Viktor Misiano


    ONCE IS NEVER ENOUGH. Not, at least, in the work of Olga Chernysheva, whose imagery slowly unspools in time, elapsing via repetition or successive transformation. Indeed, Chernysheva is literally an animator. Trained in the discipline at the Soviet All-Union State Institute of Cinematography, she traffics in both static and moving pictures as well as the blurred region between them—with resonant implications for media, art history, and the larger cultural scenes in which they unfold. In the video Untitled. Dedicated to Sengai, 2008, for example, a woman stands in a crowded Moscow square, selling

  • Viktor Misiano

    IN 2005, THE RUSSIAN ART SCENE was marked by encounters with official politics, money, and the media, which taken together constituted a confrontation primarily with power. The year began with the first Moscow Biennale and ended with “Russia!” at the Solomon R. Guggenheim Museum in New York. The Putin regime, with its mania for absolute control, finally accepted art as an essential element in its cultural and ideological program. This year capital, too, collided with art’s commercial spaces: In the fall, the galleries that were created at the dawn of the economic reforms and survived the difficult