'Hello, my name is Vera Evstigneeva. I have been engaged in photography and painting since 2014. I started studying sculpture and jewelry art at 2018. At the moment I am working on book, based on 'Birth' photo project. Basic concept concerns me as an artist are problems of self-identification of my personality through the reflection and living social problems through art. The subjects of my works are based on reality, feelings and my own reactions over external environment.'

'My artistic practice and the academic research that underlies it are determined by my belonging to the first generation of the Russian Federation. I explore the post-soviet space, where, according to Maya Turovskaya, " they thought that after the Soviet the Russian will return, but what returned was dead". (De) (re)constructing a dialogue with my own grandfather, who, as a Komsomol organizer, was in charge of ideological control, I adjust the methods of approaching ideology, traditionally associated with the opposition consciousness, to video production: meta-ideologization, deconstruction and detournement.'

'The main subject of my works is the display of diverse forms of life. Since a man has anthropocentric view, he attributes life only to that which is similar to him. The concepts of living and inanimate nature are very conventional, and philosopher Timothy Morton in his works on Dark Ecology calls for refuse of any separation of the World. Life is presented as in animals, plants, so as for in spoons and computer programs.'

'I'm a female artist and poet. I am interested in feminist art, and I also investigate the relationship between image and poetic text, trying to show them as equal structures of the whole. I am excited the topics of objectification, gender violence, gender stereotypes, and cultural clichés, that related to it. I am also interested in working at the intersection of visual and poetic, and I try to expand the sphere of existence of modern poetry. In my works I combine poetry and contemporary art, the search is conducted in different formats: zines, books, graphics, performative reading of poems, audio components in installations.'

'In my projects I use such visual materials as installation, sculpture and graphics. The works cover the relationship between materiality, Economics and technology: how Economics and technology shape physical and non-physical reality. The key principles of the work are mythologization, mysticism and work with post-history, on the ruins of which a "new life world" is born. I am looking for the points at which semiocapitalism meets materiality.'

'I am the artist, who investigates the human inner structure, frequently working in the field of intuitive self-expression, exploring the links between natural, animal and conscious origins of human. In my works I adhere to honest, frank 'childishness' and try to abstract from the previously seen experiences, being at the point of endless present, where every time I discover the new ways of expression.'

'The contemporary way of life has got the superficiality in how people perceive life: the reckless urbanization has become our new aesthetic and realty. The endless flow of information and daily routine, which carries us, makes us forget the contemplation and appreciation of ordinary things. My works carry the very simple desire to keep our inner child, his sincere hopes, dreams and aspirations, which are represented through pure and untouched by man, almost utopian scenarios. In other words, back to the origins.'

Lidia's projects explore communication, it's imperfections and gaps arising in various types of interactions, cases of failures and losses blocks of information. The main focus of her work is in different interferences, distorting the broadcasting signal through information channels. The topic of communication is developing through non-verbal processes of transmission the information using body, senses, gestures, voice. The actual practice of the author is based on research of the possibilities of transmission information flows using various movement practices and dance.

'My projects appeal to the themes of material culture, everyday life experience as well as to childhood and maternity. I work with such media as video, photography, embroidery and mixed media. My artistic interest concentrates on how different things and phenomena become values for a person. In my investigation of everyday life, I draw attention to experiences and practices that we have come to regard as unimportant and meaningless. I am especially interested of the routine reputedly actions, as well as the transfer of these actions to someone else's ambience. I am also a member of the Roi performative-group.'

'I dialogue with a viewer through drawing, painting and ceramics, connecting these with phantasmagoric objects from soft materials. Creating specific, both friendly and threatening objects I am putting on a kind of show where time seems to freeze.'

'I am interested in psychoanalysis in the post-digital age. I work with variety of media: installation, video, objects, drawing. My current project is based on a covert surveillance over the other artists of the Open Studios.'

'I work with the problem of overproduction. Through the operating with objects made from 'husk' of consumerist world I research the design of social, political and economic ties in which I exist.'

'I work in feminist discourse. The focus of my research is reflection about the woman, her self-awareness and her place in the contemporary world. In the Open Studios I work on a series of cycles devoted to the woman of the future.'

'I do video art, installation and performance. In my works I explore my personal experience, thinking such themes as feminism, objectification, violence, physicality and the image of God.'

'I work with installation, performance, drawing, insta-art, illustration, contemporary dance, music. At the moment I work on a new project devoted to the issue of memory.'

'I am a visual artist, working with painting and video. My interest now is focused on reflecting new symptoms of time through painting. I also collaborate with contemporary dancers, choreographers and create multichannel video.'

'I work with theme of memory, researching the traces of Soviet culture through the prism of gender and its deconstruction in feminist discourse. I went in for painting since this medium is historically connected with mythologization, but I enrich it with cinematographic techniques of editing and seriality.'

'I work with a plane which I transform into a volume. Painting becomes the material for future sculpture. First, I create a painting, achieve the final result on the plane and then warp it. Like a sculptor I mold volume from a painting with quite a rebellious, barbaric (in relation to painting) way, in contrast to a tender treatment I give to a surface of a painting while working on it. This way I destroy the structure of a painting subduing it to the volume. The form imbibes the painting, which makes the painting more abstract, and turns into a sign. The plane breaks, distorts, rebirth is happening, paint bursts somewhere not able to endure all the fractures. Facets, folds, layers, knots in which the plane swirls entangling the contents.'

'I work with different media, primarily photo, video, objects, installation, painting, drawing, poetic acts. My artistic practices are my insights, enlightenments, inner rituals, musings and fantasies. Art for me is something that can take a person higher and even a bit upper above the routine, and in my works I try to achieve this effect so the viewer gets a new experience, sates mentally. "I believe in the truth of the inexplicable, in the common sense of stones, in the lunacy of flowers" (from the poem of J. G. Ballard What I believe).'

'I am a street artist. The main space of my art is the city. I work with the context which is given to me by the city and the place where I work. Most of my works somehow critique the existing situation in our country (and I work primarily with local, Russian context). I try not only to research and critique sensitive topics, but also ironically conceptualize them, bringing the attention of a viewer to a certain question with the help of understandable and ironic presentation. Most of my works are drawings. But I am also interested in video works and photography.'

'I graduated from the Studio of monumental art of the Surikov Institute. At the moment I work as multimedia artist and define my art practice somewhere between painting and video art. I am interested in the topic of cognitive distortion; searching of a new sense of time as a volatile variable; topic of emptiness as a vital part of space; perception of body apart from erotic context.
I work in different techniques, giving preference to natural materials: stones, clay, asphalt, metal, sand and glass.'

'I work with painting, video, objects, sculpture, graphic. Last project System. Antibiosis researches the place of a human in the anthropomorphic systems, new project RED LINE focuses on exploring temporal-spatial and mental boundaries.'

Tanya works with sculpture and painting. She researches problem of non-traditional beauty, distinctive individuality, women's life scenarios, motherhood and aging. Author creates concise forms, in order to achieve maximum expressiveness by minimum means of art.

'My art practices include a variety of mediums like paintings, objects, animation and other, but my main artistic instrument is absurdist humor and playing form of interaction. Most of my works are devoted to jokes, embodied in visual or performative sphere.

Text also connects my practices together. Being a representative and a researcher of Russian culture I consider it to be a culture of Written word and Literature. I admire art of Moscow Conceptualism and artists who work with text in visual frameworks.

My course of "Creative thinking" helps me to not lose a fresh view of a child on the world: keeping this point, not taking everything too seriously, joking and being open in order to explore the reality as much as possible. I want viewers to interact with art and stand against traditional museum attitude "don't touch, don't come close". I give a viewer opportunity to touch, smell, manipulate the art work. Humor, text, childish outlook and interactivity are the keystones of my practice, but I don't chain myself to them and am always ready for new experiences, for example, exploring and working with scent-installations and performance.'

'As the main sources of inspiration, I can name my own childhood drawings, Manga and music. As the leitmotiv I consider development of my pictorial language.'

"Mostly I work with acrylic or oil techniques on canvas. I try to apply such artistic means as,
simplification and idealisation of forms, where methods of minimalism are used: space unloading and monochrome.
I am fascinated, what if you take away a person or an object (it could be an architectural
construction, an object or a fragment of ornament) from the context of time and the cultural state
in which it was originally found? The same element or a figure could acquire a new meaning or
lose itself entirely, disappearing in some cosmic vacuum. On the other side, it could get some
archaic meaning that is clear to us, despite the gap in space, time and cultural distance.
Any object that I obtain to illustrate, I want to set to zero and forget about its historical meaning,
leading it to some common forms that everyone can understand. This is due to my desire to see
the full picture. However, the impossibility of reaching a "general view" often leads my work
towards fragmentation, to some extent. Seeing only a partial side, I try to guess through it the
rest and fulfill the gaps. Sometimes these gaps I fill in with ornaments, as a set of simple
symbols, to which, ideally, any image tends to reach. Ornaments bring to my work some
decorative side, though these are more of a method to structure the space and dimension of my
canvas, from which the other forms and even volumes emerge."

'My aim is to explore the culture of metamodern. The term 'neo-romanticism' as a
definition of post-modern mood of a culture, could be explained through tiredness of society
from deconstruction, irony, relativism and nihilism of post-modernism, going back to lost
sincerity and universal reality. Now there is an opportunity to look at mythology and religious
narrative from a different perspective, which will fulfill the meaning of phrases 'timeless' and
'all-encompassing'. I have my own way to express actual and evil mythology. I want to move
away from postmodern trend and reach proto-modernist art, which sends away to transcendence,
through a cyberspace prism. Unlike artists in romanticism era I am not trying to take away the
audience from a gloomy reality, in contrast I emerge my digital characters into a series of
sorrowful truth that surrounds us.'

"I work in various techniques, such as painting, fresco, mosaic, installation. In my work, I use stone, concrete, metal. My research is related to the process of creating fictional spaces. Often this process derives from the collaboration with architecture, art and the external environment. One of the main themes in my work is a "pause". "Pause-emptiness" is an artistic term that denotes the amount of unfilled space in a work. It is interesting for me to consider "emptiness" as the main habitat of a modern man, despite the apparent filling of the voids with the help of mass media and new communications. One of the first projects to reveal the theme of "emptiness" in art was the exhibition "Magister Dixit?", in a form of a dialogue between two artists: me and George Morandi. Here I took the right, analyzing the artist's work, to reveal the poignancy, sharpness of the composition with the help of stone and wire. Next was the project "Among the stones" in the Ark gallery and the exhibition "In the transparent air of concrete", connected with the urban landscape, in which I used the examples of a mosaic of the Middle Ages (Roman, Florentine, Venetian and Byzantine mosaics) to create landscapes of the modern times. The main language of the spatial outline was the use of a "pause-emptiness", not only in the paintings but also in the exposition of the gallery. Now I am working on a project in which I set myself the task of designing an image of an urban landscape with elements of the construction of children's playgrounds. To create an imaginary city or a whole phantom world of my childhood memories, and maybe not only mine… This project is a continuation of my work on creating spaces using the "pause-emptiness"; in this case, there is a dialogue not between the era and the artist, but between visual series, pictures passing before our very eyes."

'I try to create a movie, where canvas and other materials serve as a creative tool instead of a
motion picture, for adapting the plot. Work begins with the story design and plot development,
followed by a visual personification of the characters, where the whole thing comes alive. My
main target is to express an atmosphere of the story, within my work. Characters of my story can
be both: fictional cartoon creatures and ordinary people. Aesthetically I am inspired by the comic
books, but unlike the superheroes in it, characters of my stories are not idealized. I perceive
comic books as a way of an artistic language, which really interests me. Characters of my stories
are simplified for the convenient perception of audience and could be identified with the
viewers' character, where speech balloon are occasionally used to convey thoughts and
expressions. The work is filled with many significant details that gradually join together and
transform the viewer inside the narrative and its coherent world. The format of the painting is
influenced by the digital space, which I use half of my entire conscious life; the reality recreated
on the canvas seems to be artificial. The prototype of created world is an American reality, as the
homeland of a comic book. One of the most important attributes of the space is a luminous neon
advertisement. Fluorescent paint allows simulate an electric light.'

"Since 2012 I have been creating installations mixing porcelain elements with old glass, metal, wood and new constructions. I refer to a kind of dichotomy and depart from physicality using the most recognizable physiological forms and transforming them into gloss of the glazed surface, into a reflection on a polished wall, into a perfect artificial object. When I am creating a work I am transforming into an alchemist in his laboratory, where I am working with transmutations of surfaces in accordance with the laws of the nature. To achieve the perfect shiny and matte surfaces, I repeat all the stages of the classical porcelain technology, but I work with them as with instruments of "modern art." This glamorous presentation allows the viewer to glide over the work surface, plunging into internal narratives. Infinitely multiplying the elements, recreating the world of baroque illusory tricks, I let the "viewer" in the labyrinth of my own associations, where the time I spent on creating an art object can turn into shards any second."

"In my artistic practice, I use various media to convey the message. The main themes of my practice are the architectural construction as an existential shelter and the idea of death and its manifestation in material culture.
One of the main means for me is painting, itself carrying the idea of dilapidation and illusory art. In this, in my opinion, there is the idea of the death of material culture as the autoreferentiality of contemporary art. Painting becomes for me an opportunity to problematise illusiveness both in the medium itself, and in the visual arts in general. The architectural
design, concealed and manifested at the same time, is used by me as a fixation of the theme of the pictorial construction in the picture and focusing on the heritage of avant-garde constructivism in the modern context.
Using a complex trajectory of the viewer's view when building an exposition as a total installation is also an important technique in my work. In my practice, I strive to understand the legacy of the history of art as a material testimony and to discover new ways of reassembling the exposition space to raise the questions of representativeness and its transformation in modern times.
My first project «Is that all eternity is?» was devoted to the theme of elusive architectural form in Russian and Soviet literature. With the help of a large pictorial installation, I immersed the viewer in the world of "Russian death" as a dark hut from Svidrigailov's monologue in "Crime and Punishment" by Dostoevsky, from where the name of the exhibition is taken.
In my next project, "Questionable basis" I continued to study the topic of unstable construction as a form that reveals the functioning of an autonomous picture in the context of representativeness. In this project, the theme of doubt and dilapidated representativeness in the modern world was manifested in the construction of the exposition itself, where the viewer came from the wrong side of the picture-installation.
The third project "The Unfit place" was devoted to the idea of the death of a language through the representation of a shattered surface. With the help of a total installation, which included objects, video, graphics and sound, I created a situation of immersing the viewer in the process of "picking" the surface. Objects like burned architectural structures or
insurgents, in the last attempt to acquire their meaning signs, created a semblance of a decayed language map, as a structure of signification, in an attempt to break through the
barrier and get to the bottom of things."

Maxim is a graffiti artist developing his own style called "optical dualism"

President of the Parisian Le Wonder, artist and sculptor. Made a project called "Only though man men survive" during his time at the Open Studios. It was installed in Muzeon sculpture park in the beginning of April and had a short life of about 10 hours in total. An empty pedestal, fully made of snow, perfectly fit in the cemetery of sculptures which are probably still waiting for their time to come.