2017. Three-channel installation. HD, 24’39”

When we moving from one to the other side, we leave traces in the corridors in which everything moves according to the special laws of the time. The sound structures and light drawings are connecting.

This composition is infinite. It can be developed indefinitely.

Everything can be the the base of it. We choose something and take a hard look at it or simply look the other way to an another point and then come back to the first main point. 

There is a point which I have been looking at for a very long time, for so long that I have already got used to this action and can see other places by sides.

This work is about three such places, on the way to that main point, but may be it simply the most distant point and all.

2017. Three-channel. HD, 24’39”

composer Kirill Shirokov
plays: songbook #1 and songbook #2
performer Vasilisa Filatova
camera: Victoria Burkina, Anna Sadovnikova
text and voice Dasha Gusakova

'Events are like crystals. They become and grow only out of the edges, or on the edge'.
The Logic of Sense, Gilles Deleuze.

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.

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.

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.

Balancing between reconsidered postmodernism, surrealism and quasi-realism of 'New Sincerity', Daria trying not to build the shape to any trend.

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.
2017. Three-channel. HD, 24’39”

2017. Three-channel. HD, 24’39”

In the middle
2017. Three-channel. HD, 24’39”

2017. Three-channel. HD, 24’39”
Hide and seek
2017. Three-channel. HD, 24’39”

2017. Three-channel. HD, 24’39”