The Invisible Fir

traces of the work

Museum of Fine Arts, Yekaterinburg, Russia
Christmas Inside Me, 2006
“Art Tree”, live action format

A stepladder.
A body in balance.
Hands placing objects that cannot be seen.

The tree appears through movement.

Press and documentation

“For almost an hour, the artist moved up and down a stepladder, hanging non-existent ornaments on a non-existent tree. The jury called it a ‘conceptual miracle’.”
— Daria Loshakova, IA Apelsin, 2006

“The tree is invisible — it can only be felt.”
— Olga Gentseleva, Vesti Ural, 2006

Recognition

The work was sold at a charity auction.

Archival links

– Museum.ru article (archived, 2007)
– Ural Art Museum archive (2008)

Wedding of the Tower and the Metro

2006, Happening, R²

2006

Format: public performance, happening, video documentation (44 minutes)

Location: Russia, Yekaterinburg city center and metro stations

Partners: State Center for Contemporary Art (GCCSA), ParaRam gallery

About the Project

Wedding of the Tower and the Metro is a multi-day public performance reimagining key landmarks of Yekaterinburg through the lens of local Ural traditions. The project creates a new living mythology for the city by symbolically uniting two urban giants — the Tower (he), an unfinished TV tower and prominent telecommunications structure, and the Metro (she), the city’s underground transit system.

The project unfolds as a ritual action reflecting deep archetypes and urban legends, expressing both the hopes and fears of the city’s residents. Through ceremonial acts and symbolic gestures, the performance seeks to harmonize unseen forces within the city and prevent potential catastrophe.

Background: The Question of the Tower and the Metro

  • Concerns about a possible earthquake in the Ural region have been growing.
  • For over 250 years, towers and underground spaces have been seen as the city’s main mythical and generative symbols.
  • Today, the unfinished TV tower is the city’s apex tower symbol, while the metro is its main subterranean presence.
  • These two giants effectively “meet” near the Circus area in the city center.

The Myth

The Tower and the Metro represent vast, intangible City Giants—beings with immense, mysterious bodies resting beneath the urban layers. Though currently still, their forces pull toward each other. Should they awaken suddenly or clash, disaster such as an earthquake could follow.

The myth is not just a story but includes ritual actions designed to control these forces and protect the city.

The Ritual — The Wedding

The Giants’ longing for union has reached a peak — the time has come to hold their Wedding.

If this ritual is not performed, the Giants may pass each other by, and the symbolic “Child” — the city’s future potential — will never be born. Alternatively, a chaotic union could bring disaster.

Additional Context

This myth draws from ancient, pre-Ellin traditions and familiar motifs of Titans and Titanesses. The Tower and Metro stand as symbolic Titans within the city landscape.

The myth partly explains the origins and roles of these urban forms and partly prescribes complex ritual actions that help channel and contain hidden powers, ensuring the city’s well-being.

The Performance

On August 25–26, 2006, Yekaterinburg witnessed a collective celebration of the Wedding of the Tower and the Metro.

This ritual involved local artists, residents, and guests, bringing the myth to life through a series of staged actions:

Public announcement of the upcoming Wedding (2006, August 18).

The solemn Wedding ceremony — a modern ritual binding the Giants (2006, August 25).

A communal feast — an ancient ritual that unites participants and seals the ceremony’s success (2006 August 25).

The Fertilization rite — participants crafted miniature Tower figures symbolizing the Tower’s “seed” (2006 August 26).

And discreetly placed them throughout metro stations and trains (2006 August 26).

Outcome

The action transcended artistic mystification, becoming a real and effective ritual. Just days after the event, news came that the long-frozen metro construction would resume.

Exhibitions and Screenings

September 2006 — International Festival Stop! Who’s Coming?, Moscow, special project of the Yekaterinburg branch of the State Center for Contemporary Art (GCCSA) StolpoTvorenie.

November 2006 — Video screening at the ParaRam art salon, Yekaterinburg.

2007 — As part of the StolpoTvorenie special project (Yekaterinburg GCCSA), nominated for the Innovation All-Russian competition award in the category Regional Contemporary Art Project.

2023 — Documentation of the project participated in the archival exhibition “Art without a ticket: the history of public art in Yekaterinburg” at the Ural Branch of the A.S. Pushkin State Museum of Fine Arts.

Wedding of the Tower and the Metro

2006

Фото 1 (главное, крупное, по центру)

Лучший кадр со свадьбы — не башня, не метро, а момент действия: люди, ритуал, ощущение события.

A city does not exist only of stone, concrete, and structures.

It also exists through stories, beliefs, and invisible forces.

Телебашня в городе.

In Yekaterinburg, towers and underground spaces have long been powerful symbols of the city landscape.

Фото 3

Метро: вход, станция, тоннель.

At the beginning of the 21st century, two extreme manifestations appeared:

the unfinished TV Tower — the highest expression of the Tower,

and the Metro — the deepest expression of the Underground.

Фото 4

Общий городской план / район Цирка, если есть.

They came close to each other.

Almost meeting.

According to the myth, the City Giants existed before the city itself.
They were revealed to humans through the Tower and the Metro.

Фото 5

(фото, где появляется ощущение мифа, например участники или башня с людьми)

From this coincidence, a myth emerged.

The Tower and the Metro were imagined not as constructions, but as manifestations of ancient forces.

Фото 6

Любой образ с ритуальным ощущением / участники

According to the myth, these forces had existed before the city itself.

Perhaps even before the mountains.

The Tower and the Metro were not merely structures.
They were manifestations of vast and incomprehensible beings.

The Tower and the Metro were imagined as manifestations of City Giants — vast, incomprehensible beings revealed to humans through their visible forms.

Фото 7

Свадебный момент

Their attraction had reached its peak.

The time had come for their Wedding.

Фото 8

Участники

But their union required a ritual.

Without it, they could pass each other by, and the Child — the future potential of the city — would never be born.

Without a ritual, their uncontrolled encounter could bring catastrophe.

Фото 9

Объявление / газета

The myth became a public action.

On August 25–26, 2006, the Wedding of the Tower and the Metro took place in Yekaterinburg.

Фото 10

Церемония

Artists, residents, and guests became participants in the ritual.

The performance unfolded through several stages:

Фото 11

Объявление

Announcement of the Wedding

Фото 12

Церемония

The Wedding ceremony

Фото 13

Пир

The communal feast

Фото 14

Изготовление башенок

The Fertilization rite

Participants created miniature images of the Tower — symbolic seeds.

Фото 15

Метро, размещение башенок

The seeds were carried underground and placed inside the Metro.

The ritual was completed.

Фото 16

Фото после ритуала / участники / след

A fragmentary urban myth became a lived experience.

The work crossed the boundary between artistic fiction and reality.

Фото 17

Если есть публикация о возобновлении строительства метро

Days after the ritual, news appeared that construction of the metro, frozen for several years, would resume.

The work proposes a new urban mythology.

The work continues as urban mythology.

traces of the work →

Möbius Pretzel

2006, R²

August 19, 2006

Format: public performance, happening, video documentation (6:41)

Location: Russia, Yekaterinburg

Partners: State Center for Contemporary Art (GCCSA), Yekaterinburg bread factory Vseslav

The art project “The Möbius Pretzel” is part of a multi-stage process of creating an urban mythology.


It transfers a conceptual idea into public space, transforming the artistic act into a communal ritual. The mythologeme appears as an edible Möbius strip, and its consumption becomes a form of communion — a symbolic sharing of the city’s “body.”

The format of the project embodies a symbiosis of artistic performance, PR action, urban myth, and public ritual.

A record-breaking pretzel, made from a four-layer sponge ribbon (with a circumference of 4.5 meters, a height of 20 cm, and a weight of 52 kg), was generously baked by the Yekaterinburg bread factory Vseslav.

Ingredients used: Flour – 11 kg, Sugar – 8.7 kg, Eggs – 11 kg, Vegetable oil – 0.6 kg, Apricot confiture – 16 kg, Sugar syrup (for soaking) – 7.3 kg

Biscuit mass: 26 kg Exact dimensions: 1.5 × 2 meters Total weight: 52 kg
Length of the sponge ribbon: 4.5 meters

From the author:

A city is a multitude of layers — coexisting within a single whole, yet often not only disconnected, but unaware of each other’s existence.

A simplified model of the city might be imagined as a pretzel made from a multi-layered sponge ribbon, twisted into a Möbius strip — a kind of “pretzelization” of a mathematical ideal.

The Möbius strip possesses some curious properties: it has only one continuous surface, no “other” side, no inside or outside, and any object moving along it is gradually turned 180 degrees. In other words — it flips things upside down.

This leads one to think that perhaps our existence has no “reverse.” Everything — hellish abysses, heavenly gardens, mysterious depths of the spirit, and other dimensions — is already here, now, with us, on this side. That is to say: thisworldly.

To “absorb” the city, one must thoroughly chew the pretzel. This can be done extensively — gnawing on a single layer, or intensively — by biting through all the layers at once. Though in this case, of course, only within the limits of one fragment.

Just do it

2005, выставка, ГЦСИ, коллективная, перформанс, фестиваль

Фестиваль фотоперформанса

19 – 30 июня 2005

Центр действия НОГА

Екатеринбург, Россия

Организаторы: ЕфГЦСИ, Центр Действия НОГА, галерея ЗЕР ГУТ.

Куратор – Владимир Селезнев

Звуковое сопровождение:  “4 Позиции Бруно”.

Фотодокументация, как правило, прежде всего спасает перформанс от бренности собственной природы и вместе с тем может служить некоторым мерилом качества.

Фото из архива НОГА.

К списку коллективных проектов

Sower. Dispersion of White

Malevich's Brigade

2005 | Performance

Exhibition: Not-Portraits (Контур как повод)
Venue: ParaRam Gallery, Yekaterinburg, Russia
Date: 10 March 2005
Group: Kazimir Malevich’s Malers’ Brigade

The Performance

At the opening of the collective exhibition Not-Portraits, the Kazimir Malevich’s Malers’ Brigade presented Sower. Dispersion of White.

The action began with the Sower scattering white squares.

The Malers then “fertilised” them.

As the squares “ripened”, the visitors were invited to gather the harvest — what had begun as white.

The simple sequence turned a familiar act of painting into a small ritual of sowing, growth and gathering.

White was no longer just a colour or a surface. It became something that could be scattered, transformed and collected.

The Exhibition Context

The performance took place during the opening of Not-Portraits, a collective exhibition in which artists drew one another’s outlines and filled the resulting silhouettes with their own interpretations.

The Brigade’s action introduced another form of collective transformation into the opening: instead of producing a fixed image, it set a process in motion and allowed the visitors to complete it.

Documentation

Photos: Tatyana Sekacheva, Dmitry Razhev

Original project documentation →

Back to Malers’ Brigade

Harmonization of Space

Malevich's Brigade

2004 | Performance

Event: Founding of Kazimir Malevich’s Malers’ Brigade
Venue: Kolyada Theatre, Yekaterinburg, Russia
Date: 5 November 2004
Group: Kazimir Malevich’s Malers’ Brigade

The Action

The artists were invited to transform the space of a boiler room at Kolyada Theatre. The work had to be done quickly and economically, while a play was being performed in the same space — without disturbing the actors or the audience.

The solution was Harmonization of Space.

“White over dark — the physical space disappears; the inside turns outside.”

White water-based emulsion paint was poured into plates and applied to the dark surfaces of the room. Each artist brought their own tool.

To protect their clothes, the artists wore black polyethylene garbage bags.

At the time, they did not know that the bags would become the Brigade’s working uniform and one of its most recognisable signs.

The Beginning of the Brigade

The action took place on 5 November 2004, now considered the founding date of Kazimir Malevich’s Malers’ Brigade.

After the action, the first snow of that winter began to fall. The artists jokingly recalled a phrase from a book they had recently read — about a “Brigade of painters named after Kazimir Malevich”.

The phrase stayed.

The temporary group became a name, and the name became a collective.

Elena Gladysheva, Alexandra Krivolutskaya, Viktor Oborotistov, Marina Razheva, Vladimir Romanov

Photo: Tatyana Sekacheva

Back to Malers’ Brigade