Natalia: Some pieces are endless. We don’t understand where they begin and where they end. For
example, the Mandelbrot set, easiest example.
Olga: The whole name is “Knitting And Crocheting The Mandelbrot Set”, we transferred the
Mandelbrot set into scheme for knitting and asked women, old ladies, to knit it. And because the set
is infinite, they will knit it forever.
Alexey: They are knitting the additional set that is more infinite.
Natalia: There’s nothing more infinite!
Alexey: It’s so unreal to complete it, it’s hard to imagine, not only from the human point of view.
Olga: On the other hand, if we talk about artworks where we don’t expect it to end… When do we
know it’s dead? Not when it’s physically destroyed, because that happens all the time. When the
project looses it’s meaning for us, or when its context is changed so much because of something
we couldn’t predict, then the project doesn’t exist anymore.
There’s a grandmother at the exhibition, that sits there and knits. Then she’s changed by another
It a performance, and the audience can’t join, because the person should be instructed previously,
because in the hands and the head of the performer, there’s a huge amount of information, they
can’t be replaced by anyone.
For example, “Beklinichevo”, when it hasn’t stop existing for us, but the context has changed so
much in the most awful way.
We have a very old project called “Belkinichevo”, that transfers kilometers of birches into kilometers
on speed-o-meter, so kilometers of birches from small Ural village Beklinichevo, every time
someone watches the video, are transferred into kilometers on speed-o-meter, that way the virtual
and mathematical takeover of the territory by the birches takes place. Belkinichevo is endlessly
expanding. This meant something completely different to us, but now, when in this new time we
were asked to exhibit it, it had different meaning