Olga Kisseleva




The project of Olga Kisseleva, Chronography, gathers a set of new works that extend the reflection of the artist over the society and more especially on time. After having explored the ‘biologic time’ and ‘individual time’ with the art piece It’s Time shown at the Louvre Lens and at the iIndustrial Biennale of Contemporary Art at Ekaterinburg, then the ‘economic time’ during her exposition Time is Money, Money is Time at the foundation Sabanci at Istanbul, the artist is gonna dig the time issue by approaching space-time continuum concept.

With her new exposition at Jozsa gallery, she will bring face to face the installations Time-Value and Particules Alimentaires. These two artworks analyses the consequences of the purely economic management of the world and time depending in which country we are.

The pictures of Particules Alimentaires, as flemish still-life coming from the 17th century, are compound by a whole bunch of articles, stolen from a supermarket by a person caught in the act. Each image is accompanied by an analyze of the thief profile written by a sociologist and an art historian.

Time-Value is a calculation considers the lifetime, the numbers of workings hours in a year, the safety index, … That allow a company to optimize the costs through the relocation of its production.

By showing those two installations in a same exposition Olga Kisseleva is pushing us in thinking about the consequences of the choices made by the actors of the society and their priority values. It’s with humor that the artist emphasizes a few incoherences of attitude, time perception, of the world or even ourselves when we are passing through the public area to the private area.

Tulipomania is a piece that sends back to the first economic crisis generated in the 17th century by the speculation. Two different times so two different space-time continiua are meeting in this artwork. This art piece is mixing former art with wall drawings of a tulip and new art with technologies and augmented reality.

The title of the exhibition Chronography finds all its meaning in a new version of the set CrossWorlds primarily build by the superposition of measuring tools of space and time.

At last, the series Contre Temps, develops from the performance, executed as part of the opening exhibition of the Louvre Lens, appears as a measure of time by space: a dance during 10 hours while a kilometer of red tissue is deployed all around the Louvre museum. This red tissue, thus disposed, creates the symbol of the infinite. This action accents the role of art which enables the ideas and the mind to cross or even to defeat the time and take them to infinity.



The project “FAITS DIVERS” turns around a photographic series of contemporary still lifes and consisting of a narrative text for each photograph.
If the historical references of the project and the use of allegorical codes obviously come from the Dutch painting of the 17th century, Olga Kisseleva’s still life pictures can be read in multiple semiotic and emotional layers thanks to all the objects that are part of the compositions.
In the 21st century, like in the 17th, the object can have different levels of meaning: through its form, material, colour and use, but also through its nature, its relation to other objects, persons or places. One can seize and interpret the references immediately.
In addition to this immediate perception, the artist will refer to her illustrious predecessors, adding another layer of meaning, the level of history or tradition, using, for example, the “dictionary of the objects” of the Northern Renaissance, the local and popular customs, the social, professional, geographical and, of course, nutritional references. The wrapping, the colours, and the absence or presence of logos are not used innocently, and so, the composition of those everyday objects will refer the viewer to a message other than just promotion(or commerce): and a story of loves, friendship, conquest or discovery.
During the creative process, the artist relied on a team of art historians, a sociologist and a writer. First they compiled a contemporary dictionary of the system of symbols of food and everyday objects. Then, writer Helena Villovich was commissioned to write 49 short stories. Inspired by the everyday life of the artist, each text is based on some keywords taken from the dictionary. Finally, a still life was composed on the basis of each story. The objects selected for the still life correspond to the keywords at the heart(or root) of the story.
Viewed as a sequence, the photographs present a chronological narrative, a panorama of the everyday, a semiological essay of contemporary food industry.


Graduated from St. Petersburg University, Olga Kisseleva (1965) is one of the most accomplished Russian artists of her generation.

From the beginning of the 90s, on the invitation of the Fulbright Foundation, she found a roof for her work in the research group in the United States which dealt with the development of digital technologies. In 1996 she is getting her PhD for her theoretical work on the theme of new forms of hybridization and she is invited to the Fine Art Institut of 'Hautes Etudes' in Paris. Since then she has been developing original work in which is oscillates between truth and untruth and she is searching for improbable boundaries that separate both. In all of her projects the viewers very much take part, thereby the artists challenges the ability of new media to create a true picture of reality.

For her first personal exhibition, Jozsa Gallery shows a selection of her most recent works - an opportunity to discover the artistic approach of this important Russian post-diaspora artist.

The lighting of 'Conclusive Evidence' shows that the distance between Brussels and St Petersburg is turning to 0.

The digital animation 'Conquistadors' examines the tensions and conflicts that define the Russian territory in the age of privatization. Ironically commenting the 'global conquests' that has become standard practice in the current stage of post-communist capitalism, this work provides a dystopian picture of space completely reappropriated by the capitalist enterprise.

In 'Fitness Art Centre', a screen is linked to a body-building machine that visitors are invited to use. Doing so activates images of demonstrators projected onto the screens but blurred by the random appearance and disappearance of big brand logos. The whole set-up bears witness to world dominated by a state of political confusion and individual manipulation.

'CrossWorlds' helps visitors to translate in real time the subliminal information in textual form. Olga Kisseleva places electronic tags detectable with a simple mobile phone in photographs or in a video-animation. Into the 'CrossWorlds - Dow Jones' the messages encoded are from propaganda both from the American style of life and from Soviet propaganda. According to Susan Buck-Morss' analysis, the similarity between them is evident although they are formulated in different ways.


Born in St Petersburg in Russia, Olga Kisseleva shares her time between her home city and Paris.
Founder of Laboratoire Art&Science at Université Paris 1 Panthéon-Sorbonne, she plays a central role in pioneering research and reflection on emerging forms of creativity.
Olga Kisseleva’s installations challenge our affinity with the world in an excessive, hyper-connected, hyper-consumer society. Thus she affords visitors the opportunity to pause a while, look at an exhibit, and gain some perspective on their use of digital technology and their attitude to the way they consume.
The digital world, sciences, nanotechnologies, coded messages… all come to almost palpable life in Olga Kisseleva’s artworks. Strange objects and surprising devices give substance to the artist’s installations, only unveiling their mysteries to the enquiring spectator who then penetrates an invisible universe inhabited by numbers, figures and lines of code, where Time passes, purchased at lightening speed like a commodity on the stock market. Or, the spectator uses a smartphone connected to the worldwide web to unlock the secrets of QR Codes—for better or for worse; ultimately, it’s their own rapport to all things digital in their daily, excessive, time-consuming use that is revealed to them in brief sentences or videos.
Olga Kisseleva’s work has been shown in numerous collections and exhibited notably at the MoMA (New York, USA), National Centre for Contemporary Arts (Moscow, Russia), ARC (Paris, France), KIASMA (Helsinki, Finland), Consortium (Dijon, France), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain) and at the Venice, Istanbul, Dakar, Tirana, Rennes, Moscow and Berlin Biennials.


OLGA KISSELEVA (St Petersburg)
Lives and works in France

St Petersburg university

SOLO SHOWS (selection)

  • Virtus Post NummosS?, Artwin gallery, Moscow, Russia
  • Chronography, Jozsa gallery, Brussels, Belgium
  • Virtus Post Nummos?, Kichik Qalart, Baku, Azerbajan
  • Urban Quick Responce, public commission, in-situ installation, Berges de Seine, Paris, France
  • Geo Quick Responce, public commission, land-art installation, Geopark de Katla, Vik, Iceland
  • Double Life, collaboration with IADA Foundation, Artbatfest, Almaty, Kazakhstan
  • Selforganisation, collaboration with Polytech Museum, Art Strelka, Moscow, Russia
  • Time is Money, Museum of Contemporary Cuts, MoCC - Sabanci Foundation for Contemporary Art, Istanbul, Turkey
  • Money is Time, Kasa Gallery - Sabanci Foundation for Contemporary Art, Istanbul, Turkey
  • Contre Temps, Rabouan-Moussion gallery, Paris, France
  • Geo Quick Responce, Dong Van Karst Geopark, Vietnam
  • Sensitive Worlds, CDA, Enhgien, France
  • Time in Action, Louvre Museum, Lens, France
  • Economy in Art, group show, MOCAK, Krakow, Poland
  • Geo Quick Response, solo show, National Center of Contemporary Art, St Petersburg
  • Double Life, solo show, Studio XX, Montreal, Canada
  • Power Struggle, performance, The National Gallery of Iceland, Reykjavik, Iceland
  • Biopresence, permanent installation in public space, public commission, Biscarosse, France
  • Syracuse function, permanent installation in public space, public commission, Nantes, France
  • Power Struggle, performance, Stanford Art Centre, Palo Alto, Ca, USA
  • Contre Time, performance, Louvre Lens, France
  • Power Struggle, Museum of contemporary art erarta, St Petersburg, Russia
  • Precarties, special project of the 13 Istanbul Biennial, Yeni Medya Sanatlari gallery, Istanbul, Turkey
  • Urban Quick Responce, public commission, in-situ installation, Nanjing, China
  • Double Life, Studio XX, Montreal, Canada
  • Time in Action, Art Paris (ARKA gallery), Paris, France
  • TimeSharing, performance, Louvre Museum, Lens, France
  • Power Struggle, Museum of modern and contemporary art, Strasbourg, France
  • Crossing Flow, Château des Adhermar, Centre d'art contemporain, Montelimar, France
  • Power Struggle, Kunsthalle, Mulhouse, France
  • Double Life, Videoformes, Clermont-Ferand, France
  • Power Struggle, La Casa Ensendida, Madrid, Spain
  • Double Life, Le Consortium, Dijon, France
  • Nature Morte, Louvre, curator Marie-Laure Bernadac, Paris, France
  • Double Life, Gabarron Contemporary Art Museum, Valladolid, Spain
  • Brave New World, in the frame of Focus Russia, ARCO, Madrid, Spain, ARKA gallery (Russia)
  • Not So Miscellany, La Criée, Rennes, France
  • Double Life, Gabarron Contemporary Art Museum, Valladolid, Spain
  • Not So Miscellany, La Criée, Rennes, France
  • sur mesure, RURART, Poitiers, France
  • Double Life, MNAC, Bucharest, Romania
  • Divers Faits, Jozsa Gallery, Brussels, Belgium
  • Double Life, CCC Garage, Moscow, Russia
  • Moscow Time, CNEAI, Chatou, France
  • CrossWorlds, monumental installation in the Sancy National Parc, Auvergne, France
  • Your Self Portrait, Videospace, Budapest, Hungary
  • Princess Frog, carte blanche, Jozsa Gallery, Brussels, Belgium
  • Moscow Time, Tri Postal, Lille, France

GROUP SHOWS (selection)

  • Art & Biodiversity, Saint-Maurice Abbey, Clohars-Carnoët, France
  • Brief History of the Future, the Royal Fine Arts Museum, Brussels, Belgium
  • Gender in Art, MOCAK, Krakow, Poland
  • Here to There, Circa Gallery, Johannesburg, South Africa
  • Here to There, Lincoln Center for the Performing Arts, NY, USA
  • Icône(s), Maison Particulière, Brussels, Belgium
  • Protagonists, The Invisible Pavilion, 56th Venice Biennale, Venice Italy,
  • RAFLOST, Icelandic Festival of Electronic Arts, Reykjavik, Iceland
  • SPAMM of Virtualism, Babycastles Gallery, New York City, NY, USA
  • The Voyerist, Cité Internationale des d'Arts, Paris, France
  • WRO Media Art Biennale, Wroclaw Poland
  • Ligne de front, public space installations, Artois, France
  • L'art fait ventre, Musée de la Poste, Paris, France
  • Ice Laboratory, Laboratoria ART&SCIENCE space, Moscow, Russia
  • De leur temps, show by ADIAF and the Musée des Beaux-Arts de Nantes, HAB, Nantes, France
  • to be continued... Le Quartier, Qimper, France, opening Jan 18, group show with Mounir Fatmi, Dimitry Gutov, Ron Haselden, Olga Kisseleva, Philippe Parreno, Sharif Waked, Artur Zmijewski
  • Hors Piste Centre Georges Pompdou, Paris, France, opening Jan 18, goup show with Mohamed Bourouissa, Cécile Bbabiole, Teri Wehn Damisch, Olga Kisseleva, Jennifer and Kevin McCoy
  • Art at Nanoscale, conference by Olga Kisseleva with Margherita Balzerani, Nikki Baccile, Richard Conte, Dominique Roland, Dominique Peysson, Centre Georges Pompdou, Paris, France, Jan 26 from 3 PM
  • Time in Action, Louvre Museum, Lens, France
  • The Shaping of New Visions: Photography, Film, Photobook from the MOMA collection, MOMA, New York, USA
  • Le nouveau festival, Centre Georges Pompidou, Paris, France
  • Economics in Art, MOCAK, Krakow, Poland
  • De leur temps, show by ADIAF and the Musée des Beaux-Arts de Nantes, HAB, Nantes, France
  • Self-government: cultural evolution vs. revolution, Odessa Biennale of Contemporary Art, Odessa, Ukraine
  • antiAtlas, La Compagnie, Marseille, France
  • Artist in Society, Rabouan Moussion gallery, Paris France,
  • Hors Piste, Centre Georges Pompidou, Paris, France


Farine, Manou. Olga Kisseleva, le feu brûle sous la glace, l'Oeil, Paris, France, Février 2008 /in .pdf
Lechner, Marie. l'Exagone est pavé de bonnes intentions, Libération, Paris, France, 28/01/2008 /in .pdf
Kampiane, Harry. Olga Kisseleva, Art Actuel, Paris, France, N°52, septembre/octobre 2007 /in .pdf
Le Monde Même heure, même endroit, dos à dos, face à face à l'Abbaye de Maubuisson, Paris, France, 27/05/2007 /in .pdf
Rivoire, Annick. Dans le Layrinthe des sens, Libération, 27/04/2004 /in .pdf


Catalogue Olga Kisseleva : mondes croisés, Abbaye de Maubuisson, Val d'Oise. Paris. 2008 /in .pdf
"Olga Kisseleva : signs that don't lie", Musée National Marc Chagall, Nice. France. 2008
Misiano, Victor. Olga Kisseleva : « Je vois, donc je suis » /in .pdf
Wright, Stephen. "Erehwon et son double", in "Where are you ?", Moscow Contemporary Art Institute, Moscow, Russie, 2001
Manovich, Lev. Emotion Machine and Database Imagination, in "communication identification", Paris. France. 1999


UPCOMING Exhibitions :

  • Sept 11 2015 - January 24 2016, A Brief history of the Future, group show, Royal Fine Arts Museum, Brussels, Belgium
  • September 17 – October 31 2015 Virtus Post Nummos ?, solo show, Artwin Gallery, Bakou, Azerbaijan
  • August 22 - December 13 2015, Self-organisation - workshop + performance, Polytech Museum & Garage Contemporary Art Museum, Moscow, Russia
  • November 10 – December 31 2015, Surface Agent Active, performance + solo show, Kuwait Contemporary Art Museum, Kuwait City, Kuwait
  • Opening October 2015, Knowledge Tree, public art commission, Maubeuge, France
  • December 1-13 2015, AnthropOcean, Art-COP21, Gaité Lyrique, Paris, France
  • October 25 - 27 2015, Arctic Conquistadors, World Economic Forum, Abu Dhabi, United Arab Emirates

CURRENT Exhibitions :

  • till November 30, WRO Media Art Biennale, National Museum of Wroclaw - WRO Art Centre, Wroclaw Poland
  • Till September 20, Gender in Art, Krakow Museum of Contemporary Art (MOCAK), Krakow, Poland
  • Urban Datascape, public art commission, Paris, France
  • AnthropOcean, public art commission, Biarritz, France
  • Geo Quick Responce, land art public art commission, Katla Geoparc, Vik, Iceland