26.05.2016 – 30.09.2016

Prince Golitsyn Family Estate

Body / Estranged Self-observation

When describing the meaning and the content of media projects, we can use old and new languages at the same time, explaining changes of the plastic system of images, revealing the interdependence and interpenetration of media and body (a body that evolves along with the technology).

‘Digital image’ invades the whole process of perceiving the information; it puts the body in a privileged position – as an agent for filtering information to create images.


Irina Kulik

Becoming a Sculpture – Becoming a Space

Irina Kulik will discuss the way Bruce Nauman, Chris Burden, Vito Acconci, and Antony Gormley work with the body. As other artists of his generation, Bruce Nauman started from performance and sculpture, and has gone all the way from using his body as a material and an instrument for the video to constructing installation as a space that manipulates its viewers. Working with the viewer’s body Vito Acconci gradually turns to the architecture. At the same time, Antony Gormley, on the contrary, comes back to seeing sculpture as a cast of his body and a landmark that defines the space.
Irina Kulik. Art critic, author of numerous publications on сontemporary art, cinema, and music. She was teaching at the School of Contemporary Art at Russian State University for Humanities, Russian University of Theatre Arts, and Institute of Contemporary Art. She curated the Russian-French exhibition of multimedia art ‘Total Recall.’

Danila Bulatov

Role of the Body in the Fluxus Films

The work of the international art movement Fluxus was an important milestone in the development of experimental cinema in the 1960s. Fluxus aimed at overcoming the boundaries between art and life. Following the Dadaists of the early 20th century, Fluxus artists rediscover the possibilities of Actionism and the potential for ‘extreme concretism’ – that is, such art objects and actions that are the flesh and blood of reality itself. Thus, body is seen as an autonomous art form, and the role of the artist is often reduced to the act of observation. Fluxus films demonstrate the connection of the principles of ‘new realism’ and Conceptualism, opening new means of expression of cinematic language.
Danila Bulatov. Research Fellow at the Pushkin State Museum of Fine Arts (Department of 19–20th century European and American Art), custodian of German and Eastern-European paintings of the 20th century, external Doctorate Candidate at State Institute of Art Studies, curator of numerous exhibitions at the Pushkin State Museum of Fine Arts and co-curator of the international exhibition project ‘European Art of 1945–1968: Facing the Future.’

Ksenia Peretrukhina

Viewer’s Body as Artist’s Instrument

When a person comes to a theatre, they become ‘viewer’ that sets a visual channel of perception to be a dominant one in the theatre – people come to ‘see’ a performance. Ksenia Peretrukhina engages into a polemics with the tradition of the eye dictatorship, analyzing tactical options of theatre. As an artist, she will give a talk on tactical dimension of contemporary theatre as a source for new forms of communication, she will speak about the ability of theatre to influence people using their own bodies.
Ksenia Peretrukhina. Stage designer. Graduated from the VGIK History of Cinema faculty, School of Modern Art at Russian State University for Humanities, School of Modern Art at George Soros Centre for Contemporary Art. From 2002 to 2009, she was the art director of the ‘Empty’ street festival of video art. She was also nominated for the ‘Black Square’ award in Contemporary Art, and got the ‘Golden Mask’ National Theatre Award.

Alisa Taezhnaya

Female Body in Feminist Cinema

-      The way the body looks like and acts in feminist performances. The way the male gaze is overcome.
-      First female directors and their experience of camera and narrative handling: a woman as an object is replaced by a woman as a subject.
-      Maya Deren, Agnès Varda, Chantal Akerman and other pioneers of feminist cinema.  
-      Work with women corporeity and sexuality in contemporary fiction films.
-      Female body in documentary cinema: from observing to action.

Alisa Taezhnaya. Journalist and cinema critic. Graduated from Higher School of Economics and Open School of Manege/MediaArtLab, studied at the Royal Academy of Art the Hague and Anatoly Osmolovsky’s Institute ‘Base.’ Published in The Village, Wonderzine, Interview, GQ, Afisha. She curated the Rodnya Cinema Club and 2 Thumbs Up! Cinema Club in the Solyanka club, she now lectures at the cinema club Youth&Truth at Powerhouse Moscow. She is the curator of thr lecture program at the 4th Festival of Contemporary Arts FORMA. Participated in the exhibitions ‘East. Deconstruction’ of the 6th Moscow Biennale of Contemporary Art, ‘A is for Art, F is for Feminism: Up-to-Date Dictionary’ (ISS MAG gallery, Moscow), ‘Photobase: Contemporary Still-Life Photography’ (All-Russian Decorative Art Museum, Moscow), ‘Mockumentary: Reality Is Not Enough’ (Moscow Museum of Modern Art), ‘Great Expectations’ (The ‘Manege’ Central Exhibition Hall, Moscow in cooperation with ‘Triumph’ gallery).

Special Event in the framework of the educational program for the exhibition ‘House of Impressions. Classic and Contemporary Media Art’

Time: 7 p. m. July 6th 2016

Venue: the Prince Golitsyn’s Family Estate (14 bld. 5, Volkhonka Str.)

Free entrance. Preliminary registration is required.

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