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Photo documentation of the performance “Such a moment” in Garage museum 2025 - 2026
Photo documentation of the performance “Such a moment” in Garage museum 2025 - 2026
Photo documentation of the performance “Such a moment” in Garage museum 2025 - 2026
Photo documentation of the performance “Such a moment” in Garage museum 2025 - 2026
Photo documentation of the performance “Such a moment” in Garage museum 2025 - 2026
Project by 0331c «Such a Moment» created specially for museum «Garage».
Exposition 2026
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 1
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
Exposition 2026
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 1
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
Exposition 2026
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 1
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
Exposition 2026
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 1
Acrylic enamel primer on paper
Courtesy of the artist
2025
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
The sculpture by Vadim Sidur “Inquisitor” faces the sculpture by 0331c “Dance” in MMOMA museum.
Curator of the exhibition Gleb Glonty
Smart Home 2025
Sound Art in the Museum Space
In the Renaissance era, with its resurgence of humanism, thetriad ‘being — knowledge — opportunity’ became
a metaphysical core that connected a human with the universe. At that time, still deeply rooted in classical knowledge, the perception of opportunity emerged within the experience gained through copious and careful repetition. Learning happened via observation and perfection of everyday rituals, which created a holistic image of the world with seemingly unbreakable bonds between different layers of reality.
However, today this triad is being radically restructured. Opportunities are no longer a consequence of knowledge rooted in being. They become an autonomous force,
a creative process that simultaneously shapes both knowledge and existence. This process blurs the traditional boundaries of reality and turns into a machine that spills into new areas of human activity and sets the vector for further development.
In the world of digital technologies and dynamically changing economic systems, opportunities become
a motivator and a tool that is not related to reality directly. Creative and academic processes update knowledge faster and faster, and the emerging layers of being steadily offset traditional ideas about the World. The basic structures that served as foundation for human activity are being replaced by new ones, continuously blurred and transformed.
This fluidity affects key assessment categories, including the concepts of efficiency and acceptability, which become dynamic and variable. Because of this fluidity, each new window of opportunity seems to justify the preceding one, becomes the foundation for subsequent changes, thus creating an endless cycle of transformations where the boundaries between the possible and the real are erased, while knowledge and being become dynamic structures emerging in the process of endless becoming.
Gleb Glonti
Project by 0331c «Such a Moment» created specially for museum «Garage».
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 2
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 2
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 2
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 2
Acrylic enamel primer on paper
Courtesy of the artist
2025
Project by 0331c «Such a Moment» created specially for museum «Garage».
The works from the series Such a Moment were specially created for Garage inside the Museum building. Performers in protective suits, including the artist, stood in front of a blank sheet of paper. Two fire extinguishers mounted on a moving platform travelled rapidly along the eleven-meter work, spraying acrylic enamel primer. It fixed the contours of the figures, turning the people into reverse stencils.
The artist transferred the fire-extinguisher graffiti technique, which he was one of the first to explore in Russia, from the street context into the institutional space. Paradoxically, 0331с’s works on city walls, which risk being painted over by municipal services, are in fact more fragile than works on paper shown in a museum setting. This raises the question of how (and which) gestures and statements are preserved and disappear.
The artist is interested in group compositions: he arbitrarily chose examples from art history —ancient scenes on vases from the 8th–6th centuries BCE and Eugène Delacroix’s Liberty Leading the People (1830). Such a Moment ironically points to the closeness of different visual cultures through the specific conditions of its creation, the conventionality of repetition, and the discursive marker in its title. Propelled under pressure, the paint reproduced familiar images but captured the intense experience of the present moment, as revealed in the voids left where the bodies of the anonymous performers had been.
Sheet 2
Acrylic enamel primer on paper
Courtesy of the artist
2025
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