Each participant of the photo marathon chose a color and set out to hunt it on the streets of the city.
A one-day photo marathon across Yekaterinburg invited participants to follow a shared route while each pursued a personal color through the city’s streets. Walking together yet apart, they searched for shades of their chosen hue until the city itself turned into a living palette.
Hunters: Elena Gladysheva, Viktor Oborotistov, Vladimir Romanov, Dmitry Razhev, Marina Razheva.
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.
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.
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.
Performance, 2003 Embankment of the Iset River, Yekaterinburg, Russia As part of the ON/OFF contemporary art magazine launch
Performer: Vladimir Razhev
The Penguin plays the wooden flute on the river bank. The fish were arranged in a semicircle around him. In a transparent crystal vase at the feet of the flutist there are granules of fish oil.
This performance became part of the video “Penguins, You Say?” and was included in a larger project marking the 160th anniversary of Anatole France.
Artist’s Note:
This performance is a quiet ritual of care and absurdity. A lullaby—not for a child, but for the city’s river — burdened, ignored, polluted, yet still flowing. The Penguin, a creature from a distant world played by a child, becomes a gentle mediator: he sings not with words, but with breath through wood, a lullaby for something that cannot sleep.
Fish, once swimming in the depths, lie arranged on land : a gesture of remembrance and paradox. The fish oil glimmers like relics or offerings — both nourishing and useless at once.
This is a moment of stillness amid noise. A small act of poetic compassion to honor the river as a living being, reminding the city that even the absurd can be an act of tenderness and deeply necessary empathy.
It doesn’t solve problems, but it changes the tone. It is a lullaby for a world that can no longer respond — and still deserves to be sung to.
“Lullaby for the River” is a poetic performance about care, loss, and quiet attention to a vulnerable world.
Yekaterinburg, Russia, 2002 Urban intervention / Public art
“Corridor” (from currere — Latin, “to run” or “to go”) is a site-specific urban intervention in which everything within a walking path of at least 25 steps is painted in a single pure color: houses, pavement, trees, grass, soil, and other elements. The result is a visual and emotional shift: the colored zone changes not only how the city looks, but also how it feels.
In this iteration, the color yellow was used. Even in bad weather, the space appeared sunlit and joyful. The project invited people to experience the city through a new lens.
“Corridor” was realized on September 26, 2002, during the international urban art festival A_REAL001: Art in Public Spaces, organized by the State Center for Contemporary Art (GCSI), Yekaterinburg branch. The festival explored the theme “Mythology for the City” and focused on re-urbanization through cultural action. Curated by Arseny Sergeev, Nailya Allakhverdiyeva, and Tatyana Vetluzhskikh.
Artist’s Note: I wanted to mark a passage: not just a path, but a shift in perception. When you step into a space where even the grass and asphalt are the same bright color, your body reacts: the city becomes less neutral. It’s about tuning your attention like walking through a thought.
