2017. Three-channel. HD, 24’39”

2017. Three-channel. HD, 24’39”

In the middle IN THE MIDDLE
2015. HD. 03’51 ”

The author explores the relationship of the spaces of two rooms who're separated by a wall. We can see a performer in the first room and can listen music and someone's voice from the second.
Peformer's feelings and movements are focused on the sounds from the next room. Performer hears and moves to the neighboring place's sounds. The sounds and  movements are something common, like a wall or a border between the rooms.

Hide and seek 2014. Video, HD, 3’30”

The video is a fixing traces of different objects movements in some different places. The objects are moving by themselves, without their owner. It's impossible to see it in real life of course. The body gives impulse to the object, so that object moves to a cyclical plane and does not belong to the one in whose hands it was and nor to itself.


<br />
2017. Three-channel. HD, 24’39”<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="320" mozallowfullscreen="" src="https://player.vimeo.com/video/250510910" webkitallowfullscreen="" width="570"></iframe>composer Kirill Shirokov<br />
plays: songbook #1 and songbook #2<br />
performer Vasilisa Filatova<br />
camera: Victoria Burkina, Anna Sadovnikova<br />
text and voice Dasha Gusakova<br />
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'Events are like crystals. They become and grow only out of the edges, or on the edge'.<br />
The Logic of Sense, Gilles Deleuze.<br />
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Reasonless excitement, laconic black-and-white picture, whisper of poetry as soft background – the space of total multimedia installation brings you into itself. Images and sounds fill the exhibition space, they instantly wrap you. You are in a warm cotton-wool cocoon, afraid to move, to invade this space. Words pronounced quietly, like a charm, don’t let you recognize them but you realize you’re bewitched already. Each image has its own music, together they play as an orchestra, twelve sounds merge in the air into one music composition.<br />
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In The Mink Daria Gusakova focused on the revived objects again, however, in her previous works the objects existed without any affiliation to someone and now they tend to find the owner. To identify oneself through the absent owner who has not just gone with the fur coat left in the wardrobe, but never existed. The object understands there must be an owner; the shape of the object expresses its dependence upon the owner, but he doesn’t exist. The image of the owner appears here and there, his voice fills the space, the object even implies his shape. However, their unity doesn’t happen and the object has to take its endless road.<br />
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The Mink videoinstallation tells us about the interaction between the imaginary fantastic world and the real one, about the transition where the remains of the old and the beginning of the new are mixed, reflecting the border between the visible and the invisible. Here is a special zone, where everyone’s left without the owner, but still remembers him and needs to act independently. This is the scene of one eternal day with the stream of pieces of the past moving in the cloud and in the sea, at the edge between the elements.<br />
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Balancing between reconsidered postmodernism, surrealism and quasi-realism of 'New Sincerity', Daria trying not to build the shape to any trend.<br />
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Probably it’s unappealable dedication to her views that will let her talk with ease about life, death, soul, the earthly and the heavenly, that is possible just in childhood or in the predawn light sleep when you can’t clearly recognize yourself being between sleep and awake.

КОСМОС 2018. Video, HD, 8’54”

This work is a documentary of narration by the author's dream. That was the second time when she saw it. But this time was supplementing by new events. It's a strange plot, who was painted with mixed feelings and lack of understanding of the reasons for its occurrence. It filled of trepidation of the narrator and was like a connect of transition to an unreal time corridor in which the characters move according to the special laws of time and space.

The portrait of Julia The surface is a sensual and transformable shield of physical objects. Coating the content it preserves and reflects the depth. Does it mean then that the surface represents the depth or exists independently manifesting its own form and sense? 
The surface always exceeds the core it covers, like for example skin is the biggest organ of a human’s body, therefore it wraps and at the same time exposes. So along with being a protecting layer it performs an agent contacting with the outward and transmitting signals. That is why the all-over surface has developed high sensitivity within its solidness. 
Daria Gusakova treated the surface as a fact to be de-mystified and literally emphasized while contemporary research brings back the idea of the surface covering something hidden and inaccessible, that does not return illusionistic optic yet. Here Daria do not seek to get underneath but to stay outside. She mind the distanced depth and stay focused on the experience of the outstretched surface – touching, observing and transforming it – what Giles Deleuze called “to glissade”.
Using the method of overlapping layers Daria has developed a different attitude. “Portrait of Yulya” is a poetical performative gesture of interacting with the surface. The artist is shaping it as a flexible material – wrapping and twisting the bed sheet she is storytelling on the personality.