The interactive installation Laboratorium Suggerere mimics a medical laboratory interior, a walkable space where reality and fantasy come together. Attractive textures, smooth shapes, and colors of biomorphic objects may seem fascinating at first, but with a closer look delight might give place to discomfort. Here, 3D-printed body organs, bones, and veins neighbor abstract art objects made of synthetic materials like plastic, wax, and silicone. These sculptural objects resembling prostheses, body parts, and biological structures are free of identity. As if caught while mutating, they should be seen as a looming beginning of something that can't be fully captured and understood yet.

The artist aims to create an impulse and to establish an awareness of the current development and transformation of health and life sciences. Visitors are invited to sensually capture this artificial clinical space with the sense of touch, sense of vision, and sense of smell.

The artist's new project continues the exploration that she started in the Urban Fauna Laboratory. Once again she turns to the plant kingdom and demonstrates the potential of a brave new non-anthropocentric world. In this project, the main characters are plants that have healing properties and function as communicators between different worlds in certain traditional cultures. The artist previously used the project Bad Seed Renaissance (performance, 2016) to talk about a new civilization where people exist in a state of mutually beneficial communication with wild flora. Her new exhibition likewise focuses on communication between species. The key to its understanding lies in visual meditation on the images of plants as modern icons.

The title of the project refers to the moss Marchantia Polymorpha, the central image in a huge semi-abstract photo mural. The ornamentation of the image both endows the plant with psychedelic characteristics and reflects the complexity of its structure, making it clear that this creature might be different, but equal to a human being and capable of communicating with us. The exhibition also features engraved glasses and mirrors, that facilitate deep scrutiny of images of the agents of the plant kingdom, opening the way for possible synesthesia and understanding of their structure and mutual benefits during communication with them.

air gunAll forms of leisure found at a summer camp are available here, though one might not be able to relax. At the entrance to the gallery, you can play ping-pong, while adding to the paintings which the members of the group had started before the opening. It doesn't look like you could be bored here, especially since one of the artists is firing an air-gun at pillows. The pillows bleed. In the summer camp, the naive and the uncanny, the touching and the teenage violent exist side by side. The SUMMER CAMP also speaks about Camp, where childish maximalism comes along with clueless aestheticism, and the refined artistic forms are covered with sickeningly pink yogurt and glitter.

The North-7 summer camp takes us back to the beautiful and terrible Communist past. Many years have passed since the breakup of the Soviet Union, yet we are still burdened with the memories of that lost civilization. The old Soviet goods, no matter how hard you try to get rid of them, will chase you at your parents' dacha or in a second-hand shop anyway. It even seems like the Little Octobries with butterfly nets still march around the outskirts of Zelenogorsk, like it were yesterday. This nostalgic mood is unlikely to threaten us with discomfort. In one case, the nostalgia for the placid years of the Brezhnev era people will be shared. In another, the carelessness of the past will evoke mixed feelings.

One only has to feel the difference, savoring the post-Soviet melancholy. Unexpectedly, the summer vacation bring us up against the weighty, rough, visible reality that goes unnoticed in the hustle and bustle of the usual working life. You were just about to play some basketball (there is a hoop and a ball upstairs), when the tattoos on the skin of a creature sprawled in a beach chair catch your eyes. The world of modern tattoos is intricate and naive: someone fancies a cartoon character from the '80s, and someone prefers a logo of their favorite beer brand. Secret attachments and dreams are presented in their primeval beauty. The campers are creepy like the bowels emerging from old jackets and raincoats nailed to the wall.

ÁKKTA, Egor Kraft's largest-ever presented solo show, brings together the artist's key projects of recent years, previously shown at various international art institutions. Kraft's ongoing research "Content Aware Studies" is the central focus of the exhibition. Egor Kraft's multidisciplinary practice has incorporated AI, video art, and interventions, as well as traditional media. He explores the blurred boundaries between the real and the virtual, creating narratives to question how human irrational subconscious reasoning will co-exist with a ubiquitous impartial and quantitative machinic agency rendered by the technologies of today and tomorrow.

For his latest project "Content Aware Studies", Kraft produced a series of marble copies of ancient Greek and Roman masterpieces combined with 3D-printed outputs of neural nets. He used machine learning to reconstruct lost fragments of sculptures and friezes. By mixing classical aesthetics with uncanny computer-generated elements, Kraft invites speculation on machine perception of human culture, examining the possibility of collaboration with AI in the creation of meta-archaeological objects. The project offers an opportunity to step back from the machine learning hype and contemplate the broader anthropological perspectives of AI as a speculative tool for history and knowledge production and examine the ethical and aesthetic implications of such actions.

The word "Ákkta" comes from a made-up glossary for the project "AirKiss", which was produced in collaboration with Alina Kvirkveliya, Karina Golubenko, and Pekka Airaxin during The New Normal program (2017) at Strelka Institute for Media, Architecture, and Design. "Air Kiss" is being presented at Anna Nova as a five-channel video installation.

"Air Kiss visually and poetically narrates an endpoint of governance through artificial intelligence; a hypothetical in which there is no longer any distinction between a citizen's subjectivity and Plasma, the adaptive system which continually modulates and re-calibrates collective rule, morphing into the citizen's inner voice and personal psychotherapist", Daniel van der Velden (Metahaven).

In addition to new projects earlier works by the artists are presented: "Kick Back Intervention" (2014), on­go­ing on­line in­ter­ven­tion "New Color", started in 2011, and documentation of kinetic sculpture "I Print Therefore I Am" (2014).

Continuing the tradition of conceptualism, Arkhipov makes up texts, documenting the story of these objects. Kandinsky Prize nominee (2013). Participated in the Triennial of Russian Contemporary Art (2017).

In the context of the interdisciplinary project 'Homemade Russia', the artist collects handmade objects of utility (from 1994). It's important for Arkhipov that these objects are unique and were made from available materials which weren't for sale.

Thie exhibition presented highlights from Vladimir Arkhipov's collection of unique artifacts. Objects made by ordinary Russians inspired by a lack of immediate access to manufactured goods during the collapse of the Soviet Union.

The archive includes hundreds of objects created with often idiosyncratic functional qualities made for both inside and outside the home, such as a tiny bathtub plug carefully fashioned from a boot heel; a back massager made from an old wooden abacus; a road sign used as a street cleaner's shovel; and a doormat made from beer bottle tops.

World-renowned artist Ilya Kabakov is regarded as a living classic of contemporary art which was confirmed by countless exhibitions in Europe and the United States. His famous "total" installations are well-known around the world; they have been exhibited at leading art institutions like Pompidou center in Paris, the MOMA and the Guggenheim Museum in New York, and at the Venice Biennale and Documenta in Kassel. Since 1989 his wife Emilia has joined him as they started working in collaboration.

'Monument to a Lost Civilization' was first displayed in 1999 in Palermo and includes 37 installations, consisting of 140 individual pieces, collages, and artists' texts and documents. Ilya Kabakov: "This has been my principal dream over the last ten years – to set up a monument to the civilization where I was born, where I studied, and where I lived: the Union of Soviet Socialist Republics that no longer exists. I'd like to create an image of that place, not an objective one, of course, but the way I saw it and felt it, which is highly subjective. My longing got even more imperious after this civilization that was meant to last for ages fell apart and vanished so abruptly and promptly for its inhabitants". 'Monument To A Lost Civilization' was intended by Ilya and Emilia Kabakov to be exhibited underground in a windowless space. Viewers' confusion was supposed to impart the sense of the Soviet Union.

One of the most expressive and spontaneous European artists has changed the Red October Gallery interior drastically in just three days. Meese is famous for the fact that most of his projects are site-specific. The artist kept the idea secret. The only thing certain about the exhibition was its title: Erz General Red Parsifal.

Meese lives and works in Germany, He works in almost every genre of art: painting, sculpture, video, installation, and performance. He participated in Berlin biennale in 1998, his personal exhibitions were hosted on every continent. Works of the artist are in the collections of the Pompidou Centre, Saatchi Gallery, and other institutions. Meese designed the sets for Wolfgang Rihm's Salzburg Festival Dionysus and he was also chosen to direct the opera "Parsifal", for the Bayreuth Festival 2016.

The German artist could be called an extremist in art. In his work and numerous manifestos, Meese is promoting the cult of art and predicts its dictatorship on the Earth in the nearest future. The large-scale installation at Red October reveals all sides of Meese's personality. Behind the meters of bubble wrap, one finds a great charisma and insane energy inherent in all Jonathan's art.

The title of the exhibition is meaningful. The Erzgeneral is the Evolution leader, the Metabolism-Soldier of Art. The Word "Red" stands for Total Alert, being totally fit for Art duty, for (R)evolution, red is always the color of Love, Fight(red, white, black are the three colors of precision), and power. There is of course also the reference to Red October, the Space of Total Art, the Room of Laws of Art… Parsifal shows the future: Dictatorship of Art.

"Dogs' Life" is a project by Alexander Brodsky, Semyon Faibisovich and Olga Chernyshova.

In the early 90-s, many Russians used to leave their children in orphanages and beloved thoroughbred dogs in the streets. Those dogs' offspring that survived formed a steadily specific and motley community of homeless creatures.

The idea of creating a series of works about their life – a kind of hymn to the dogs' freedom – came to Semyon Faibisovich in the early 2000s. While the artist was gathering the material and creating paintings, dogs vanished from the Moscow landscape. Dog hunters were the main reason for that. Thus the hymn of freedom turned into the requiem for victims of cruelty towards animals.

In the philosophical and allegorical installation by Alexander Brodsky, the same theme of requiem is original, as the installation's concept came to the artist after the dogs had already disappeared. It is a representation of an abandoned canine concentration camp.

The video installation by Olga Chernysheva is full of optimism. Several screens are broadcasting how thoroughbred well-groomed dogs with buckets in their mouths are performing in order to raise funds for their unfortunate brethren in shelters.

One of the main ideas of this three-part project is to provoke a discussion about the lack of kindness and animals' deprivation of normal life, or even just a life, because of human cruelty.

The idea to create an Ark belongs to Sergey Bratkov, who created both a sketch and a plan. The role of Noah, who chose the set of artists and their works was played by Mikhail Ovcharenko. There are different styles of contemporary art exhibited.

The artists participating: Evgeniy Antufyev, Oleg Dou, Ivan Gorshkov, Arseniy Zhilyaev, art duo EliKuka, Egor Koshelev, Olga Kroytor, Vlad Kulkov, Taus Mahacheva, Misha Most, Valeria Nibiru, Anna Parkina, Tatyana Peniker, Alexander Povzner, Anastasia Potemkina, Sergey Sapozhnikov, Emir Emir.

The air is filled with talks about the end of the world on December 21, 2012. On the eve of the Apocalypse everybody inevitably draws conclusions. Who will be saved, and what will be saved? "Not everyone will be taken into the future", – Ilya Kabakov once said. Whose works, of which artists of contemporary Russia will survive any catastrophe? This is what "Reload" is about, a group exhibition of young Russian artists, which opened on December 18 in the Red October gallery.

Time eliminates everything which is superfluous. It's the best filter for art as well. It determines the artist's contribution to the world of art and his influence on our future. Some Russian contemporary artists have already gained the status of living classics and have been internationally recognized. However, among the young generation of artists, there are those, whose works are worthy to become a part of cultural heritage.