stairs

THE ANGLE OF VIEW

2002, 2024, object, ready-made

THE ANGLE OF VIEW or Fence becomes stairs

Readymade object, 120×70, wood, metal.
2002

A fence stops you. A stair invites you to move. One denies passage, the other makes it possible.
But if you rotate the fence 90 degrees, it becomes a staircase.
The opposites turn into each other if you change your point of view.

Exhibited at:
– Festival of contemporary art «Crossing borders» 2024. Beka 9, Hrpelje-Kozina, Slovenia
– International exhibition “Eurasian syndrome” 2002, Museum of Fine Arts, Yekaterinburg, Russia

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Author note: “The Angle of View” is a story about how meaning changes when you simply turn an object. It’s the same object, but the way we look at it changes everything. Sometimes we see only obstacles. But what if we looked differently?
I made this object in 2002 and then came back to it in 2024. The world around has changed, but this idea is still relevant. It’s about how our boundaries are not always what they seem.

Catalogue page from “Eurasian Syndrome”
Museum of Fine Arts, Yekaterinburg, 2002
Ural Worker Newspaper, August 24, 2002
Festival booklet featuring The Angle of View, Crossing Borders, 2024, Beka 9, Slovenia

Critical response:

“The work by Yekaterinburg artist Marina Razheva titled ‘The Angle of View or Fence Becomes Stairs’ comes closest to the idea of transformative vision. Her comment on the piece was: ‘Opposites transform into each other if you shift your angle of view.’
Indeed, what could be simpler than turning a solid fence into a convenient staircase? All it takes is a little goodwill and inventiveness. But do we all have that?”
— Yulia Filippova, Ural Worker Newspaper, August 24, 2002

To understand — one must walk

2025, contemporary, Environmental Performance, Landscape Intervention, R², Revealed Realism

Total Landscape Experience

11.05.2025

Kőszikla Szurdok, Hungary

This exhibition does not take place inside a gallery. It begins on a path.
We walk deep into a gorge — a space shaped not by human hands, but perceived as an exhibition. Nature here is not a backdrop, but a co-author. We enter a narrative where every step is part of the installation.

This is an initiation route: collapsed trails, a stream that speaks with the voice of the past, fallen trees composing an invisible script. We must slow down, lean on overhanging roots, walk “not in our own shoes.” Through embodied participation, we become part of the exhibition.

At the journey’s end is a round rock niche — a stage, a theater of memories. Within it lies a mirror, buried beneath dust. Clear it away, and you will see yourself. Or rather, who you have become by walking this path.

Key “exhibits” :

  • Embracing Transition — the moment when the past ceases to define the route.
  • Working with Absence — where emptiness becomes the theme and medium.
  • New Tactility — discovering the world’s textures as an artistic language.

The “Reflection Hall” — the journey’s climax. Nothing is added here except the mirror beneath the sand. We are the main exhibits. Yet the way back is closed: the only exit is upward — a vertical ladder, stairs, daunting but leading to liberation.

We have walked this path together. Will you walk it with us?