, VAV, Amsterdam, NL. Lives and works in Amsterdam and Kaliningrad. She previously visited courses ?World politics? at Gotland University, Sweden, and at International State University Foreign Affairs, Ministry of Foreign Affairs of Russia, Moscow and holds MA at Journalistic from Russian State University name of I.Kant. She was guest artist at One minutes Junior in Baku (Azerbaijan), Bishkek (Kyrgystan) and Tashkent (Uzbekistan) and etc since 2012. Her solo show WTF? was presented at Bloc23, Amsterdam (2011). Her last film "Who can be happy and free?" got TENT Academy Public Choice Award in Rotterdam (2014) and was selected for main program at the KOROCHE film festival in Kaliningrad, Russia (2014). Participant of group exhibitions and festivals including the 5th Moscow biennial of contemporary art (special project Playing Nature) (2013), No Lands Men, de PUNT, Amsterdam (2013) and Kunstvlaai festival of independents, Amsterdam (2012).