Nonknowledge Zone: Now
Time either does not exist at all or barely exists.* But it seems, that we don't have time now to think about time anymore. Stop. This thought itself is about time, and we have denoted it by the word Now. How long does it take to read it in such a way that Now matches its meaning? *Aristotle
Shortcuts (Six People)
The shimmering content of the act makes its materiality invulnerable. Transferring a place to another, the actor leaves the structure unchanged, but at the same time carries it with him in the form of an impression. The structure simultaneously remains unchanged and expands with the change of actors.
Nonknowledge Zone: New World
New World is a performative expedition revealed by Rabota during the COVID-19 pandemic crisis in 2020 at uninhabited badlands. Finding themselves in relevant circumstances, Marika and Anton discovered the virtual labyrinth in the realm of the dead, in which they were laying the tunnel communication.
In "Whatever" we are presenting a blank spot. Now this place is occupied by Anton's boots, next time it will be something else — it could be whatever.
Office of Nonknowledge
Artists' work represents a ritual producing a particular form of being. This video captures two-months-workflow footage that finally collapsed into one working day, bringing unexpected heroes to the forefront.
We found this cassette in Anton's old suitcase abandoned in a cold garage in Minsk for more than ten years. On it, we discovered the master tape of an album, which Anton had been producing for almost two decades since the early nineties. The album was finally mixed to this cassette in 2010 and titled "Billion Yellow Birds." But now the tape crumbles off; the cassette was damaged by cold and moisture.
Penetration installation was shown in Moscow during the solo exhibition in A3 gallery; artists just disassembled the sealing and hung up the lightbox.
In common life, all people on earth eat, drink, sleep, produce carbon dioxide and shoot short videos. We do the same. We drop such short videos, shot by us on a smartphone, to the archive. From that array, we render an endless random video stream. This stream can never be repeated, each time it presents a new version of the picture of our life.
Space and Time
Leaving Moscow in the fall of 2018, Marika Krasina and Anton Kryvulia had buried their personal belongings (that could no fit in the plane) in a field at the Moscow River source. After six months, they dug them up and mounted them as a weight for the strings’ tension.
Light in the Room
Video projected on the wall captures the projection of the text on the wall in the same room: “A thought turns into a digital code. The code transforms into the light, then reflects from the object’s surface. Refracted light, being recoded again. Then, after a while, it is released into a wall of the room.”
The weak and sharp sound object was made from the shirt, that was cut into pieces for medical purposes, during the Indochina drift.
All We Have
In February 2019 all Marika and Anton's personal belongings were captured on eighty-three slides for being installed as a projection on the table.
In the Seam multimedia installation, artists employ a basketball found in the river for media manipulations to demonstrate the cognitive seam between various appearances (vision and sound) of the object.
W.A.R. in Seoul
Maintaining the material and institutional autonomy provided by digital media and the principles of media asceticism, Marika Krasina, and Anton Kryvulia implemented a series of experiments and studies in spring 2019 in Seoul.
Nonknowledge Zone: Metamorphosis
The route to the scene and artists' property served as a tool for the performative installation, presented in Mannheim in July 2018.
The loudspeaker was installed as an intervention in the ZKM museum’s corridor and worked for two weeks. Every fifteen minutes, it reproduced the phrase: “We use your ears and your eyes now!” Fifteen minutes is the time for a visitor to pass this corridor from one segment of the museum to another.
Sound performance, viewed from the perspective of a contemporary art spectator unexpectedly turns out to be a provider of raw musicality. We call it (Music) in brackets.
All personal possession of the artists were bounded together and suspended on the six strings as a weight for the tension. The strings were the drivers for the processual performing of the sounds collected and selected by the artists, especially for the event. Six suspended objects formed the playground for performative procedure lasted 6 hours until the installation got broken.
Poverty and Glory
The (Music) Instrument is the electronic version of the Pythagorean monochord. It is extremely simple — a tree branch, two stones, two nails, steel string and a contact microphone. It is made anew every time, immediately prior to the (Music) performance. It is the perfect tool for installing the sound impregnated with overtones. The (Music) Instrument and the sound from it constitute a singular art object, the installation of which in space takes place using special performative practice.
Tools of Disclosure
Tools of Disclosure is a part of Bubble Opera: a series of performative acts implemented by the Rabota on the territory of ZKM/HfG in Karlsruhe, Germany in 2017-2018 as an institutional intervention.
Bubble Opera is a series of six performative acts implemented by the Rabota on the territory of ZKM/HfG in Karlsruhe, Germany in 2017-2018 as an institutional intervention.
During the Booty Art (Beute Kunst) exhibition, Rabota tried to make the time visible, and these risky experiments led to death so many objects as artists were able to find at the streets of Karlsruhe. Booty Art (Beute Kunst) – the term invented especially for the exhibition at the UND#9 Festival in Karlsruhe, Germany. Thrown away student paintings, plates, exercise bike and two antic chairs from Markus Lupertz waste were found on the streets of Karlsruhe, modified, overpainted and then sold during the exhibition.
God Invented the Cyclist
Media Ecology, the essence of which can be reduced to the separation between medium and content, requires the establishment of particular autonomy and brings in a political dimension to the media studies.
The video installation captures artists offstage by the light of text projection during Summer 2017.
Poly Gallery space was filled by objects found by Marika and Anton on the streets of Karlsruhe: abandoned household appliances, furniture, dishes, unnecessary things that were pushed out the door by the householders.
A scheme of the administrative structure of Karlsruhe is embroidered on a towel as an explanation, how the art projects are financed by the government of the city
We are the Watermelon Now!
Two years of constant drift were rendered in 18-minutes of slashing montage.
The first model on the basis of the Six Stones Matrix outlined by Rabota was built in 2015. The model appeared as a group of six different hand-made objects, divided into combinations of one, two, and three. Echoing the scholastic studies from the Middle Ages that development plays up in different ways the peculiarities of the perception, the synthesis of integral individual objects, the concept of an idea, name, unity, number, and the whole.
Human is a Revolution
Rabota reduced the technology of musical performance to the extreme to remove a musician from music, thus establishing a meeting point of environmental, performative, and objective art. What remains is active musical experience non-existent without one who listens.
Chaos Sense Delight
The Chaos Sense Delight exhibition was held in Moscow in February 2016 at the Burakova Street Atelier.
The Things. Dresden
In August 2015, Marika and Anton recreated the details of their robbery in Barcelona. Dresden's exhibition consisted of a story about events, a video on the screen of a mobile phone, a list of stolen things, and the installation of those things that remained after the incident.
Video compiled from fragments of the multichannel video installation.
The scroll of artists' private possessions was compiled on June 21, 2015, in the Dresden office where Marika Krasina and Anton Kryvulia used to live at that time.
Nonknowledge Zone: Pescara
If one in his solitude drops out of the interhuman world, two always carry it. Anton Kryvulia and Marika Krasina met at the Murano pier at the end of 2014, turning up from different locations. That same night they threw all their swag into the lagoon.
Since 2014 Rabota have been publishing the annual report with verbatim and photo documentation of their nomadic artistic practice.