An inventory of the contents of Marika and Anton’s Hamburg apartment made for the Absent Institution apartment exhibition on 20 June 2026. The Work also functioned as the exhibition’s curatorial card / label and as display / articulation; the inventory does not itself produce the artistic status of the objects it names.
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An album by Marika Krasina and Anton Kryvulia whose materials connect a night signal in fog, a bus stop on a moor, relay equipment, guitar amplifiers, a horn and red signal lights.
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A three-movement sound Work.
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Six vertically oriented paintings, each slightly smaller than human height. Hand-applied gesso and several layers of coloured oil glaze give their nearly white surfaces different tones and textures.
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A pale field with rounded upper transitions leaves the darker support visible along the top and both sides. On the right, the exposed perimeter opens into a longer, wider vertical section before narrowing again toward the bottom.
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The narrow vertical field is densely hand-worked, with curved and diagonal marks remaining visible across the pale gesso. A thin darker rim runs around most of the canvas and widens slightly at the upper edge and lower corners.
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A warm pale field sits inside a narrow, irregular dark perimeter. The exposed support is strongest along the upper edge and at several interruptions on the right side, while the gesso surface remains comparatively continuous across the centre.
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The canvas carries a pale field close to the side edges while a thin dark perimeter remains visible around most of the support. The exposed band is strongest along the upper edge and widens again near the lower left; faint directional working remains visible across the surface.
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A pale field is held inside an uneven brown perimeter that widens into long exposed vertical sections at lower left and lower right. The gesso boundary bends inward around these openings, leaving the light field visibly asymmetrical.
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A warm off-white field fills most of the tall canvas. The darker brown-grey support remains most exposed across the upper edge and in a block-like interruption at upper left; elsewhere the boundary narrows while hand-worked marks remain visible across the pale surface.
full workA two-movement sound Work.
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Music of Nonknowledge is a sound Work assembled from recordings made outdoors and in other transient locations using self-built Samotryas instruments made from found wood, stones, strings, and contact microphones.
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Works on paper centred on the tube as both a philosophical object of contemplation and an instrument for constructing three-dimensional space within the image.
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A grey cylindrical outline is crossed by lightly drawn limb-like forms and sparse red, yellow and blue marks. Near the right side, a circular hole with a dark scorch halo interrupts the paper.
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On a vertical sheet, a large cylindrical container is outlined in red and blue. Separate rust-brown hatched clusters hang at different heights inside it, with several forms crossing the upper and lower boundaries.
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A faint tube outline contains an extremely light graphite mass. Curls, loops and short hatched passages drift across the interior, with a few pale green and red traces interrupting the near-monochrome drawing.
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A very faint horizontal tube stretches across the creased sheet. The left end is reinforced by red-brown and grey vertical marks; most of the interior is reduced to light graphite traces, with a small red accent at the opposite end.
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A pale cylindrical structure is filled with soft graphite washes and repeated rounded forms. Dark grey masses concentrate toward the right half and lower centre, while isolated green, pink and yellow colour patches remain outside and around the tube.
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A large cylindrical outline is drawn with a grey upper ellipse and red-brown lower contour. A dense rust-coloured hatched mass occupies the upper-right half, while the left side remains largely pale and transparent.
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The tube outline is largely submerged beneath dense black hatching. Irregular dark clusters fill the centre and rise above it, while a red-brown curved base and small rust-coloured patches remain visible along the lower edge.
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A lightly drawn horizontal tube contains a pale yellow form, small blue loops and a compact black mark. At the right end, the contour is overtaken by a dense magenta and red burst that extends beyond the cylinder.
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A low horizontal tube is only partly held by a red-brown contour. Rust, blue-black and pale grey marks form a loose granular mass that crosses the outline, with a rounded dark cluster protruding from the left end.
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A thin red cylindrical outline encloses and is crossed by grey washes and graphite hatching. Darker grey patches sit across the central band and at the right end, while the drawn material spills outside both sides of the tube.
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A red-brown cylindrical outline cuts across a broad field of pale graphite curls and hatching. A dense blue-black patch occupies the centre while the lighter drawn mass extends beyond the tube boundary.
full workA faint horizontal capsule outline contains a nearly continuous chain of dense black ink clusters. The drawn mass bunches toward both ends and leaves the surrounding tube line comparatively light and open.
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A pale horizontal tube is outlined in yellow, pink and blue-violet. Blue-violet shading thickens the upper, lower and right edges; black line drawing and a dense vertical hatch cluster occupy the interior and press against the right end.
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This annual volume includes photographic documentation and the Index of things recorded in Hamburg on 1 December 2023.
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An index of belongings in Hamburg dated 1 December 2023, organised as more than one hundred numbered entries ranging across clothing, books, artworks, tools, technical equipment, household objects and family material.
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Six small oil paintings made in January 2023, in which a pale field approaches the condition of an image without finally resolving into one.
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A pale cylindrical outline is worked into dense white brushwork, with an oval opening near the top and rounded vertical sides below. Fine grey strokes remain visible inside the form and through the surrounding white layers.
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A pale rounded outline occupies the centre of a narrow vertical field. An oval rim near the top encloses faint grey interior marks; the contour narrows downward and closes in a rounded base against a muted beige-grey ground.
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Broad translucent white-grey brushwork occupies the centre of a vertical field, with softer pale lavender passages in the lower half. Green and brown remain exposed as a narrow irregular border around the painted centre.
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A cloudy white-grey field sits inside a warm ochre perimeter, its upper boundary irregular and small green and red remnants left visible along the right edge.
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A grey-green field is crossed by broad diagonal and circular sweeps, with a muted pink passage surfacing near the lower centre and a darker perimeter still visible around it.
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A cool white rectangle sits distinctly inside the canvas rather than flooding it; the surrounding perimeter and the dry, worked edge of the painted field remain visible on all four sides.
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A thin, nearly continuous pale field covers the canvas, held by a narrow brown-green perimeter and interrupted mainly by vertical dragged traces along the edges.
full workA white central field is repeatedly pulled inward from a green-brown perimeter, leaving broad arching traces across the top and a dense scraped border around the rectangle.
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A pale field almost fills the canvas without reaching a clean boundary: a dark green-brown perimeter remains visible, while faint blue and pink passages persist through the white, especially toward the lower edge.
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This annual volume brings together conversations about place, artistic work and institutions with photographic documentation of the artists’ practice.
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Seven paintings made during the Děčín period in 2022.
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A small photographic eye sits near the left edge of a horizontal brown field. From it, a long pale blue tapered band widens toward the right and meets rounded light forms, with translucent green-blue passages layered across the centre.
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A large pale blue curved mass fills most of a vertical turquoise field. A white curved strip runs along its upper-left edge; two photographic eye fragments cluster near the lower right, with a separate pale oval at lower left and rust-red marks around the field.
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A video installation structured around three borders: the visible but non-existent horizon between heaven and earth, the existing but invisible Czech-German border, and the border between peacetime and war. The three borders separate visibility from existence: one is visible but does not exist, one exists but is invisible, and one is experienced as a historical rupture. The Work keeps these regimes non-equivalent.
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Across a horizontal ochre field, a wide cyan-blue curved band descends from the upper centre toward the right. Several pale rounded forms interrupt and overlap it, while faint written traces remain visible beneath the paint.
full workTwo large ochre loops are stacked vertically inside a pale painted field. Near the upper right, an oval photographic insert cuts into the upper loop and shows two small figures outdoors; pale blue and tan passages remain around the edges.
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On a warm yellow field, a broad blue line loops across the upper half and turns downward near the centre. Paler turquoise and yellow oval contours occupy the lower half, while faded text and an ornamental rectangular fragment remain visible beneath.
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A performative installation in Dresden connecting the artists’ digital cloud archive with what remains after material belongings are left behind; the cloud keeps an archive after the belongings leave the room, so storage persists while possession loses a local body.
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An approximately eight-minute video filmed on a borrowed cassette camera in very short cuts intended to minimise later editing. Its soundtrack is assembled separately from recordings made in different places: two pianos, a 2.5-metre paddle played on a beach, a fast boat in Vietnam, and footsteps on snow used in place of the original sound of an umbrella on sand.
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A thin off-white veil covers almost the entire vertical surface. At upper right, an irregular opening exposes a small brown-and-blue image fragment; faint texture and underlying marks remain visible through the pale field.
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A pale grey-green curved mass occupies the upper and left centre of a warm ochre field. Its lower edge opens into a rounded notch; a smaller pale form with a narrow stem stands below-right, separated from the larger mass.
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An April 2022 index of expenses in Venice, listing transport, lodging, food, slippers and drops as individual costs; the journey is registered through the amounts spent while it is being made.
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A portable selection of found papers, tickets and other fragments gathered during the artists’ travels and kept in a small pink folder as “the best” of the most insignificant and delightful shreds.
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A graphic work drawn by Anton in Dečín, related by the artists to Oil & Blood but explicitly not included in that Series.
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A dense rectangular accumulation of black ink marks occupies the centre of the horizontal sheet, leaving a broad white margin. Rounded blobs, jagged silhouettes, short strokes and larger dark masses press together with small white gaps between them.
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Black ink fragments spread across the horizontal sheet as an uneven field. Narrow vertical strokes gather toward the upper left, broader dark masses accumulate across the upper and right areas, and white channels repeatedly cut between the marks.
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Why Not the Academy is an institutional act by Marika Krasina and Anton Kryvulia. Through their own artistic practice, they investigate the academy and propose ways of taking part in its organisation. In 2021–2022, the artists offer HfBK Dresden and EU4ART tools for working with the institution’s everyday life; Anton turns the presentation of his work at the UJEP entrance examination into a performative address to the academy; the ensuing correspondence becomes part of MOLD magazine. The work examines the conditions of participation: the possibility of acting together, keeping the artistic process open and making it accessible to others. The academy responds through interlocutors, contractual arrangements, examination requirements and decisions. These responses shape how the work continues and themselves become part of it.
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This photograph-led annual volume presents the report as an extended page sequence, with the running titles “Absent Institutions Annual Report” and “Aliens Annual Report.”
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On a vertical sheet, black ink forms a tall irregular accumulation surrounded by wide white margins. Heavy central masses are broken by scraped and dripping edges, scattered side marks and a cluster of rounded white openings near the lower centre.
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First issue of MOLD, published by Rabota Institution in 2022. The issue explores the art academy as an institutional and artistic problem and publishes Why Not the Academy? within a retrospective account of the UJEP admission/appeal episode and the institutional research surrounding it.
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Second issue of MOLD, published by Aliens Institution in 2022. It documents the three-day performative lecture series How we became aliens at Österlenskolan School of Art and Design in Simrishamn and the collaborative work with students that produced lists of personal things and footage for a collectively authored video.
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A three-part performative artwork in which two parallel lists of things were spoken and projected, followed by audience questions and further parts of the performance; parallel listing makes simultaneity itself the structure, with the interval between the two streams becoming performative material rather than merging into one account.
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A sound Work centered on the recovery and release of an album whose material history extends from its emergence in 1991, through a 2010 mix, to later recovery after years in storage.
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A sound performance using electronic monochords at the Performensk Festival in Minsk, in the museum of sculptor Zair Azgur. Sonic Fire is the eighth materialisation of the Sound Performative series.
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A video Work based on a performative expedition developed in uninhabited badlands during 2020, where the artists discovered a virtual labyrinth and laid tunnel communication through it. Navigation is not documentation added after the expedition. Laying a communication path through the labyrinth becomes part of the expedition’s operative form.
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This annual volume combines Moscow conversations on NI, artistic form and the arrangement of objects with photographic material.
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In the spring and summer of 2020, Marika Krasina and Anton Kryvulia live on Meganom. Closing borders intensify an earlier rupture with the surrounding social world: now their very ability to remain together is at risk. Walking, reading, talking and making a dwelling give shape to a world in which they can continue their life. When bringing themselves and their belongings to New Performance Turku becomes impossible, they pass on a list of this common material body. Other people assemble it anew from things they have chosen. New World examines the history of these actions: how a place of enforced withdrawal becomes a place where a world is created, and how presence continues through other people's free choice.
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An index of eleven things stolen at Meganom during the night of 14–15 July 2020, including swimming gear, tools and jewellery; each entry names an object made absent by theft.
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An inventory dated 30 June 2020 of belongings, food, tools, clothing, books and other objects at Meganom. The Work also functioned as an operative production instrument / protocol sent to Finland and activated there; that function does not cancel its autonomous Work identity.
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A generative video assembled from episodes of a preceding two-year journey. The 4:06 version is the selected display; two preserved long renders remain additional versions of the Work.
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An index of thirty-one things sent from Novy Svit to Marika’s grandfather in Elektrostal when the weather became hot; each entry names something removed from the current set of belongings by deliberate transfer.
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A video made from two months of workflow footage that finally collapsed into one working day, bringing unexpected heroes to the foreground. Office process becomes material in its own right. Accumulated workflow is compressed until duration itself is reorganized into one working day.
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A continuing performative installation first documented at Serlachius on 23 February 2020. Its embodiments are successive realizations of one Work. Each realization occupies a vacancy whose identity survives the disappearance of its occupant. The Work persists through position, not through one stable form.
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A documentary history of the formation of the Office of Nonknowledge: from conversations and working texts in 2019 to the residency space in Mänttä and two realisations of Whatever in 2020. The work connects these events in a historical research composition.
full workThis annual volume brings together conversation and photographic documentation, including a discussion of shoes at Serlachius and the relation of Bubble, Noise and nonknowledge.
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A video report of the artists’ unsuccessful attempt to reach the 58th Venice Biennale during the severe November 2019 flood. The flooded city interrupts the planned institutional visit and turns the approach to the exhibition into the subject of the report.
full workA visit to see Botticelli at the Uffizi turns into a museum evacuation drill. Visitors are unexpectedly subjected to institutional instructions and emergency alarms; the artists film the situation until staff confront them. The report examines how this unplanned incident acquires the character of a performance.
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The artists present themselves as journalists at the Thessaloniki Biennale and receive press badges, catalogues and branded T-shirts. The Gonzo report uses this change of position to examine what it means to enter a contemporary art institution as an artist, journalist or nobody.
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A lightbox installation shown at A3 in Moscow, formed around the image of a seam or hole; rather than filling the opening, the lightbox gives its boundary a luminous material form.
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Personal belongings buried near the headwaters of the Moscow River were excavated and used as weights for string tension, connecting the displaced objects with sounds gathered during the artists’ drift; burial and excavation make elapsed time act materially on the same belongings.
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A thick white contour dominates a dark, mottled field, with a broad oval rim at the top and a rounded U-shaped body descending below. Blue, green, red and black marks remain visible through and around the white outline.
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A large white cone-like outline dominates a heavily worked dark field: a broad oval rim spans the upper centre and two white sides taper toward a point below. Turquoise, red, black and pale marks remain visible beneath and around the white form.
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All of Marika and Anton’s personal belongings were captured on eighty-three slides to be installed as a projection on a table. Possessions are converted from a carried material body into a projected serial inventory. The set can be encountered as an image sequence while the belongings remain outside the projection.
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A multimedia performative installation made from a shirt already damaged by ordinary use and presented at SASG in Seoul; what remains is treated not as residue but as material available for further transformation.
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A photograph of the artists’ belongings in Korea in a restrained grey-white range. The artists now use this range as a colour calibration for later paintings.
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An index of eighty-three belongings present in Seoul in March 2019; several entries retain short accounts of where particular things were found, bought or received, carrying earlier acquisitions and movements inside the Seoul list.
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A light installation in which the world is treated as a room and the artists’ mobile practice can form wherever conversation, darkness, projection and thought make a temporary scene; the room is rebuilt under those conditions rather than transported as a stable object.
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A text projection was recorded and projected again, producing a chain from thought to digital code, light, surface, camera and projected light; the message persists as successive physical and temporal conversions rather than as immaterial information.
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A multimedia / video installation built around a basketball found in Anyangcheon, with its sound and image installed on separate devices; the ball functions as a third material between its heard and seen appearances, neither of which completes the object on its own.
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An index of food, water and other consumables used during one week in Bangkok in February 2019, recorded as twenty-three quantified entries; the week is registered through quantities of things already consumed.
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This annual volume pairs a conversation on doing at Serlachius, on choice, making and the artistic object, with photographic documentation.
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World Autonomous Residency is an institutional act by Rabota (Marika Krasina and Anton Kryvulia), beginning on 29 November 2018, with their departure for Vietnam. It encompasses a research drift through Vietnam, Laos and Thailand and work at a residency in Seoul, where particular observations, conversations and material conditions took the form of works, installations and public events. Its focus is not travel as an itinerary, but autonomous artistic work that passes through life, experiments with media and subsequent presentation.
full workA video assembled from failed attempts to speak about Nonknowledge during the six-month Nonknowledge Zone section of Bubble Opera. Failure to complete speech is not removed in editing. Cuts and silences are the form through which the attempt to speak remains visible.
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An index of fourteen groups of things buried at Durykhino, including paintings, books, instruments, furniture, camping equipment, sewing materials and photographs.
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A performative installation centered on a video projected onto a tent, with the artists’ belongings incorporated into the installation; the video’s 43-minute-23-second running time determined the duration of the sound performance and functioned as its temporal score.
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A short video report from Manifesta 12 in Palermo, made in the context of Rabota’s activities at the World Autonomous Residency. Bubble Magazine approaches the exhibition as a site to enter and observe through its experimental form of institutional journalism.
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A media-rave conference by Marika Krasina and Anton Kryvulia in the HfG/ZKM Karlsruhe context of Bubble Opera. The presentation takes the Cucumber of Time — a model of events layered and extended in time — as its subject, combining diagrammatic propositions about the Bubble, event, Nonknowledge and temporal relations with an enacted conference format. Moscow-based art critic Egor Sofronov participated in the conference, and the Optimist choir, a choir of elderly women from Elektrostal, Russia, joined the program remotely by Skype.
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A loudspeaker installed in a ZKM corridor repeatedly reproduced the phrase “We use your ears and your eyes now!” over a two-week intervention.
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Performance in Karlsruhe in which Marika Krasina and Anton Kryvulia try to get Boris Yeltsin to play the drums.
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A video Work connected to the Samotryas / Poverty and Glory performance in Bubble Opera at HfG Karlsruhe, canonically dated 29 January 2018.
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Marika and Anton’s personal possessions were bound together and suspended on six strings as weights for string tension; the possessions stop functioning as possessions and become loads while retaining their biographical material, and the procedure ended when the installation broke.
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This annual volume combines conversations on communication, artistic action and institutional form, including Chaos — Sense — Delight, with photographic documentation.
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A performance in Karlsruhe in which fragments of a branch, a stone on a string and an electric organ produced music in the hall of a museum; branch, stone-on-string and electric organ acquire a common function only when activated together, making conjunction rather than score the basis of the music.
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A two-sided installation built at HfG/ZKM Karlsruhe as a suspended or fake conference. On one side of a specially erected wall was an empty conference zone: an educational video, a showcase containing Fids, and a single lectern with a microphone. On the other side was a backstage zone with a refrigerator, kitchen, sofa and television. The public meeting and the performance took place in this backstage space.
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A performance carried out inside the Tools of Disclosure Conference installation at HfG/ZKM Karlsruhe on 15 December 2017. The action occupied the backstage side of the installation, where the public meeting took place.
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Bubble Opera is an institutional act by Rabota—the artist duo Marika Krasina and Anton Kryvulia—begun in Karlsruhe on 27 October 2017. It brings performances, sound actions, research, and everyday life into a shared, year-long protocol.
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An album made from very short appropriated fragments. Meter, text and recognition of the borrowed material are repeatedly interrupted before they can stabilize as continuous musical material. Recognition has a minimum duration. Each borrowed fragment approaches an identifiable origin and is cut before the listener can enter a stable musical space.
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A photograph of an elephant skeleton display is overlaid with a three-stage white diagram. Scattered crosses labelled `noise` lead by an arrow to an outlined speech-bubble form labelled `suspention`; a second arrow leads to nested outlined forms marked `A` and `B` beside the word `doubling`.
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A checklist of documents required to leave Moscow: hotel and ticket reservations, insurance for Marika, passport copies, work certificates, application forms with photographs, a bank statement and Anton’s registration.
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A six-track album comprising Cube, Dots, Cylinder, Bang, Cone, and Bubble, released by Absent Institution on Bandcamp on 4 September 2017.
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The 54-page editorial master assembles photographs, collages, reproductions of objects and artworks, and short texts. Among its sections, temporary dwellings and survival arrangements are documented alongside an account of moving without a permanent domicile across streets, stations, offices, forests and improvised shelters.
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A collage combining a fragment from a Palladio book with a piece of an Italian newspaper showing footballers.
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A photograph of a swan from the collection of Anton’s grandmother.
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A typewritten list of words dictated by Vova 110 after the artists asked him for “the best word.” The sheet was later combined with a photograph of Marika swimming in a Cadaqués pool identified by the artists as Salvador Dalí’s.
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A collage combining a GEO fragment of Yemeni fishermen, a drawing in white paint, and other unidentified paper fragments.
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A composite formed when fragments from different years adhered to one another in storage: street-found leopard-patterned cardboard, a magazine fragment, and a piece of ink drawing made with seawater in Cadaqués.
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An unidentified drawing whose origin is no longer known.
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A drawing with typewritten text about Samotryas.
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A collage made in Karlsruhe for an exhibition at the UND festival from book pages and other fragments.
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A photograph of the artists’ sleeping place on a pier in Cadaqués after their belongings were stolen in 2015. The photograph was later among those buried near Moscow in 2018.
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A preparatory drawing by Marika for Bubble Opera, conceived as a metaphysical diagram of the ontology of an event.
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A surviving chaotic collage from a larger 2015 group, most of which was destroyed. It was kept in The Best precisely because it was among the least legible examples.
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A pastel drawing by Marika after motifs remembered as Arab or Persian.
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A collage assembled from fragments of books found in the street.
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A fragment of a GEO magazine page showing Yemeni fishermen, formerly kept on the wall of the artists’ Dresden office.
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A photograph of Marika riding a bicycle in Berlin, made within a larger one-day photographic series in summer 2015.
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A photograph of Marika doing yoga beside the artists’ belongings during a 2015 night on the beach in Cadaqués. It later entered the photographs buried near Moscow in 2018 and shows probable moisture damage.
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A found newspaper image of an Indigenous man with a bow is overworked with a thick white acrylic cloud.
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A collage combining graphic fragments, material from a Palladio album, and pages from a book of engravings.
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A found magazine spread painted white and overlaid with a found footballer stamp image. It belongs to the artists’ attempt to make an image evade its original content.
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A printed page sprayed green, overlaid with a round fragment of foil, and marked with a drawn cone.
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A Budapest paper carrying the text of Toto Cutugno’s `Soli`. It belonged to a group of sheets subjected to physical treatments, including soaking in the Danube, and was kept on the artists’ door.
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Performative installation combining a projected message with objects found on the streets of Karlsruhe. The public source also connects it with the separate installations About Content and About Communication.
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A collage of found fragments combining a child’s drawing, an anatomical image, wrestler stamps, and the phrases `Apply glitter to your face` and `House sends delight`.
full workA fragment of graphic experiments carrying the stamp `Music Does Not Speak`, with traces of oil, acrylic and ink.
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An installation/action environment made for the Karlsruhe Academy summer exhibition from a modified exercise-bike construction, the altered exhibition room and About Communication. At the opening the bike was activated by the artists and offered for audience participation; the Work later continued outside the room when the construction was placed on an empty pedestal at the Academy entrance.
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Made and filmed during the Karlsruhe Academy summer exhibition within God Invented the Cyclist, the second act of Karlsruhe Academy Invasion, the Work treats reception as an event that precedes permission: the message is already inside the listener before seeing, hearing or understanding can be refused.
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A collage of GEO fragments, a postcard from the Uffizi, and remnants of metallic tape previously used to attach images to a wall in Dresden.
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A Budapest paper carrying the word `Power` and a drawn bundle of intentionality, made within the artists’ attempts to visualize perception.
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A torn magazine image from the stock of old GEO magazines the artists dismantled in Dresden. Fragments from that stock were used both in the Dresden Room installation and in collages.
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The sheet combines an unidentified drawing with a wave form the artists later recognize as belonging to the Index of Noise.
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A collage of technical drawing fragments and scraps of printed art matter. The exact occasion of assembly is no longer established.
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Karlsruhe Academy Invasion is an institutional act by Marika Krasina and Anton Kryvulia, working as Rabota. In June and July 2017, a presentation made at the Karlsruhe Art Academy before they had any formal affiliation prompted an invitation to participate in its summer exhibition. The artists used the resulting access to occupy and alter a room, construct an environment for performance and communication, and place a modified exercise bike at the Academy entrance. The work unfolds through these changes in the conditions of participation: an action produces a response, and that response becomes material for a further action. Drawings, a towel, documents, doors, bodies and the Academy’s name all enter this encounter.
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The work begins with an image the artists did not make. They retained a found sheet and added a postcard; the labyrinth, running figure, `Go`, and `This is the end` were already there.
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A found fragment of thin printed paper with an image of an island and palms, worn through at the centre. The object is stable; its remembered place of discovery is not.
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The video installation captures the artists offstage by the light of text projection during Summer 2017.
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An embroidery on a towel reproducing a diagram of the Karlsruhe municipal cultural funding structure. The source diagram had been drawn to explain how art projects were financed by the city.
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A video made from the Tidy Room installation in Karlsruhe, where discarded street-found objects painted white served as a surface for projected text. The text names content as the layer that keeps its own apparatus invisible. By making that text depend on a visibly constructed support, the video puts the frame back into the image.
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A performative installation at Poly Gallery combining paintings, video projection and discarded household objects found on the streets of Karlsruhe and painted white. The white objects served as the projection surface.
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A Moscow performance using Samotryas on 7 April 2017, documented under the phrase/title We Use Your Ears & Your Eyes Now.
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Paintings developed through a system of formal invasion: forms multiplied, shifted, smeared, patched and interrupted.
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A long turquoise stroke rises diagonally through the pale field toward a red-and-white closed form at upper right. A small rounded tan rectangle sits lower left, while grey, pink and green washes remain dispersed around the two larger structures.
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A thick turquoise double-oval structure dominates the vertical canvas, enclosing a field of short brown vertical marks and smaller coloured fragments. A narrow red rectangle near the centre interrupts the repeated interior strokes.
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A pale tan angular outline occupies much of the field, crossed near the bottom by a long dark rust stroke. A green outlined form sits at lower right beneath a cyan angular contour, with smaller pink and grey marks held in the surrounding pale ground.
full workBroad turquoise curves cross a pale vertical field, forming an open loop across the upper and middle left. Denser green, turquoise and pink marks collect toward the lower right, while the rest of the surface remains comparatively thin and exposed.
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Angular tan lines run across a pale vertical field, interrupted by a dark mottled block at upper left and turquoise and pink passages below. The lower half gathers into overlapping loops and brush marks without closing into a single figure.
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A tall pale field is organised around one elongated olive-brown loop: an oval opening near the top extends downward into a long rounded contour. Small pale-blue, pink and dark marks remain scattered around the central form.
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Across a horizontal grey-white field, a large yellow oval mass occupies the left centre while a tall turquoise contour rises near the middle-right. A narrow brown loop sits inside the turquoise form; paler turquoise and linear marks gather along the right edge.
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This annual volume gathers conversations about work and performance as an encounter, with photographic pages from the artists’ practice.
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A warm cream field is crossed by faint blue-grey and ochre passages, with a large thin white loop running through the centre. A small blue zigzag sits near the lower left and a dark-and-white circular element punctuates the lower right.
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Archaeological Committee is a performative expedition by Marika Krasina and Anton Kryvulia, conducted through a self-appointed institution during their travels in Crimea and southern Russia in 2016. With no office, official status or fixed place, the artists introduced themselves as employees of an archaeological commission. The name gave their presence a recognisable purpose. They began registering insignificant things in the landscape as cultural monuments for archaeologists of the future.
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Large turquoise loops sweep across the vertical field, overlapping translucent brown, grey and pale pink stains. A compact red form sits near the centre, with smaller black, blue and ochre marks dispersed below.
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Brown liquid-like stains spread across the upper left and centre of a pale field, crossed by turquoise outlined loops and a red curved stroke. Thin grey linear marks and smaller coloured fragments extend toward the right.
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At a hip-hop gathering in Budapest, Shaky Radio asks participants three deliberately absurd questions about food, religious belief and refugees. The report examines how people respond to a restricted choice without questioning its terms, using these responses to investigate the introduction of political and ideological discourse into everyday conversation.
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A Budapest performance / performative environment in which Samotryas instruments assembled from a branch, part of a wooden chair and a decomposed electric guitar were activated in the exhibition space; the assembled objects become instruments inside the situation of listening, distributing musical agency across instrument, environment and listener rather than concentrating it in a performer.
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Video related to the Matrix of Six.
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Video rendering circumstances of Marika and Anton’s life in Moscow/Reutovo during the Burakova Street period.
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A room in Budapest in which Marika Krasina and Anton Kryvulia lived and worked during the 2016 Budapest period, turning the living and working space into a performative installation open to friends. The room was the environment in which Human is a Revolution and the early Samotryas work were made. After the initial residency period, the artists returned to the room and continued living inside the installation for another month.
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Samotryas was a month-long performative environment developed in the Burakova Street atelier and publicly announced in February 2016 as a meta-collage. Paintings, sound, projections, photographs, objects and bodily actions accumulated within it. On 2 March 2016, the environment was opened to the public for one evening as the final phase of the month-long work.
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An eighteen-minute video made from a prolonged period of drift and presented by the authorial website as a slashing montage.
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Paintings held at the edge of figuration and abstraction through semi-open form, keeping recognition in suspension.
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A mostly pale vertical field is interrupted by a large white-grey central form, blue and green passages, and several small dark human figures moving across the lower left and right. Thin yellow and pink strokes punctuate the open ground.
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A pale field contains a red angular mass at left, a dark grey-black enclosure at upper right and a blue hooded figure near the lower edge. Smaller yellow, green and black strokes sit between these larger zones.
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Ok Hologram is a seven-track sound Work / album by Marika Krasina and Anton Kryvulia, released on 26 February 2016 and announced as part of the Samotryas meta-collage.
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A large black circular mass dominates the centre-right of a pale field. A blue seated figure faces it from the left, surrounded by smaller green, pink and ochre marks.
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A predominantly white field holds separated brush marks and colour masses rather than a continuous scene. A dark green-black arch-like form dominates the right side; a long dark horizontal stroke runs along the lower left, while peach, blue, green and pink fragments remain dispersed between them.
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Against a pale field, a long orange ridge runs across the upper centre above scattered blue, green and ochre forms. A white vertical shape, small dark figures and loose fragments occupy the lower half.
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A pale field is crossed by scattered coloured fragments, outlined loops and small dark forms. A blue hooded figure sits near the lower right, while a small arched dark shape appears lower left of centre.
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This annual volume combines conversations and photographic material, including an exchange at Durykino lake on movement, shared things and artistic form.
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A broad white field carries separated islands of blue, green, yellow, pink and brown paint. Small figurative fragments, sprayed passages and dripping marks remain discontinuous rather than combining into a single continuous scene.
full workSmall human figures are dispersed across a broad pale field of white, blue, pink and green washes. Their bodies remain legible amid loosely layered strokes, drips and partially erased colour.
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The Things brought a central object together with three parallel stories distributed across the walls, an inventory of stolen belongings and reproductions of a calligraphic work. The room placed the narratives beside one another: Marika and Anton's account of a night in Barcelona, an account from the robbers' point of view, and Sonia Zafra's voice.
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Six joint paintings from 2014–2015 preceding the Future Dishes prototypes.
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On a pale vertical field, translucent blue, green, pink and ochre passages accumulate around the centre. A small blue hooded figure sits near the lower edge beneath a diffuse cluster of partially dissolved forms.
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An index of seventeen things stolen in Barcelona ZOO on the night of 9 July 2015, including brushes, keys, a computer, clothing, documents, notebooks, jewellery, art material and other personal belongings.
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Dresden Room is an installation made in the office where Marika Krasina and Anton Kryvulia were living and working in Dresden. The room brought ordinary belongings and living conditions into the same field as paintings, drawings, found printed matter, books, clothes, food, musical equipment and working materials. On 21 June 2015 the artists inventoried its contents in the separate Work 150621_Common Body. Thomas Schmidt photographed Dresden Room two days later, on the Work’s canonical date, 23 June 2015.
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Common Body is a list of everything inside Marika and Anton’s room in Dresden, compiled on 21 June 2015 and preserved as a ten-page A4 index kept in an envelope. The room acquires a second body made only of names. The index can circulate the room without moving any of its things.
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A printed photograph of a panda sitting in a tree lies on folded brightly coloured textile on grass, surrounded by white daisies.
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The vertical painting is divided into two uneven zones: a turquoise hooded figure occupies the upper right, while the lower half gathers pale, green and orange fragments around a dark arched shape. Small black figures and isolated red marks punctuate the lighter field.
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A large pale pink head-like form fills the upper half of the painting, bordered by yellow and dark brown. Below it, a dense blue-green and orange field contains a small blue hooded figure and a dark boat-like form.
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A six-track album made in Dresden with cassettes and acid, described on the official release as being about what it means to be torn into shreds.
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A large pale animal-like figure stretches across the upper centre of a blue-white field, its body interrupted by orange, green and dark strokes. Smaller dark and coloured fragments gather along the lower edge and left side.
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An independent video Work that also functioned as projection / screening material inside Chaos Sense Delight concerts and performances. Projection becomes a test of plurality: contours can blur into one visual field without resolving into a collective body.
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This annual volume gathers transcribed conversations about nonknowledge, mediation and the art object, alongside photographic documentation.
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Musical video made during Marika and Anton’s first period in Pescara, immediately after meeting in Venice.
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A wide horizontal field is built from overlapping passages of turquoise, yellow, pink, orange and blue. A dense cobalt mass occupies the lower left, while a red-orange vertical form rises at the right and pale rectangular areas interrupt the upper centre. Drips, scratched and drawn lines, repeated short marks and loose brushstrokes cross the surface; pale violet handwritten Cyrillic text remains visible along the lower left edge.
full workA large mixed-media painting organised as interlocking fields of saturated pink, green, blue, yellow and orange. Curving outlined shapes, soft-edged colour patches and smaller figure-like or plant-like fragments remain distributed across the surface without resolving into a single continuous scene.
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A broad red field occupies the upper right of the canvas; a large blue-violet upright form stands near the centre against pale green, yellow and pink passages, with smaller clustered forms at lower right. The image remains fragmented rather than resolving into a continuous scene. It is one of the first paintings, made by Marika and Anton together.
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A group of participants, gathered through social media announcements, was invited to wander through a hilly, forested area near Minsk, producing sounds until they began to hear each other. Relying solely on acoustic signals, the participants followed the sounds and gradually converged.
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A videomagazine account of the Bubble Opera institutional intervention at ZKM and HfG Karlsruhe. It follows six performative acts within a year-long artistic project, presenting the artists’ activity inside these institutional spaces without replacing the larger project itself.
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An inventory of the contents of Marika and Anton’s Hamburg apartment made for the Absent Institution apartment exhibition on 20 June 2026. The Work also functioned as the exhibition’s curatorial card / label and as display / articulation; the inventory does not itself produce the artistic status of the objects it names.
An album by Marika Krasina and Anton Kryvulia whose materials connect a night signal in fog, a bus stop on a moor, relay equipment, guitar amplifiers, a horn and red signal lights.
A three-movement sound Work.
Six vertically oriented paintings, each slightly smaller than human height. Hand-applied gesso and several layers of coloured oil glaze give their nearly white surfaces different tones and textures.
A pale field with rounded upper transitions leaves the darker support visible along the top and both sides. On the right, the exposed perimeter opens into a longer, wider vertical section before narrowing again toward the bottom.
The narrow vertical field is densely hand-worked, with curved and diagonal marks remaining visible across the pale gesso. A thin darker rim runs around most of the canvas and widens slightly at the upper edge and lower corners.
A warm pale field sits inside a narrow, irregular dark perimeter. The exposed support is strongest along the upper edge and at several interruptions on the right side, while the gesso surface remains comparatively continuous across the centre.
The canvas carries a pale field close to the side edges while a thin dark perimeter remains visible around most of the support. The exposed band is strongest along the upper edge and widens again near the lower left; faint directional working remains visible across the surface.
A pale field is held inside an uneven brown perimeter that widens into long exposed vertical sections at lower left and lower right. The gesso boundary bends inward around these openings, leaving the light field visibly asymmetrical.
A warm off-white field fills most of the tall canvas. The darker brown-grey support remains most exposed across the upper edge and in a block-like interruption at upper left; elsewhere the boundary narrows while hand-worked marks remain visible across the pale surface.
A two-movement sound Work.
Music of Nonknowledge is a sound Work assembled from recordings made outdoors and in other transient locations using self-built Samotryas instruments made from found wood, stones, strings, and contact microphones.
Works on paper centred on the tube as both a philosophical object of contemplation and an instrument for constructing three-dimensional space within the image.
A grey cylindrical outline is crossed by lightly drawn limb-like forms and sparse red, yellow and blue marks. Near the right side, a circular hole with a dark scorch halo interrupts the paper.
On a vertical sheet, a large cylindrical container is outlined in red and blue. Separate rust-brown hatched clusters hang at different heights inside it, with several forms crossing the upper and lower boundaries.
A faint tube outline contains an extremely light graphite mass. Curls, loops and short hatched passages drift across the interior, with a few pale green and red traces interrupting the near-monochrome drawing.
A very faint horizontal tube stretches across the creased sheet. The left end is reinforced by red-brown and grey vertical marks; most of the interior is reduced to light graphite traces, with a small red accent at the opposite end.
A pale cylindrical structure is filled with soft graphite washes and repeated rounded forms. Dark grey masses concentrate toward the right half and lower centre, while isolated green, pink and yellow colour patches remain outside and around the tube.
A large cylindrical outline is drawn with a grey upper ellipse and red-brown lower contour. A dense rust-coloured hatched mass occupies the upper-right half, while the left side remains largely pale and transparent.
The tube outline is largely submerged beneath dense black hatching. Irregular dark clusters fill the centre and rise above it, while a red-brown curved base and small rust-coloured patches remain visible along the lower edge.
A lightly drawn horizontal tube contains a pale yellow form, small blue loops and a compact black mark. At the right end, the contour is overtaken by a dense magenta and red burst that extends beyond the cylinder.
A low horizontal tube is only partly held by a red-brown contour. Rust, blue-black and pale grey marks form a loose granular mass that crosses the outline, with a rounded dark cluster protruding from the left end.
A thin red cylindrical outline encloses and is crossed by grey washes and graphite hatching. Darker grey patches sit across the central band and at the right end, while the drawn material spills outside both sides of the tube.
A red-brown cylindrical outline cuts across a broad field of pale graphite curls and hatching. A dense blue-black patch occupies the centre while the lighter drawn mass extends beyond the tube boundary.
A faint horizontal capsule outline contains a nearly continuous chain of dense black ink clusters. The drawn mass bunches toward both ends and leaves the surrounding tube line comparatively light and open.
A pale horizontal tube is outlined in yellow, pink and blue-violet. Blue-violet shading thickens the upper, lower and right edges; black line drawing and a dense vertical hatch cluster occupy the interior and press against the right end.
This annual volume includes photographic documentation and the Index of things recorded in Hamburg on 1 December 2023.
An index of belongings in Hamburg dated 1 December 2023, organised as more than one hundred numbered entries ranging across clothing, books, artworks, tools, technical equipment, household objects and family material.
Six small oil paintings made in January 2023, in which a pale field approaches the condition of an image without finally resolving into one.
A pale cylindrical outline is worked into dense white brushwork, with an oval opening near the top and rounded vertical sides below. Fine grey strokes remain visible inside the form and through the surrounding white layers.
A pale rounded outline occupies the centre of a narrow vertical field. An oval rim near the top encloses faint grey interior marks; the contour narrows downward and closes in a rounded base against a muted beige-grey ground.
Broad translucent white-grey brushwork occupies the centre of a vertical field, with softer pale lavender passages in the lower half. Green and brown remain exposed as a narrow irregular border around the painted centre.
A cloudy white-grey field sits inside a warm ochre perimeter, its upper boundary irregular and small green and red remnants left visible along the right edge.
A grey-green field is crossed by broad diagonal and circular sweeps, with a muted pink passage surfacing near the lower centre and a darker perimeter still visible around it.
A cool white rectangle sits distinctly inside the canvas rather than flooding it; the surrounding perimeter and the dry, worked edge of the painted field remain visible on all four sides.
A thin, nearly continuous pale field covers the canvas, held by a narrow brown-green perimeter and interrupted mainly by vertical dragged traces along the edges.
A white central field is repeatedly pulled inward from a green-brown perimeter, leaving broad arching traces across the top and a dense scraped border around the rectangle.
A pale field almost fills the canvas without reaching a clean boundary: a dark green-brown perimeter remains visible, while faint blue and pink passages persist through the white, especially toward the lower edge.
This annual volume brings together conversations about place, artistic work and institutions with photographic documentation of the artists’ practice.
Seven paintings made during the Děčín period in 2022.
A small photographic eye sits near the left edge of a horizontal brown field. From it, a long pale blue tapered band widens toward the right and meets rounded light forms, with translucent green-blue passages layered across the centre.
A large pale blue curved mass fills most of a vertical turquoise field. A white curved strip runs along its upper-left edge; two photographic eye fragments cluster near the lower right, with a separate pale oval at lower left and rust-red marks around the field.
A video installation structured around three borders: the visible but non-existent horizon between heaven and earth, the existing but invisible Czech-German border, and the border between peacetime and war. The three borders separate visibility from existence: one is visible but does not exist, one exists but is invisible, and one is experienced as a historical rupture. The Work keeps these regimes non-equivalent.
Across a horizontal ochre field, a wide cyan-blue curved band descends from the upper centre toward the right. Several pale rounded forms interrupt and overlap it, while faint written traces remain visible beneath the paint.
Two large ochre loops are stacked vertically inside a pale painted field. Near the upper right, an oval photographic insert cuts into the upper loop and shows two small figures outdoors; pale blue and tan passages remain around the edges.
On a warm yellow field, a broad blue line loops across the upper half and turns downward near the centre. Paler turquoise and yellow oval contours occupy the lower half, while faded text and an ornamental rectangular fragment remain visible beneath.
A performative installation in Dresden connecting the artists’ digital cloud archive with what remains after material belongings are left behind; the cloud keeps an archive after the belongings leave the room, so storage persists while possession loses a local body.
An approximately eight-minute video filmed on a borrowed cassette camera in very short cuts intended to minimise later editing. Its soundtrack is assembled separately from recordings made in different places: two pianos, a 2.5-metre paddle played on a beach, a fast boat in Vietnam, and footsteps on snow used in place of the original sound of an umbrella on sand.
A thin off-white veil covers almost the entire vertical surface. At upper right, an irregular opening exposes a small brown-and-blue image fragment; faint texture and underlying marks remain visible through the pale field.
A pale grey-green curved mass occupies the upper and left centre of a warm ochre field. Its lower edge opens into a rounded notch; a smaller pale form with a narrow stem stands below-right, separated from the larger mass.
An April 2022 index of expenses in Venice, listing transport, lodging, food, slippers and drops as individual costs; the journey is registered through the amounts spent while it is being made.
A portable selection of found papers, tickets and other fragments gathered during the artists’ travels and kept in a small pink folder as “the best” of the most insignificant and delightful shreds.
A graphic work drawn by Anton in Dečín, related by the artists to Oil & Blood but explicitly not included in that Series.
A dense rectangular accumulation of black ink marks occupies the centre of the horizontal sheet, leaving a broad white margin. Rounded blobs, jagged silhouettes, short strokes and larger dark masses press together with small white gaps between them.
Black ink fragments spread across the horizontal sheet as an uneven field. Narrow vertical strokes gather toward the upper left, broader dark masses accumulate across the upper and right areas, and white channels repeatedly cut between the marks.
Why Not the Academy is an institutional act by Marika Krasina and Anton Kryvulia. Through their own artistic practice, they investigate the academy and propose ways of taking part in its organisation. In 2021–2022, the artists offer HfBK Dresden and EU4ART tools for working with the institution’s everyday life; Anton turns the presentation of his work at the UJEP entrance examination into a performative address to the academy; the ensuing correspondence becomes part of MOLD magazine. The work examines the conditions of participation: the possibility of acting together, keeping the artistic process open and making it accessible to others. The academy responds through interlocutors, contractual arrangements, examination requirements and decisions. These responses shape how the work continues and themselves become part of it.
This photograph-led annual volume presents the report as an extended page sequence, with the running titles “Absent Institutions Annual Report” and “Aliens Annual Report.”
On a vertical sheet, black ink forms a tall irregular accumulation surrounded by wide white margins. Heavy central masses are broken by scraped and dripping edges, scattered side marks and a cluster of rounded white openings near the lower centre.
First issue of MOLD, published by Rabota Institution in 2022. The issue explores the art academy as an institutional and artistic problem and publishes Why Not the Academy? within a retrospective account of the UJEP admission/appeal episode and the institutional research surrounding it.
Second issue of MOLD, published by Aliens Institution in 2022. It documents the three-day performative lecture series How we became aliens at Österlenskolan School of Art and Design in Simrishamn and the collaborative work with students that produced lists of personal things and footage for a collectively authored video.
A three-part performative artwork in which two parallel lists of things were spoken and projected, followed by audience questions and further parts of the performance; parallel listing makes simultaneity itself the structure, with the interval between the two streams becoming performative material rather than merging into one account.
A sound Work centered on the recovery and release of an album whose material history extends from its emergence in 1991, through a 2010 mix, to later recovery after years in storage.
A sound performance using electronic monochords at the Performensk Festival in Minsk, in the museum of sculptor Zair Azgur. Sonic Fire is the eighth materialisation of the Sound Performative series.
A video Work based on a performative expedition developed in uninhabited badlands during 2020, where the artists discovered a virtual labyrinth and laid tunnel communication through it. Navigation is not documentation added after the expedition. Laying a communication path through the labyrinth becomes part of the expedition’s operative form.
This annual volume combines Moscow conversations on NI, artistic form and the arrangement of objects with photographic material.
In the spring and summer of 2020, Marika Krasina and Anton Kryvulia live on Meganom. Closing borders intensify an earlier rupture with the surrounding social world: now their very ability to remain together is at risk. Walking, reading, talking and making a dwelling give shape to a world in which they can continue their life. When bringing themselves and their belongings to New Performance Turku becomes impossible, they pass on a list of this common material body. Other people assemble it anew from things they have chosen. New World examines the history of these actions: how a place of enforced withdrawal becomes a place where a world is created, and how presence continues through other people's free choice.
An index of eleven things stolen at Meganom during the night of 14–15 July 2020, including swimming gear, tools and jewellery; each entry names an object made absent by theft.
An inventory dated 30 June 2020 of belongings, food, tools, clothing, books and other objects at Meganom. The Work also functioned as an operative production instrument / protocol sent to Finland and activated there; that function does not cancel its autonomous Work identity.
A generative video assembled from episodes of a preceding two-year journey. The 4:06 version is the selected display; two preserved long renders remain additional versions of the Work.
An index of thirty-one things sent from Novy Svit to Marika’s grandfather in Elektrostal when the weather became hot; each entry names something removed from the current set of belongings by deliberate transfer.
A video made from two months of workflow footage that finally collapsed into one working day, bringing unexpected heroes to the foreground. Office process becomes material in its own right. Accumulated workflow is compressed until duration itself is reorganized into one working day.
A continuing performative installation first documented at Serlachius on 23 February 2020. Its embodiments are successive realizations of one Work. Each realization occupies a vacancy whose identity survives the disappearance of its occupant. The Work persists through position, not through one stable form.
A documentary history of the formation of the Office of Nonknowledge: from conversations and working texts in 2019 to the residency space in Mänttä and two realisations of Whatever in 2020. The work connects these events in a historical research composition.
This annual volume brings together conversation and photographic documentation, including a discussion of shoes at Serlachius and the relation of Bubble, Noise and nonknowledge.
A video report of the artists’ unsuccessful attempt to reach the 58th Venice Biennale during the severe November 2019 flood. The flooded city interrupts the planned institutional visit and turns the approach to the exhibition into the subject of the report.
A visit to see Botticelli at the Uffizi turns into a museum evacuation drill. Visitors are unexpectedly subjected to institutional instructions and emergency alarms; the artists film the situation until staff confront them. The report examines how this unplanned incident acquires the character of a performance.
The artists present themselves as journalists at the Thessaloniki Biennale and receive press badges, catalogues and branded T-shirts. The Gonzo report uses this change of position to examine what it means to enter a contemporary art institution as an artist, journalist or nobody.
A lightbox installation shown at A3 in Moscow, formed around the image of a seam or hole; rather than filling the opening, the lightbox gives its boundary a luminous material form.
Personal belongings buried near the headwaters of the Moscow River were excavated and used as weights for string tension, connecting the displaced objects with sounds gathered during the artists’ drift; burial and excavation make elapsed time act materially on the same belongings.
A thick white contour dominates a dark, mottled field, with a broad oval rim at the top and a rounded U-shaped body descending below. Blue, green, red and black marks remain visible through and around the white outline.
A large white cone-like outline dominates a heavily worked dark field: a broad oval rim spans the upper centre and two white sides taper toward a point below. Turquoise, red, black and pale marks remain visible beneath and around the white form.
All of Marika and Anton’s personal belongings were captured on eighty-three slides to be installed as a projection on a table. Possessions are converted from a carried material body into a projected serial inventory. The set can be encountered as an image sequence while the belongings remain outside the projection.
A multimedia performative installation made from a shirt already damaged by ordinary use and presented at SASG in Seoul; what remains is treated not as residue but as material available for further transformation.
A photograph of the artists’ belongings in Korea in a restrained grey-white range. The artists now use this range as a colour calibration for later paintings.
An index of eighty-three belongings present in Seoul in March 2019; several entries retain short accounts of where particular things were found, bought or received, carrying earlier acquisitions and movements inside the Seoul list.
A light installation in which the world is treated as a room and the artists’ mobile practice can form wherever conversation, darkness, projection and thought make a temporary scene; the room is rebuilt under those conditions rather than transported as a stable object.
A text projection was recorded and projected again, producing a chain from thought to digital code, light, surface, camera and projected light; the message persists as successive physical and temporal conversions rather than as immaterial information.
A multimedia / video installation built around a basketball found in Anyangcheon, with its sound and image installed on separate devices; the ball functions as a third material between its heard and seen appearances, neither of which completes the object on its own.
An index of food, water and other consumables used during one week in Bangkok in February 2019, recorded as twenty-three quantified entries; the week is registered through quantities of things already consumed.
This annual volume pairs a conversation on doing at Serlachius, on choice, making and the artistic object, with photographic documentation.
World Autonomous Residency is an institutional act by Rabota (Marika Krasina and Anton Kryvulia), beginning on 29 November 2018, with their departure for Vietnam. It encompasses a research drift through Vietnam, Laos and Thailand and work at a residency in Seoul, where particular observations, conversations and material conditions took the form of works, installations and public events. Its focus is not travel as an itinerary, but autonomous artistic work that passes through life, experiments with media and subsequent presentation.
A video assembled from failed attempts to speak about Nonknowledge during the six-month Nonknowledge Zone section of Bubble Opera. Failure to complete speech is not removed in editing. Cuts and silences are the form through which the attempt to speak remains visible.
An index of fourteen groups of things buried at Durykhino, including paintings, books, instruments, furniture, camping equipment, sewing materials and photographs.
A performative installation centered on a video projected onto a tent, with the artists’ belongings incorporated into the installation; the video’s 43-minute-23-second running time determined the duration of the sound performance and functioned as its temporal score.
A short video report from Manifesta 12 in Palermo, made in the context of Rabota’s activities at the World Autonomous Residency. Bubble Magazine approaches the exhibition as a site to enter and observe through its experimental form of institutional journalism.
A media-rave conference by Marika Krasina and Anton Kryvulia in the HfG/ZKM Karlsruhe context of Bubble Opera. The presentation takes the Cucumber of Time — a model of events layered and extended in time — as its subject, combining diagrammatic propositions about the Bubble, event, Nonknowledge and temporal relations with an enacted conference format. Moscow-based art critic Egor Sofronov participated in the conference, and the Optimist choir, a choir of elderly women from Elektrostal, Russia, joined the program remotely by Skype.
A loudspeaker installed in a ZKM corridor repeatedly reproduced the phrase “We use your ears and your eyes now!” over a two-week intervention.
Performance in Karlsruhe in which Marika Krasina and Anton Kryvulia try to get Boris Yeltsin to play the drums.
A video Work connected to the Samotryas / Poverty and Glory performance in Bubble Opera at HfG Karlsruhe, canonically dated 29 January 2018.
Marika and Anton’s personal possessions were bound together and suspended on six strings as weights for string tension; the possessions stop functioning as possessions and become loads while retaining their biographical material, and the procedure ended when the installation broke.
This annual volume combines conversations on communication, artistic action and institutional form, including Chaos — Sense — Delight, with photographic documentation.
A performance in Karlsruhe in which fragments of a branch, a stone on a string and an electric organ produced music in the hall of a museum; branch, stone-on-string and electric organ acquire a common function only when activated together, making conjunction rather than score the basis of the music.
A two-sided installation built at HfG/ZKM Karlsruhe as a suspended or fake conference. On one side of a specially erected wall was an empty conference zone: an educational video, a showcase containing Fids, and a single lectern with a microphone. On the other side was a backstage zone with a refrigerator, kitchen, sofa and television. The public meeting and the performance took place in this backstage space.
A performance carried out inside the Tools of Disclosure Conference installation at HfG/ZKM Karlsruhe on 15 December 2017. The action occupied the backstage side of the installation, where the public meeting took place.
Bubble Opera is an institutional act by Rabota—the artist duo Marika Krasina and Anton Kryvulia—begun in Karlsruhe on 27 October 2017. It brings performances, sound actions, research, and everyday life into a shared, year-long protocol.
An album made from very short appropriated fragments. Meter, text and recognition of the borrowed material are repeatedly interrupted before they can stabilize as continuous musical material. Recognition has a minimum duration. Each borrowed fragment approaches an identifiable origin and is cut before the listener can enter a stable musical space.
A photograph of an elephant skeleton display is overlaid with a three-stage white diagram. Scattered crosses labelled `noise` lead by an arrow to an outlined speech-bubble form labelled `suspention`; a second arrow leads to nested outlined forms marked `A` and `B` beside the word `doubling`.
A checklist of documents required to leave Moscow: hotel and ticket reservations, insurance for Marika, passport copies, work certificates, application forms with photographs, a bank statement and Anton’s registration.
A six-track album comprising Cube, Dots, Cylinder, Bang, Cone, and Bubble, released by Absent Institution on Bandcamp on 4 September 2017.
The 54-page editorial master assembles photographs, collages, reproductions of objects and artworks, and short texts. Among its sections, temporary dwellings and survival arrangements are documented alongside an account of moving without a permanent domicile across streets, stations, offices, forests and improvised shelters.
A collage combining a fragment from a Palladio book with a piece of an Italian newspaper showing footballers.
A photograph of a swan from the collection of Anton’s grandmother.
A typewritten list of words dictated by Vova 110 after the artists asked him for “the best word.” The sheet was later combined with a photograph of Marika swimming in a Cadaqués pool identified by the artists as Salvador Dalí’s.
A collage combining a GEO fragment of Yemeni fishermen, a drawing in white paint, and other unidentified paper fragments.
A composite formed when fragments from different years adhered to one another in storage: street-found leopard-patterned cardboard, a magazine fragment, and a piece of ink drawing made with seawater in Cadaqués.
An unidentified drawing whose origin is no longer known.
A drawing with typewritten text about Samotryas.
A collage made in Karlsruhe for an exhibition at the UND festival from book pages and other fragments.
A photograph of the artists’ sleeping place on a pier in Cadaqués after their belongings were stolen in 2015. The photograph was later among those buried near Moscow in 2018.
A preparatory drawing by Marika for Bubble Opera, conceived as a metaphysical diagram of the ontology of an event.
A surviving chaotic collage from a larger 2015 group, most of which was destroyed. It was kept in The Best precisely because it was among the least legible examples.
A pastel drawing by Marika after motifs remembered as Arab or Persian.
A collage assembled from fragments of books found in the street.
A fragment of a GEO magazine page showing Yemeni fishermen, formerly kept on the wall of the artists’ Dresden office.
A photograph of Marika riding a bicycle in Berlin, made within a larger one-day photographic series in summer 2015.
A photograph of Marika doing yoga beside the artists’ belongings during a 2015 night on the beach in Cadaqués. It later entered the photographs buried near Moscow in 2018 and shows probable moisture damage.
A found newspaper image of an Indigenous man with a bow is overworked with a thick white acrylic cloud.
A collage combining graphic fragments, material from a Palladio album, and pages from a book of engravings.
A found magazine spread painted white and overlaid with a found footballer stamp image. It belongs to the artists’ attempt to make an image evade its original content.
A printed page sprayed green, overlaid with a round fragment of foil, and marked with a drawn cone.
A Budapest paper carrying the text of Toto Cutugno’s `Soli`. It belonged to a group of sheets subjected to physical treatments, including soaking in the Danube, and was kept on the artists’ door.
Performative installation combining a projected message with objects found on the streets of Karlsruhe. The public source also connects it with the separate installations About Content and About Communication.
A collage of found fragments combining a child’s drawing, an anatomical image, wrestler stamps, and the phrases `Apply glitter to your face` and `House sends delight`.
A fragment of graphic experiments carrying the stamp `Music Does Not Speak`, with traces of oil, acrylic and ink.
An installation/action environment made for the Karlsruhe Academy summer exhibition from a modified exercise-bike construction, the altered exhibition room and About Communication. At the opening the bike was activated by the artists and offered for audience participation; the Work later continued outside the room when the construction was placed on an empty pedestal at the Academy entrance.
Made and filmed during the Karlsruhe Academy summer exhibition within God Invented the Cyclist, the second act of Karlsruhe Academy Invasion, the Work treats reception as an event that precedes permission: the message is already inside the listener before seeing, hearing or understanding can be refused.
A collage of GEO fragments, a postcard from the Uffizi, and remnants of metallic tape previously used to attach images to a wall in Dresden.
A Budapest paper carrying the word `Power` and a drawn bundle of intentionality, made within the artists’ attempts to visualize perception.
A torn magazine image from the stock of old GEO magazines the artists dismantled in Dresden. Fragments from that stock were used both in the Dresden Room installation and in collages.
The sheet combines an unidentified drawing with a wave form the artists later recognize as belonging to the Index of Noise.
A collage of technical drawing fragments and scraps of printed art matter. The exact occasion of assembly is no longer established.
Karlsruhe Academy Invasion is an institutional act by Marika Krasina and Anton Kryvulia, working as Rabota. In June and July 2017, a presentation made at the Karlsruhe Art Academy before they had any formal affiliation prompted an invitation to participate in its summer exhibition. The artists used the resulting access to occupy and alter a room, construct an environment for performance and communication, and place a modified exercise bike at the Academy entrance. The work unfolds through these changes in the conditions of participation: an action produces a response, and that response becomes material for a further action. Drawings, a towel, documents, doors, bodies and the Academy’s name all enter this encounter.
The work begins with an image the artists did not make. They retained a found sheet and added a postcard; the labyrinth, running figure, `Go`, and `This is the end` were already there.
A found fragment of thin printed paper with an image of an island and palms, worn through at the centre. The object is stable; its remembered place of discovery is not.
The video installation captures the artists offstage by the light of text projection during Summer 2017.
An embroidery on a towel reproducing a diagram of the Karlsruhe municipal cultural funding structure. The source diagram had been drawn to explain how art projects were financed by the city.
A video made from the Tidy Room installation in Karlsruhe, where discarded street-found objects painted white served as a surface for projected text. The text names content as the layer that keeps its own apparatus invisible. By making that text depend on a visibly constructed support, the video puts the frame back into the image.
A performative installation at Poly Gallery combining paintings, video projection and discarded household objects found on the streets of Karlsruhe and painted white. The white objects served as the projection surface.
A Moscow performance using Samotryas on 7 April 2017, documented under the phrase/title We Use Your Ears & Your Eyes Now.
Paintings developed through a system of formal invasion: forms multiplied, shifted, smeared, patched and interrupted.
A long turquoise stroke rises diagonally through the pale field toward a red-and-white closed form at upper right. A small rounded tan rectangle sits lower left, while grey, pink and green washes remain dispersed around the two larger structures.
A thick turquoise double-oval structure dominates the vertical canvas, enclosing a field of short brown vertical marks and smaller coloured fragments. A narrow red rectangle near the centre interrupts the repeated interior strokes.
A pale tan angular outline occupies much of the field, crossed near the bottom by a long dark rust stroke. A green outlined form sits at lower right beneath a cyan angular contour, with smaller pink and grey marks held in the surrounding pale ground.
Broad turquoise curves cross a pale vertical field, forming an open loop across the upper and middle left. Denser green, turquoise and pink marks collect toward the lower right, while the rest of the surface remains comparatively thin and exposed.
Angular tan lines run across a pale vertical field, interrupted by a dark mottled block at upper left and turquoise and pink passages below. The lower half gathers into overlapping loops and brush marks without closing into a single figure.
A tall pale field is organised around one elongated olive-brown loop: an oval opening near the top extends downward into a long rounded contour. Small pale-blue, pink and dark marks remain scattered around the central form.
Across a horizontal grey-white field, a large yellow oval mass occupies the left centre while a tall turquoise contour rises near the middle-right. A narrow brown loop sits inside the turquoise form; paler turquoise and linear marks gather along the right edge.
This annual volume gathers conversations about work and performance as an encounter, with photographic pages from the artists’ practice.
A warm cream field is crossed by faint blue-grey and ochre passages, with a large thin white loop running through the centre. A small blue zigzag sits near the lower left and a dark-and-white circular element punctuates the lower right.
Archaeological Committee is a performative expedition by Marika Krasina and Anton Kryvulia, conducted through a self-appointed institution during their travels in Crimea and southern Russia in 2016. With no office, official status or fixed place, the artists introduced themselves as employees of an archaeological commission. The name gave their presence a recognisable purpose. They began registering insignificant things in the landscape as cultural monuments for archaeologists of the future.
Large turquoise loops sweep across the vertical field, overlapping translucent brown, grey and pale pink stains. A compact red form sits near the centre, with smaller black, blue and ochre marks dispersed below.
Brown liquid-like stains spread across the upper left and centre of a pale field, crossed by turquoise outlined loops and a red curved stroke. Thin grey linear marks and smaller coloured fragments extend toward the right.
At a hip-hop gathering in Budapest, Shaky Radio asks participants three deliberately absurd questions about food, religious belief and refugees. The report examines how people respond to a restricted choice without questioning its terms, using these responses to investigate the introduction of political and ideological discourse into everyday conversation.
A Budapest performance / performative environment in which Samotryas instruments assembled from a branch, part of a wooden chair and a decomposed electric guitar were activated in the exhibition space; the assembled objects become instruments inside the situation of listening, distributing musical agency across instrument, environment and listener rather than concentrating it in a performer.
Video related to the Matrix of Six.
Video rendering circumstances of Marika and Anton’s life in Moscow/Reutovo during the Burakova Street period.
A room in Budapest in which Marika Krasina and Anton Kryvulia lived and worked during the 2016 Budapest period, turning the living and working space into a performative installation open to friends. The room was the environment in which Human is a Revolution and the early Samotryas work were made. After the initial residency period, the artists returned to the room and continued living inside the installation for another month.
Samotryas was a month-long performative environment developed in the Burakova Street atelier and publicly announced in February 2016 as a meta-collage. Paintings, sound, projections, photographs, objects and bodily actions accumulated within it. On 2 March 2016, the environment was opened to the public for one evening as the final phase of the month-long work.
An eighteen-minute video made from a prolonged period of drift and presented by the authorial website as a slashing montage.
Paintings held at the edge of figuration and abstraction through semi-open form, keeping recognition in suspension.
A mostly pale vertical field is interrupted by a large white-grey central form, blue and green passages, and several small dark human figures moving across the lower left and right. Thin yellow and pink strokes punctuate the open ground.
A pale field contains a red angular mass at left, a dark grey-black enclosure at upper right and a blue hooded figure near the lower edge. Smaller yellow, green and black strokes sit between these larger zones.
Ok Hologram is a seven-track sound Work / album by Marika Krasina and Anton Kryvulia, released on 26 February 2016 and announced as part of the Samotryas meta-collage.
A large black circular mass dominates the centre-right of a pale field. A blue seated figure faces it from the left, surrounded by smaller green, pink and ochre marks.
A predominantly white field holds separated brush marks and colour masses rather than a continuous scene. A dark green-black arch-like form dominates the right side; a long dark horizontal stroke runs along the lower left, while peach, blue, green and pink fragments remain dispersed between them.
Against a pale field, a long orange ridge runs across the upper centre above scattered blue, green and ochre forms. A white vertical shape, small dark figures and loose fragments occupy the lower half.
A pale field is crossed by scattered coloured fragments, outlined loops and small dark forms. A blue hooded figure sits near the lower right, while a small arched dark shape appears lower left of centre.
This annual volume combines conversations and photographic material, including an exchange at Durykino lake on movement, shared things and artistic form.
A broad white field carries separated islands of blue, green, yellow, pink and brown paint. Small figurative fragments, sprayed passages and dripping marks remain discontinuous rather than combining into a single continuous scene.
Small human figures are dispersed across a broad pale field of white, blue, pink and green washes. Their bodies remain legible amid loosely layered strokes, drips and partially erased colour.
The Things brought a central object together with three parallel stories distributed across the walls, an inventory of stolen belongings and reproductions of a calligraphic work. The room placed the narratives beside one another: Marika and Anton's account of a night in Barcelona, an account from the robbers' point of view, and Sonia Zafra's voice.
Six joint paintings from 2014–2015 preceding the Future Dishes prototypes.
On a pale vertical field, translucent blue, green, pink and ochre passages accumulate around the centre. A small blue hooded figure sits near the lower edge beneath a diffuse cluster of partially dissolved forms.
An index of seventeen things stolen in Barcelona ZOO on the night of 9 July 2015, including brushes, keys, a computer, clothing, documents, notebooks, jewellery, art material and other personal belongings.
Dresden Room is an installation made in the office where Marika Krasina and Anton Kryvulia were living and working in Dresden. The room brought ordinary belongings and living conditions into the same field as paintings, drawings, found printed matter, books, clothes, food, musical equipment and working materials. On 21 June 2015 the artists inventoried its contents in the separate Work 150621_Common Body. Thomas Schmidt photographed Dresden Room two days later, on the Work’s canonical date, 23 June 2015.
Common Body is a list of everything inside Marika and Anton’s room in Dresden, compiled on 21 June 2015 and preserved as a ten-page A4 index kept in an envelope. The room acquires a second body made only of names. The index can circulate the room without moving any of its things.
A printed photograph of a panda sitting in a tree lies on folded brightly coloured textile on grass, surrounded by white daisies.
The vertical painting is divided into two uneven zones: a turquoise hooded figure occupies the upper right, while the lower half gathers pale, green and orange fragments around a dark arched shape. Small black figures and isolated red marks punctuate the lighter field.
A large pale pink head-like form fills the upper half of the painting, bordered by yellow and dark brown. Below it, a dense blue-green and orange field contains a small blue hooded figure and a dark boat-like form.
A six-track album made in Dresden with cassettes and acid, described on the official release as being about what it means to be torn into shreds.
A large pale animal-like figure stretches across the upper centre of a blue-white field, its body interrupted by orange, green and dark strokes. Smaller dark and coloured fragments gather along the lower edge and left side.
An independent video Work that also functioned as projection / screening material inside Chaos Sense Delight concerts and performances. Projection becomes a test of plurality: contours can blur into one visual field without resolving into a collective body.
This annual volume gathers transcribed conversations about nonknowledge, mediation and the art object, alongside photographic documentation.
Musical video made during Marika and Anton’s first period in Pescara, immediately after meeting in Venice.
A wide horizontal field is built from overlapping passages of turquoise, yellow, pink, orange and blue. A dense cobalt mass occupies the lower left, while a red-orange vertical form rises at the right and pale rectangular areas interrupt the upper centre. Drips, scratched and drawn lines, repeated short marks and loose brushstrokes cross the surface; pale violet handwritten Cyrillic text remains visible along the lower left edge.
A large mixed-media painting organised as interlocking fields of saturated pink, green, blue, yellow and orange. Curving outlined shapes, soft-edged colour patches and smaller figure-like or plant-like fragments remain distributed across the surface without resolving into a single continuous scene.
A broad red field occupies the upper right of the canvas; a large blue-violet upright form stands near the centre against pale green, yellow and pink passages, with smaller clustered forms at lower right. The image remains fragmented rather than resolving into a continuous scene. It is one of the first paintings, made by Marika and Anton together.
A group of participants, gathered through social media announcements, was invited to wander through a hilly, forested area near Minsk, producing sounds until they began to hear each other. Relying solely on acoustic signals, the participants followed the sounds and gradually converged.
A videomagazine account of the Bubble Opera institutional intervention at ZKM and HfG Karlsruhe. It follows six performative acts within a year-long artistic project, presenting the artists’ activity inside these institutional spaces without replacing the larger project itself.