● Selected Work

CARTOGRAPHIC (SPATIAL) STRUGGLE OF PERFORMING CORPOREALITY

Installation, Exhibited in “Part-Time Polyphony”: University of Wisconsin–Madison First-Year MFA Exhibition, USA, 2026

A multi-screen installation featuring recordings of site-specific performances captured through 360° panoramic imaging and uploaded into Google Maps. Screen-recorded as navigable panoramas within the platform, the work places the performing body at the threshold between two systems of power: the disciplinary architecture of brutalist Belgrade and the soft infrastructural power of platform capitalism. The recurring glitch and distortion within each image and the dispersed, partially present body of the performer within mapped space mark the point where the platform establishes new embodied realities.

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REALS

Performance in George L. Mosse Humanities Building, University of Wisconsin–Madison, USA, 2026

The work ponders how algorithms render visible the otherwise invisible affinities of weak social ties. A like or a repost becomes a token through which another person is encountered and recognized; algorithms produce unexpected intersections between otherwise loosely connected social worlds.

During the performance, the artist scrolls through Reels while her feed is projected live, turning a private stream of algorithmically mediated attention into a shared space. The work spotlights how platforms mediate how we come to know one another, and what new modes of intimacy are emerging within an increasingly accelerated social life.

THE HOURS THAT HOLD THE FIGURE AND THE FORM

Performance, as part of the “Suspensions and Disbelief” show, University of Wisconsin–Madison, USA, 2025

The performance traces a body caught in the rupture of global digital connectivity; delay and disconnection reshape geography and reconfigure corporeal experience. Network infrastructure inevitably becomes an extension of the body in under contemporary conditions, consequently its failures become forms of exposure: connection reveals itself as highly contingent and conditional.

Moving through a tangle of hardware that sits on the same plane of materiality as the body itself, the performer makes latency, fragmentation, and loss physical. Motion, weight, and obstruction are overly present. When technology stops functioning as an apparatus of connection, their prosthetic relation to the body becomes one of containment and disablement. Within that suspension, agency destabilizes, and citizenship exposed not as a guarantee of legitimate place in the world but as a source of vulnerability. An uneven framework determining who gets access, mobility, and belonging, and who is paralyzed by the infrastructure of connection.

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DISPERSED AGENCY

Performance on “While Feasting, The Wind Whispers” Exhibition, Devyatnadtsat’ Gallery, Moscow, Russia, 2025

Performance unfolds through a dialogue between body and garment. Movements emerge from the tension between the performer's physical presence and the inherited symbolic weight of the clothing item she inhabits. The sweater—created by artist Ekaterina Serikova—acts as both constraint and guide, shaping the body's gestures in space and time.

Inspired by theorist Zsófia Kollár's reflections on how identity forms through objects that carry and distribute agency, the work suggests that subjectivity is never fully contained within the body; it is continually negotiated through the things we wear, hold, own and move through.

PALE LIGHT

Performance for the “Emotional Tissue” Online Exhibition, 2024

The work explores the digital replica as a body detached from its physical anchor, formed through the memories and emotions we delegate to social media archives. The performance approaches this through the lens of interpassivity: the delegation of an experience to an external agent, allowing something to be felt, performed, or preserved on our behalf. Social media thus becomes not simply a tool of representation, but an active repository through which parts of our subjective lives continue to exist outside the physical body.

In the performance, the artist synchronizes with the movements of their digital replica, encountering memories and emotions once embodied but now outsourced. By re-enacting what has been delegated to the digital body, the performance reverses the logic of interpassivity, bringing those displaced experiences back into physical presence and producing a surplus of experience.

THE COMMON BOX

Performance at Sochi Box Tree National Park, Sochi, Russia, 2023

The Common Box unfolds within the relic forests of Buxus colchica in Sochi National Park, where the invasive box tree moth has transformed an ancient ecosystem into a landscape of ecological uncertainty. The performance works through the fantasy of the human body as a self-contained entity, separate from its surroundings. Wrapped in transparent film, the performer appears as a body extracted from its “natural” context. The boundary between self and environment begins to dissolve, revealing the nonhuman quality of human body.

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HUMAN EXPERIENCE

Performance at Garage Studios (Garage Museum of Contemporary Art), Moscow, Russia, 2023

This performance explores how the human physique is subjected to dominant political narratives and affected by technological progress. The position of the performer highlights how the human body is reduced to a mere utility, functioning as a computer server in supporting systemically installed oppression. The performer’s attention is confined to the narrow screen of a smartphone, ignoring the body's role in our digital experiences. The image of melting wires, represented by burning candles, works as a reminder of the tangible reality of the virtual realm.

I TALK 4REAL

Performance, Moscow Museum of Modern Art (Vadim Sidur Museum), Moscow, Russia, 2023

The work considers how objects become material anchors for otherwise unstable digital meanings. Engaging with objects from Alex Lemish’s 4REAL, the performance transfers their media-born narratives and cultural tensions from object into corporeality. Through a performative address, the artist speaks through and embodies the objects, turning material signs of digital culture into a temporary, living body.

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CHAINS

Performative installation, ART4.RU Contemporary Art Museum, Moscow, Russia, 2022

Handcuffed to a painting by Aleksandr Lemish, the performer becomes an accessory to the artwork — an attached body, an appendage, a living extension. The performer is transformed into a part of the painting's material apparatus; the handcuff becomes a literal bond between object and body. The artwork is not as an autonomous object, but as a site that can incorporate bodies, attachments, and relations.

DARK NATURE

Performance, Bard College, NY USA, 2019, co-authored with Alina Budnikova

In this project Joseph Brodsky and Timothy Morton merge to explore the poetry of nature without human presence and the possibility of nature in digital space.

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MAPS

Video art, Bard College, NY USA, 2019, co-authored with Alina Budnikova

Maps is a collaboration with art historian Alina, developed while we were studying abroad for a semester at Bard College. Using Google Maps and 360° Street View, we explored how digital mediation can become a way of connecting to an unfamiliar physical place. By passing the surrounding landscape through a familiar, already-domesticated digital environment, we sought to find a sense of belonging and establish a connection with the geography around us.

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