FLEETING OFFERING

traces of the work

An offering is usually understood as an act of giving. But what is being offered, and whether there is an offering at all, can remain uncertain.

Fleeting Offering begins with soap bubbles released simultaneously. No individual bubble is designated in advance as the offering. I cannot say whether one, several, or none of them should be understood as the offering.

The bubbles disappear. No material evidence remains to settle the question. A photograph can record their release, but it cannot establish what, if anything, was offered, or whether it was received.

Can an offering exist without being identified? Can there be more than one?

The work does not answer these questions. It makes their uncertainty tangible.

The work has been enacted in places that bear evidence of other human gestures: prehistoric rock engravings in Valcamonica and a Roman dedication carved into a quarry wall in Carinthia. These marks have endured, but they cannot tell us what became of the gestures they preserve.

Fleeting Offering places a fleeting action among traces that have survived. It leaves open the difference between releasing something, making an offering, and knowing whether it has been received.

The action took place. What, if anything, was offered remains unresolved.

Fleeting Offering began as a proposal for Ġgantija, the prehistoric megalithic temple on the island of Gozo, Malta.

On 5 June 2025, Marina Razheva sent curator Julia Sysalova a project in which a single soap bubble would appear once a minute among the ancient stones, then disappear without a trace. A concealed machine would produce the bubbles without physically disturbing the site. The proposal also drew on the contrast between the fleeting bubble and the stone spheres of unknown purpose found inside the temple.

The project was not realized in this form, but its central question remained: what can an offering be when nothing remains to identify it?

In later realizations, several soap bubbles are released simultaneously. Unlike the initial proposal for Ġgantija, the later action does not designate a single bubble as the offering. It remains unresolved whether one, several, or none of the bubbles should be understood as an offering. Once the bubbles disappear, photographic documentation can record the release but cannot settle what, if anything, was offered or whether it was received.

The work has since been enacted in Hungary, Austria and Italy, including places where earlier human gestures survive in stone: a Roman dedication carved into a quarry wall at Spitzelofen and prehistoric rock engravings in Valcamonica.

Fleeting Offering brings a gesture without identifiable material evidence into contact with traces that have endured. It leaves open the difference between making an offering and knowing whether it has been received.

Earlier Proposal

Ġgantija, Gozo, Malta

The proposal was not realized in this form. These sketches preserve an earlier conception of Fleeting Offering, distinct from its later realizations.

The drawings imagine the proposed action in the setting of Ġgantija. They are conceptual sketches, not documentary images of an actual realization at the site.

A Curator’s Note (Written in response to the original proposal for Ġgantija, Malta, 2025)

What I see in this work is not only conceptual precision, but courage: a deliberate relinquishing of everything that renders art visible, assertive, or commodified. Razheva operates within the traditions of memory, ritual, and transcendence, yet through the strategy of disappearance.
This is where its critical power lies: the artist offers not an object, but a situation that becomes a witnessing. The project is akin to breath, belonging to no one, claiming nothing, it happens and disappears, leaving behind only air and attention. Read the full curator’s note

Julia Sysalova
Curator and critic, AICA member

19 July 2025
Sörnyepuszta & Cserfekvési, Hungary

First realization of Fleeting Offering in its present form.

10 June 2026
Spitzelofen, Austria

Realization at a former marble quarry bearing a Roman dedication carved into the rock.

19 June 2026
Valcamonica, Italy

Realization in a landscape containing prehistoric rock engravings.

Project Dossiers

BACK TO WORK

FLEETING OFFERING

2025, 2026

or Nothing Remains but Air

Several soap bubbles are released simultaneously. It remains uncertain whether one, several, or none of them is an offering.

The bubbles disappear. Nothing remains to confirm what, if anything, was offered, or whether it was received.

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Sörnyepuszta & Cserfekvési, Hungary / Spitzelofen, Austria / Valcamonica, Italy

site-specific action, performance


The Story & Archive

Project Dossiers

The Golden Apple of Istanbul

2025, Golden Apples, R²

Aranyalmás Rácalmás – The Golden Apples of Rácalmás

2025, Golden Apples, Happening

Golden Apples

2024, 2025, Golden Apples, R²

The Golden Apple of Istanbul
Aranyalmás Rácalmás
An Offering to the Sphinx

Letters of Water

2025

Material

Action

Trace

Disappearance

Transfer

Release

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Απουσία / Απ’ ουσία

2025, Happening

A table.
A chair.
A stack of newspapers.

Parts of the text are missing.
Images disappear.
Words are cut away.

The absence is not empty.

It becomes a space where meaning is reconstructed.

What disappears?

Reading becomes searching.
Looking becomes interpretation.

The absence becomes visible.

Absence becomes a space for imagination.

The work continues through absence.

The work continues through participation.

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Project Dossiers

AN OFFERING TO THE SPHINX

2024, Golden Apples, R²

site-specific intervention / temporary guerrilla sculpture

Zsolnay Quarter, Pécs, Hungary

Materials: apple, acrylic

A golden apple moved through the historical labyrinth of the Zsolnay Quarter, passing between exhibition space, street, ornament, reflection, and ruin.

For a brief moment, the object entered the official space of the Zsolnay Golden Age exhibition, then returned again to the open environment of the city.

The apple appeared among ceramic vessels, architectural fragments, roots, water, staircases, and decorative structures. Its movement through the quarter was documented as a sequence of temporary relations between the object and the surrounding space.

The journey ended near one of the ceramic Sphinx sculptures guarding the staircase.

The apple was left there as an offering without inscription, protection, or explanation.

After the action, the object remained in the space without control over what would happen next.

It could disappear, decay, be taken away, or continue its movement through the city.

The work existed as a temporary intervention between public art, rumor, object, and memory.

traces of the work

Cultural Transit

Malevich's Brigade

2016 | Exhibition

Venue: Cultural Transit Foundation, Yekaterinburg, Russia
Dates: 14–18 March 2016
Group: Kazimir Malevich’s Malers’ Brigade

From Waste Back into Art

The exhibition began with something found and discarded.

About a year before the project, a member of the Brigade found two packs of unused coated paper posters near a residential building — one hundred identical sheets, each printed with the image of a woman’s bare back.

A small portion of the find was initially used as paper for individual paintings. The remaining ninety-four sheets were brought to the exhibition space of the Cultural Transit Foundation, where the Brigade took brushes to them.

Instead of erasing the original image, the artists worked with it, over it and around it. The same figure began to appear as Leda, Europa, an axe, a green onion and many other forms. The original image remained visible, while its meaning kept changing.

What had been produced for another purpose and then discarded became material for a new collective work.

As the Brigade described it: “A return to the territory of art of creative efforts that had moved into the mercantile.”

Collective Work

The works were produced directly in the exhibition space by the Brigade. The large number of identical sheets allowed the same starting image to be repeated, altered and reinterpreted again and again.

The exhibition did not arrive at a single final image. Instead, the original figure passed through a series of transformations, becoming different things without losing its visible trace of what it had been.

Participation: Elena Gladysheva, Vladimir Romanov, Marina Razheva, Viktor Oborotistov

Photos by Dmitry Razhev, Viktor Oborotistov and Marina Kozlachkova.

Back to Malers’ Brigade