video-poetry. 4'32"

When we crossing from one way to an another, we leave traces on the banks, where everything moves according to the special laws of time and space. The transformation process is endless, we can to develope it endlessly. And its start-base can be anything. We choose a starting point and peer into it, gravitating towards it, moving towards it, discovering the floodplains sweeping on both sides. Here we are talking about the development of two parallel paintings on the sides, two friezes of one life, which are formed in the process of moving towards one single goal.
video-poetry. 3'12"

Everybody who come to the megacity have the same feeling It's big thirst. And this strong sense, like an essence, is absorbed into the roads and the surfaces of buildings and into the everything. Moscow gives to drink and drinks at the same time, this is a closed process which can includes an infinite number of people.
video-poetry. 04’28”

Dasha Gusakova is walking along the border between the rethought postmodern surrealism and the quasi-realism of "new sincerity", she allows herself the luxury of not adjusting the form to any of the directions. It gets the impression that in her sometimes deliberately naive art, there are no rules, except for correlation of images within the work, no relationships, except for tender love between the author and what she does. Perhaps it is this peremptory dedication to her vision that allows to Dasha to talk about life, death, soul, deep and heart with ease, which is possible only in childhood or in predawn slumber, when you are on the border between sleep and reality, when you are cannot clearly realize yourself in one of the states.
In the middle
video-poetry. 02’02”

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
video-poetry. 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.

Installation - orchestra. Twelve-channels of video and music. 4'46"

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

Reasonless excitement, laconic black-and-white picture, whisper of poetry as soft background on 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 are bewitched already. Each image has its own music, together they play as an orchestra, twelve sounds merge in the air into one music composition.

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 is 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.
dream-documentation. 8’57”

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.
video-documentation. 2'07" time

Our perception and mind's ability to perceive, adapts to the rich variety in nature. When we create an art object, we use a lot of ways of human perception as possible. Dasha refuses an abundance of instruments, leaving only the necessary ones, experimenting primarily with interaction of a simple flattened spot and sound.
The portrait of Julia
video-portrait, 4'20"

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.