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
Sculpture as a roost for pigeons. Birds use it in their usual way. Eventually something readable appears on the ground. In this case it is mathematical symbol of eternity.The installation 'Plus—Minus Eternity' is a laboratory work. The pigeons were rent at the farm. They have realized their creative potential and were taken away before the opening. The preparation took four days. During this time the exhibition space turned into a pigeon house. We believe that this work was a preparation to actual building of such a roost in public space where pigeons are numerous.
Variation on the theme of the ‛99%’ sketch. Installation at the exhibition "False Calculations Presidium".
Text from the catalogue
We’re all familiar from childhood with the alternate images of a single bird. The first is an image we’re used to encountering, culturally and symbolically, in art, mythology and world literature: the dove that brought Noah an olive branch, signaling the end of the Flood; the dove of the Gospels; the slender contours of Picasso’s Dove of Peace; the dove as a symbol of love; and so on … But is there a city dweller anywhere who hasn’t given thanks that cows don’t fly? The second image is the pigeon — the profane bird that shits on our cultural and symbolic shrines, our war
memorials and monuments to peace, on our heads and our coats, on pairs of lovers kissing in the shade of infrequent city trees — the freeloader that grows fat off of urban civilization. These two contradictory images converge in this work by Alex Buldakov, Anastasia Potemkina and Dmitry Potemkin, artists who have made a study of urban fauna and include it in their installations.
All but earthbound from overconsumption, waddling pigeons, like the human residents of a megalopolis, have become indirectly involved in a complex system of socioeconomic relations. They are simultaneously a curiosity and a menace. Nonchalantly shifting their weight from foot to foot at outdoor cafes, claiming their percentage of each dish, pigeons stimulate additional consumption. They additionally consume, then additionally shit, creating additional work for cleaners who stream into large urban centers, stimulating additional consumption, and so on ad infinitum…
In the artists’ installation we see how consumer society’s inexhaustible horn of plenty suddenly starts to emit pigeon droppings, tracing out the symbol of infinity. Such are the dove’s tidings in the twenty-first century.
Installation on the exhibition 'Presidium of False Calculations'
Curator: Anastasia Ryabova
Contrubutors: Anastasia Potemkina, Dmitriy Potemkin, Alexey Buldakov
Museum of Philantropy and Enterpreneurship, Moscow, 2012