The Impossible Encyclopaedia: Informality in the Arts’
Until The Word is Gone
Project by Sergei Katran
Installation “Words”, ceramics, terracotta, 2025 Until the Word Is Gone is an art project that unfolds over time. A word is usually something immaterial: it represents a concept or an object (etc) primarily through sound. I believe, it is important to lay bare and reveal the core structure of the word, by turning it into a physical object. This shift alters our perspective and perception of the word itself. The materialization of the word introduces this phenomenal object-unit into cultural circulation. As a result, it inevitably shifts into the category of “impossible” or “borderline” entities, positioned between linguistics and art. I refer to the word “ART” as to a regular entry taken from the English dictionary but reinterpret it in an informal way by adding new layers of sound, medium, symbol and meaning. Through this process, the formal dictionary word morphs into something alive, personal, and experimental. My approach demonstrates how informality can produce meanings outside official structures, thus, endowing language, ideas, and words with a new tangible physical presence. Object words (Russian, Armenian, Finnish, Arabic, French)
Until the Word Is Gone
Voiceover text
It was poetry that became the starting point of my journey as an artist. Words, feelings and inner states became my first voice—my primary medium and means of self-expression. For many years, poetry shaped the direction of my work. Gradually, I moved towards sculpture and installation, seeking to unite poetry, sound and form in some tangible semblance of a Gesamtkunstwerk. This shift marked a transformation in which language began to acquire a body, the voice became matter, and memory itself turned into an object.
The project Until the Word is Gone emerged from a simple yet fundamental question: when we speak, we generate sound waves – could these waves be translated into visual graphic form, and then ultimately into sculpture? This inquiry became the foundation of an ongoing body of work in which spoken words became transformed into suspended terracotta sculptures. This was the outcome of my experimenting with materials, space, and voice recordings. I reflected on the idea of a universal word capable of transcending linguistic and cultural boundaries. I explored numerous concepts such as “life,” “peace,” and “love,” before arriving at the word art. For me, art embodies a universal idea of unity. After all, our language is the architecture of reality, and words are the building blocks through which we construct the world; within this architecture “art” functions as a key structural element.
Working primarily with terracotta – a warm, earthly, and elemental material – I created hanging forms that resembled sound waves of the word “art” in different languages, living and dead. Suspended from the ceiling, these sculptures floated in space, inviting the viewer to step inside, as if to enter the internal structure of the language. In this environment, words became material entities, orbiting like small planets within a single system. For me it became a moment of revelation.
Fragments of Until the Word is Gone have been presented in various locations including Saint Petersburg, Moscow, Venice, Oxford, small towns in Normandy and the south of France. Some parts of the installation remained in these places, as if planted like seeds of future projects that would develop into something new.
My project continues to evolve to this day. My intention now is to create an installation that brings together words from living and extinct languages of the world, translating their sound waves into sculptural form. I do not know where this might take me, but I believe that art keeps language alive… until the word is gone.
At the core of this project is an exploration of informality that shapes societies and their cultural practices in various hidden ways. It resists fixed categories and canonical definitions, treating material embodiment of an already existing word as its extension through voice, symbols and media. This way, the word “art,” borrowed from the English dictionary, acquires new layers of meaning outside rigid frameworks. Impersonal, it transforms into something alive, subjective, and experimental. Because informality is a realm of freedom—a realm of art itself! Formal language creates boundaries, but art transcends them.
We live in a world that prioritizes formal structures – rules, institutions, standardized language. This is why this project foregrounds the value of the informal: personal memory, local voices, identity, tacit knowledge, improvisation, unconventional ways of survival, mutual aid, creativity, vulnerability and diversity. It preserves fragility as a work of art and teaches us to listen to the world through a multitude of voices.
What disappears first—the system of language or the living word? Informal language is like breath: it exists only in the given moment. It is the most fragile layer of linguistic heritage. Although it carries individual and ancestral memory, personal emotions, and associations, it exists only for a brief moment and then disappears without being recorded.
By translating sound into sculpture, I seek to give form to what is transient, to capture the voice as if it were a physical object. I seek to materialise what is inherently ephemeral. Until the Word is Gone is an attempt to hold onto a fleeting, elusive moment—to preserve fragile moment when the word exists between sound and silence, before it vanishes without a trace.
I offer you no definitive answers. I only offer you a journey, an immersion into a process, new possibilities, and new questions. I hope my project will become a realm of memory, where forgotten languages, informal voices, and fading words can regain presence, form and resonance. Ultimately, the project asks us to reconsider what we value more: the rigidity of formal systems or the rich, vulnerable diversity of human expression?
I expect that the project will encourage us to listen to the invisible and to experience that delicate boundary between sound and silence, between word and oblivion… until the word itself is gone.
Global Informality in the Arts – Pushkin House
Forest. Art-Therapeutic Trail. 2025
Sergey Katran: Clay Anchors
The installation “Clay Anchors” is part of the project “The Skin of the Earth” — the main project of the world’s first Biennale of Ecological Art.
The installation “Clay Anchors” is presented at the exhibition in the historic Yermolaev Hotel building, constructed in 1896, in Nizhny Novgorod.
The exhibition runs from May 30 to October 1, 2025.
Main Project: “The Skin of the Earth”
Exhibits of the project “The Skin of the Earth”
The Earth’s surface is a thin fertile layer on the planet that provides living space and nourishment for billions of living beings, including humans — inseparably connected to ecological, biological, geological, and chemical systems in which they are embedded through evolutionary selection and the influence of the environment. However, alongside these natural factors affecting the planet’s health, the activities of humankind have come to the forefront.
Over the past 200–300 years, human economic activity, driven by industrial development, has altered the geological composition of the planet so profoundly that a special scientific term — the Anthropocene — has been introduced. It describes humanity’s impact on the environment, which has radically changed the present condition of soils and their geological, hydrological, and ecological structures.
The very economic practices on which humanity relied for survival and relatively comfortable existence have revealed their destructive nature. Deforestation, plastic pollution, resource extraction, polluting industries, waste landfills, toxic emissions, exhaust gases, and more — all of this reshapes the face of our planet. It has become evident that humanity must reconsider its relationship with the environment.
In my work, the anchors and chains that appear to be made of steel are, in fact, fragile. They are crafted from clay — from earth itself. Brittle, unable to hold steel ships at bay. The capitalist drive for profit undermines programs of rational and sustainable resource use.
Clay Anchors are a metaphor for the vulnerability of the world. What once seemed unshakable, stable, and reliable now falters under the onslaught of modern human activity. Nature is losing to humankind — but this victory may cost humanity far too much.
Photo: Vera Ershova
Laugh in the Rye!
Installation: Sergey Katran
Sound Art: Oleg Makarov
The “Zapovednoe” public art festival at the Lenin Hills Museum-Reserve runs from July 13 to September 28, 2025.
“Laugh in the Rye!” is an installation by Sergey Katran with a soundscape by Oleg Makarov, presented at Zapovednoe in Lenin Hills. The work consists of rye grains, sofas, horse bridles, and the sounds of neighing and snorting, processed by the sound artist. It weaves together elements of the visible, audible, and tactile, immersing visitors in interactive engagement.
The installation “Laugh in the Rye!” invites the audience to tactile interaction and reflection within an absurd, yet strangely restful, situation.
7 Public Art Objects of the “Zapovednoe” Festival: Design Mate’s Selection
Sergey Katran: the most interesting things happen in our minds
A tour of the exhibition “The Future of Memories” at the Demidov Mansion
About the exhibition “The Future of Memories”
Faraonka
Special project of the perpendicular program of the 60th Venice Biennale of Contemporary Art
2024
Les bonhommes de paille s’installent dans une clairière ensoleillée!
14 – 15 septembre 2024, Le Moulin Jaune, France
Land Art: Sergei Katran, Pavel Voynitski
Curateur: Alexandra Churaeva
Assistés d’une équipe de bénévoles
À l’arrivée de l’automne, quand la mémoire de l’été est encore vive, des bonhommes de paille apparaissent dans les clairières. Ce sont des cousins des bonhommes de neige, mais ils sont faits de paille et non de neige. Leur rôle dans la vie reste incertain. Il est probable que ces créatures n’ont pas de but précis, mais existent simplement pour organiser des fêtes et des aventures.
Les artistes Sergei Katran et Pavel Voynitski ont imaginé les bonhommes de paille pour rappeler aux gens qu’il y a toujours une place pour la fête, la joie et le bonheur dans la vie.
Slava Polounine a invité les bonhommes de paille et leur a offert une grange pleine de paille. Ils s’y sont roulés et sont tombés amoureux peu à peu : certains de leur voisine, d’autres d’une poule, d’un renne ou d’un phoque, ou encore d’une bande d’amis.
Qui a détruit le Colisée ? Cette question n’a rien à voir et sera reportée à l’année prochaine.
Les bonhommes de paille au Moulin Jaune se sont déchaînés. Ils ont senti le bon moment et se sont abandonnés à la paresse. C’est un signe certain que l’heure du jeu est arrivée, et celle du travail s’est éloignée. Ceux qui travaillent beaucoup doivent tenir compte des jours de repos. Quant à ceux qui ont transformé le travail en art, ils savent que travailler trop peut coûter cher.
Le bonhomme de paille ne vit pas que de paille. Nourris-toi et n’oublie pas les autres. Si tu as acheté un billet, n’oublie pas le ballet. Si tu as mangé du noir, mange aussi une cerise. L’automne a frappé à la porte ? Fronce les sourcils et ouvre les yeux. La prochaine fois, souris. Quelqu’un te donnera une étoile ou tu deviendras une étoile. Les amis sont autour de toi. Les bonhommes de paille sont des maîtres en réponses. Ils ont toujours le nez en carotte. Demande conseil à un bonhomme de paille, la réponse te reviendra à la vitesse de la lumière. Le monde autour de nous est une scène de film, et nous, à l’intérieur, sommes les réalisateurs. La vie est un jeu, et nous, des négociateurs. Nous agitons des drapeaux blancs, ressemblant aux bonhommes de paille, en contrôlant l’air et marchant dans le ciel.
Archaeology of Manual Labor
Exhibition-Sociological Research
Creative Team:
Curator: Katya Bochavar
Artist: Sergey Katran
Composer: Maria Anikeeva
Sociologist: Dmitry Rogozin
The project “Archaeology of Manual Labor” raises questions about the significance of physical labor and tools in the digital age. The exhibition demonstrates a broad interpretation of the concept of “ceramics” through unexpected meanings and aesthetic concepts. The exposition is in the genre of “total installation”: adapted to the architecture of the place, including works in the courtyard of the Posadsky House.
Artist Sergey Katran explores the lines of labor in his works as they relate to human culture. It is well known that modern tools, such as computers and smartphones, replace traditional ones. How important is manual labor in our lives today? Using the language of contemporary art, the author examines this issue through the absurdity of using clay to create tools such as a sickle, hammer, or anvil. By working with clay, Katran returns to the origins of manual labor, which brings him joy and allows him to reflect on the idea of creativity. By creating tools from clay that are still used in everyday life, along with already archaic ones, the artist gives them symbolic meaning, transforming utilitarian objects into artifacts that reflect cultural heritage and societal changes.
This artistic research emphasizes how technological changes impact manual labor, transferring it from everyday life to the realm of symbolic and cultural significance.
The project “Archaeology of Manual Labor” was created in collaboration with the Vladimir-Suzdal Museum-Reserve, the main guardian of the cultural heritage of this ancient land, the Dymov Ceramics manufactory, and personally Vadim Dymov, who is reviving pottery craftsmanship in Suzdal.
The exhibition team:
General Director of the State Vladimir-Suzdal Museum-Reserve: Ekaterina Pronicheva
Deputy General Director of the State Vladimir-Suzdal Museum-Reserve: Pavel Malyshev
Director of the Suzdal Branch: Alla Zaikova
Chief Architect: Sergey Meshalkin
Project Coordination: Tinatina Vagramyan, Sabina Raksha, Irina Perederko, Vera Vakhrusheva, Tatiana Vychkova, Andrey Loginov, Elena Timofeyeva
Project Production: Marta Rukazenkova
Graphic Design: Vladimir Troshensky
Newspaper Design: Alexander Kozhokin
Editor: Veronika Georgieva
Installation: Sergey Kurdyukov, Yuriy Khudyakov, Dmitry Alekseev, Andrey Gavrilov, Petr Bedenu, Ivan Bedenu
Publications:
What is a “sherhebel”? In Suzdal, they offer to reflect on the vanishing nature of manual labor
“Graceful, yet quite brutal”
Dmitry Butkevich on the exhibition “Archaeology of Handicraft”
Wild clay, artificial intelligence, and ruptures in reality – a new podcast has been released on the online magazine V–A–C Sreda as part of a three-month program about the earth, its diverse meanings, associations, and cultural, artistic, and folkloric refractions.
Listen here.
This episode explores the phenomenon of the primal in contemporary art. Together with art historian Maria Savostyanova and artists Lesha Da and Sergey Katran, they discuss why contemporary art is fascinated by archaic themes, whether a balance can be found between the digital and the material, and how to make a stool from baked earth.
Double murder in Segovia
Film by Sergei Katran
This is a mockumentary film, a detective story based on the investigation of a private detective into an unusual find, namely – a male, right index finger of unknown origin. The case takes place in Segovia, Spain, in 2010, on the set of a film with the same name.
The film crew consists of Russian specialists, with a total of 40 people involved in the production. All participants in the film play themselves and recount their stories, developing the details of this incident according to their own discretion, based on the circumstances presented. Naturally, moving from one character to another, the detective obtains new and conflicting information, sometimes coinciding with what someone else has said, and sometimes entirely contradicting it.
The viewer, following the detective, accumulates new facts and details. The film is almost entirely composed of “talking heads” answering the detective’s questions. Moving from one character to another, the detective resembles Odysseus, a traveler who wants to reach a goal, but this goal is not clearly visible; moreover, it flickers, becoming clearer with each new dialogue, only to disappear entirely at times.
The film features a large number of artists from several artistic self-organizations, such as Electrozavod Gallery, Bomba Gallery, F5 (St. Petersburg), Parasites (St. Petersburg), and Transformer Theater.
Duration: 92 minutes 4 seconds.
2023
Sergey Katran / Pupalem scaena
01.12.2023 / opening at 7 pm – 14.01.2024
Moscow, space “This is not here”
Milyutinsky lane, 20/2, building 1
Artist: Sergey Katran
Pupa is the life stage in the development of insects exhibiting complete metamorphosis that occurs between the larval and adult stages (imago). The pupa does not feed and is usually completely motionless or inactive. During pupation, the characteristics of imago develop from imaginal discs and break down larval structures to emerge as adult for the first time.
The Dictionary of Molecular Biology and Genetics
The insect pupa and its subsequent transformation into an adult (imago) is perhaps the best visual metaphor of a person transitioning from one state of consciousness and interaction with the external world to another, thus, acquiring a new identity. This state is associated with the process of undergoing profound personal changes. The metaphor is also applicable to societal changes and transformations. Gregor Samsa, the protagonist of Franz Kafka’s symbolic novella “The Metamorphosis,” turns into a giant insect whilst he experiences an acute sense of alienation and isolation, rejection and disconnection with his family that was increasingly distancing away from him. More than one Kafka’s hero experienced a similar state at the beginning of the last century: owing to the dictate of new demands, the society was undergoing fundamental changes, increasingly preferring the function to the individual, and
technology over a living person. We know what this subsequently led to and what it resulted in the European history.
We do not know how long the new pupal stage will last for us, but we can keep on guessing. We do not see what is inside the pupa, because we are the pupa and cannot observe ourselves in our own entirety. But what is in us is also in the pupa, which means that the outcome of the transformation depends on us. The pupa must be treated with care, just like an adult insect. Had Samsa experienced more loving care in his life, who knows how The Metamorphosis would have turned out? Perhaps alienation, isolation and death would have disappeared altogether…
“I find it extremely difficult to interpret my own work. It is torture. First, you invent a language, create something in it, and then you need to translate from this supposedly universal language into an accessible one. Bingo! And this is what is happening right now: I cannot write anything better and more worthwhile than what Nabokov wrote concerning the subject.”
Sergey Katran
The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged – the same house, the same people – and then realized that he did not exist there at all and that nobody mourned his absence.
[…] But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated. Thus, as a boy, I discovered in nature the nonutilitarian delights that I sought in art. Both were a form of magic, both were a game of intricate enchantment and deception… I have ransacked my oldest dreams for keys and clues – and let me say at once that I reject completely the vulgar, shabby, fundamentally medieval world of Freud, with its crankish quest for sexual symbols (something like searching for Baconian acrostics in Shakespeare’s works) and its bitter little embryos, spying, from their natural nooks, upon the love life of their parents.
The compilation of quotations from Vladimir Nabokov’s Speak, Memory
Le Domaine du Bourrian lance l’installation «Avant que le verbe ne disparaisse» de l’artiste Sergei Katran
Le vignoble du Domaine Du Bourrian, où je présente mon projet ‘Jusqu’à ce que le mot disparaisse’, me frappe par son authenticité. La vigne, le vin, le bon vieux Midi français ensoleillé, avec l’exubérance de Saint-Tropez, respirent la sérénité et la paix.
En discutant de mon projet avec des amis, je n’ai cessé de penser aux projets artistiques VR/AR de plus en plus dépouillés de leur matérialité. Cependant, j’aime les méthodes de la sculpture classique qui travaillent avec les idiosyncrasies des matériaux d’origine.
Pendant ce temps, l’objet matériel semble devenir obsolète, une chose du passé. Je ne suis ni hypocrite ni fermé d’esprit, je reste ouvert à toutes les nouveautés. Ne vous méprenez pas, je crée aussi des sculptures en RV. Pourtant, j’éprouve une certaine nostalgie pour l’objet matériel. Pendant longtemps, une idée a germé dans mon esprit, jusqu’à ce que je réalise que mon rêve était de représenter le mot en tant qu’objet matériel.
Et j’ai finalement réussi à faire de ce rêve une réalité.
Dans la civilisation humaine, le mot est toujours resté abstrait en tant que son ou symbole, deux substances immatérielles et virtuelles. D’une manière ou d’une autre, j’ai réussi à donner corps au mot, à le libérer de sa coquille virtuelle et à lui faire prendre forme dans l’argile rouge.
La poterie en terre cuite a accompagné la civilisation humaine depuis ses débuts, signalant ainsi son existence. Il était important pour moi de boucler l’histoire de l’art de cette manière, afin de démontrer les possibilités de l’art authentique basé sur l’objet aujourd’hui.
Il y a un deuxième aspect à ce projet. Il est apparu lorsque je me suis plongé dans la richesse et la diversité linguistiques des cultures et des peuples du monde entier. À côté de langues originales incroyablement belles et poétiques, il existe un nombre impressionnant de langues en détresse, proches de l’extinction totale. Il s’agit de multiples langues du Nord de l’Europe, des langues ndei des États-Unis, des peuples d’Afrique, des petits peuples insulaires et de bien d’autres encore. La mondialisation, les guerres, les cataclysmes écologiques, l’expansion des grandes villes modifient la carte anthropologique du monde.
À côté de langues originales incroyablement belles et poétiques, il existe un nombre impressionnant de langues en détresse, proches de l’extinction totale. Il s’agit de multiples langues du Nord de l’Europe, des langues ndei des États-Unis, des peuples d’Afrique, des petits peuples insulaires et de bien d’autres encore.
La mondialisation, les guerres, les cataclysms écologiques, l’expansion des grandes villes modifient la carte anthropologique du monde.
Derrière chaque langue se cache une culture unique et distincte. La préservation de la richesse et de la diversité des langues ne peut être assurée sans modifier le système actuel de priorités politiques, économiques et environnementales.
Domain de Bourrian launches an installation ‘Until the Word is Gone’ by the artist Sergei Katran
The vineyards of Domain De Bourrian, where I showcase my project ‘Until the Word is Gone’, strike me with the air of authenticity. Vineyards, wine, good old sun-drenched French Midi, with its Saint-Tropez exuberance, breathe serenity and peace.
As I discussed my project with friends, I kept thinking of VR/AR art projects increasingly divested of materiality. However, I love the methods of classical sculpture which works with idiosyncrasies of the original materials.
Meanwhile, the material object seems to grow obsolete, a thing of the past. I am not a hypocrite or bigot, I keep my mind open to all things new. Do not get me wrong, I also create VR sculptures. And yet, I experience a certain nostalgia for the material object. For a long time, an idea kept languishing in my mind, until I realized that my dream was to represent the word as a material object.
And I finally managed to make this dream a reality.
In human civilisation, the word has always remained abstract as sound or symbol — both immaterial, virtual substances. Somehow I managed to em-body the word, release it from its virtual shell, and made it take shape in red clay.
Terracotta pottery has accompained human civlisation from its very inception, thus signalling of its existence. It was important for me to loop the history of art in such a way, so as to demonstrate the possibilities of the authentic object-driven art today.
There is a second aspect to this project. It appeared when I immersed myself in the linguistic richness and diversity of cultures and peoples across the globe. Along with incredibly beautiful, poetic original languages, there exists an overwhelming amount of languages in distress, nearing the state of complete extinction. These are multiple languages of the European North, the Ndei languages of the USA, and of the peoples of Africa, small island peoples, and many others. Globalization, wars, ecological cataclysms, expansion of large cities are changing the anthropological map of the world.
Behind each language is a unique, distinctive culture. The preservation of the richness and diversity of languages cannot be ensured without changes in the existing system of priorities – political, economic, and environmental.
Text by Irene Kukota
UNTIL THE WORD IS GONE. PERFORMANCE.
The Pushkin State Museum of Fine Arts (Moscow), Main building, pink staircase.
20.12.2022 19.00 – 19.30
Artist: Sergey Katran
Curator: Evgenia Kiseleva-Afflerbach
Composer: Oleg Makarov
Participants: Elvina Avamilova, Evgenia Antsupova, Asipa Zhumalieva, Noemi Capela, Alexander Kometiani, Arkadi Kotanjian, Alon Lembritsky, Alexandra Limar, Jean Perchet, Louise Perchet, Mathilde Perchet, Kashallah Hassan, Alessio Gini, Alice Nakamura, Fidel Manga Sebastian
Coordinator: Alexey Debabov
The State Pushkin Museum of Fine Arts presents a site-specific performance by Sergei Katran “Until The Word Is Gone” within the frameworks of its current exhibition “The Universal Language.” On December 20 at 7 pm, visitors to the Pushkin Museum will enter the exhibition through the performative space created by participants who speak different languages. Chuvash, French, Georgian, Arabic, Uzbek, Japanese, Armenian, Italian, Kyrgyz, Hebrew and other languages will resound through the museum’s grand staircase, accompanied by the sound ambience created by the composer Oleg Makarov. This way, they will form a sound corridor leading to the exhibition. The performance integrates the museum space and the soundscape created by the music and voices of native language speakers.
Sergey Katran, artist: “Reminiscent of the facade of a Babylonian ziggurat, the staircase of the Pushkin Museum becomes a symbol and an invitation to reconceptualise the ancient myth and breathe new meanings into it with the help of art. The project is also an attempt to bring a new hope to the visitor, alongside the opportunity to highlight the uniqueness of each language, and of each human life.”
Evgenia Kiseleva-Afflerbach, Head of the Department of Interdisciplinary Projects at the Pushkin Museum: “The human voice is the audible embodiment of the idea of communication. Sergei Katran’s performance at the Pushkin Museum is another opportunity to touch upon the subject of diversity and representation of various people in culture and art. The diversity of the world is more apparent when we can hear a variety of voices.”
The Universal Language exhibition explores the whole range of human interaction and the attempts at finding a common language that recur throughout the centuries. The wealth inherent in multilingualism is demonstrated through the works of art on display, as well as through the manuscripts, handwritten books and other rare objects that encapsulate the history of human communication. And the latter is tested to its limit over the centuries of human history.
Participants of the performance “Until The Word Is Gone” are native speakers of different languages. For some of them, this is their first experience of being part of the creative process, while others are already familiar with performative practices. Only the native speakers of their respective languages were invited to take part. Their voices construct a communicative situation around the Pink Staircase of the Pushkin Museum. The title of the performance Until the Word is Gone is the quintessence of a certain emotional perception of the linguistic diversity across the globe that also belies the fear of losing rare and endangered languages.
The acoustic part of the performance “Until The Word Is Gone” is composed of the sounds of different world cultures. Over the hundred vocal and instrumental fragments of the music originating in various parts of the world among different nations became the building blocks that form the background of this performative project.
Artist: Sergei Katran
Curator: Evgenia Kiseleva-Afflerbach
Composer: Oleg Makarov
Participants: Elvina Avamilova, Evgenia Antsupova, Asipa Zhumalieva, Noemi Capela, Alexander Kometiani, Arkadi Kotanjian, Alon Lembritsky, Alexandra Limar, Jean Perchet, Louise Perchet, Mathilde Perchet, Kashallah Hassan, Alessio Gini, Alice Nakamura, Fidel Manga Sebastian
Translation: Irina Kukota
Coordinator: Alexey Debabov
“Universal Language”. Exhibition
16 DEC 2022 – 19 MAR 2023
Author of the idea: Marina Loshak
Curator group: Tatyana Goryaeva, Alexandra Danilova, Maria Timina
Scientific leadership of the project: Ilya Doronchenkov
“Universal Language”. Exhibition
