2013 - 2015
Art direction, concept, re-creation of costumes
Thirty-three costumes were created in collaboration with the Stieglitz State Academy of Art in St. Petersburg. The extensive reconstruction of the historical costumes from Kazimir Malevich’s first futuristic opera, Victory over the Sun (1913), was undertaken for the permanent exhibition at The Russian Museum and lasted for a period of one year in 2013.
The primary concept focused on historical accuracy, staying true to Malevich’s vision. As a result, the costumes were designedas wearable sculptures, limiting the performers’ movementsto basic actions such as shaking hands and walking. This decision reflects Malevich’s emphasis on technological progress over nature, which restricted “the humanity of future inhabitants”. The development of all the costumes was based exclusively on Malevich’s surviving drawings.
The costumes were transformed into a wearable collection and showcased in an experimental performance. The runway show took place in 2015 at the Russian House of Science and Culture in Berlin. It featured an unconventional staged performance, involving electro performer Heimer, opera singer Yuka Yanagihara, Daniel Dorsch and Paul Brody on saxophone, and an electro-acoustic metallophone performance.
Drawing by Kasimir Malevich: Someone with bad intentions (1913),
The Theater Museum, St. Petersburg
Costume Someone with bad intentions (2013),
The Stieglitz State Academy of Art in St. Petersburg
Drawing by Kasimir Malevich Тhe old Man (1913),
The Theater Museum, St. Petersburg
Costume Тhe old Man (1913),
The Stieglitz State Academy of Art in St. Petersburg
2013 - 2015
Art direction, concept, re-creation of costumes
Thirty-three costumes were created in collaboration with the Stieglitz State Academy of Art in St. Petersburg. The extensive reconstruction of the historical costumes from Kazimir Malevich’s first futuristic opera, Victory over the Sun (1913), was undertaken for the permanent exhibition at The Russian Museum and lasted for a period of one year in 2013.
The primary concept focused on historical accuracy, staying true to Malevich’s vision. As a result, the costumes were designedas wearable sculptures, limiting the performers’ movementsto basic actions such as shaking hands and walking. This decision reflects Malevich’s emphasis on technological progress over nature, which restricted “the humanity of future inhabitants”. The development of all the costumes was based exclusively on Malevich’s surviving drawings.
The costumes were transformed into a wearable collection and showcased in an experimental performance. The runway show took place in 2015 at the Russian House of Science and Culture in Berlin. It featured an unconventional staged performance, involving electro performer Heimer, opera singer Yuka Yanagihara, Daniel Dorsch and Paul Brody on saxophone, and an electro-acoustic metallophone performance.
Drawing by Kasimir Malevich: Someone with bad intentions (1913),
The Theater Museum, St. Petersburg
Costume Someone with bad intentions (2013),
The Stieglitz State Academy of Art in St. Petersburg
Drawing by Kasimir Malevich Тhe old Man (1913),
The Theater Museum, St. Petersburg
Costume Тhe old Man (1913),
The Stieglitz State Academy of Art in St. Petersburg
Ksti Hu
The Berlin-based artist and activist Ksti Hu, who grew up in the Arctic Komi region, operates at the intersection of digital art and sociocultural inquiry. Her multicultural roots and multilingual experiences deeply shape her engagement with language, identity, and culture. Her project, RUDE, acts as a subversive gesture, advocating for the "unlearning" of languages and challenging biases associated with immigration. Her latest works illuminate remnants of her Komi heritage and her bi-cultural identity, delving into colonialism in the post-Soviet sphere. Hu's artistic expression spans from typography to animation. Collaborations, like the one with Nadya Tolokonikova of Pussy Riot where they crafted the entire 3D "PUSSYVERCE" universe, are integral to her creative spectrum. Hu continuously probes and redefines the boundaries of cultural and linguistic identity. Her body of work offers a critical reflection on the fluidity and challenges of self-identification in a globalized world, representing a pro-found, personal re-engagement and revaluation of cultural intricacies.
Photography by Iryna Drahun
Styling by Ekaterina Samorukova
Ksti Hu
Photography by Iryna Drahun
Styling by Ekaterina Samorukova
The Berlin-based artist and activist Ksti Hu, who grew up in the Arctic Komi region, operates at the intersection of digital art and sociocultural inquiry. Her multicultural roots and multilingual experiences deeply shape her engagement with language, identity, and culture. Her project, RUDE, acts as a subversive gesture, advocating for the "unlearning" of languages and challenging biases associated with immigration. Her latest works illuminate remnants of her Komi heritage and her bi-cultural identity, delving into colonialism in the post-Soviet sphere. Hu's artistic expression spans from typography to animation. Collaborations, like the one with Nadya Tolokonikova of Pussy Riot where they crafted the entire 3D "PUSSYVERCE" universe, are integral to her creative spectrum. Hu continuously probes and redefines the boundaries of cultural and linguistic identity. Her body of work offers a critical reflection on the fluidity and challenges of self-identification in a globalized world, representing a pro-found, personal re-engagement and revaluation of cultural intricacies.
Interviews