24-25 July, 2010

Curator: Oleg Kulik
Architect: Vasily Shetinin

Participants of the Festival:
Eugeny Ass – The Way
Babylonish Pit group (Igor Johansson, Мarina Perchikhina) – Falling into a well (Babylonish Pit-3)
Dmitry Gutov – The footbridge
Sergey de Rocambole, Anna Nikolaeva – Geomancy and Uranografia. How and what for to kiss a toad
Arseny Zhiliaev – The Room
Hermes Zygott – Sonic wind
Marina Zviagintseva – The way of the water
Viatcheslav Koleichuk – The classic labyrinth – pursuing the tradition
Ivan Kolesnikov, Sergey Denisov – Land’s repairing
Eugeny Kosukhin - Singing bowls
Denis Kruchkov – The stone on the crossroad
Meganom Project (Yuri Grigorian, Aleksandra Pavlova) – The mirror
Andrey Monastyrsky – Eleven
Sergey Orlov – The sarcophagus – Anti-ziggurat
Anatoly Osmolovsky – The Red Army
Vladimir Potapov - Sundial
Blue Noses group (Viatcheslav Mizin, Alexandr Shaburov) – The football forest
Alexander Sokolov - Invasion: Mixed Reality
Margo Trushina - The force moment
Femida group (Svetlana Smirnova, Yulia Novikova) - Ariadne's thread
Vasily Shetinin – The solar circle

The ArchStoyanie 2010 Festival argues against the earthiness of the existing West land/art practices at the forefront of the powerful environmental protection movement and which has become a part of the West left-wing movement. According to Robert Smithson and Richard Long, the original impulse of the land-art movement grew out of meditative practices and a conscious breaking away from political and commercial land development practices. These different ecological and political contexts are already secondary appropriations of artistic gestures by social activism.  

The organizers of the festival propose to take the next step from land-art to geo-art, from differential to integral, from local to global, from the nature landscapes to the inner psychologic landscapes  that reveal to us the co-relation of the whole variety of real world phenomena, that is to say to make a flight within the body of collective inspiration.

Our aim: is to break the barriers and to bear down the sense of alienation between the artists, and also to generate the idea of some community as a mutual creative organism.

I would be simply telling you a mass,
Like a hairy priest with a long mane,
I would drink blue streams of purity,
And we wouldn’t be afraid of terrible names.
Velemir Khlebnikov. «Detusya...» (Husky fellow)

The forest liturgy

An invocation to everyone regardless of their age, sex, nationality etc.
An invocation from artists, sculptors, musicians, designers, architects and poets, that is to say, from us.
It’s naпve to view our world Crisis as arising from purely economic or social causes ,only because we see the same symptoms both in the wealthy countries of Western Europe and the USA as well as China. The real reasons lay just in the basis of our civilization, founded on the concept of “homo sapiens” and in his (or her) methods of interaction with the environment, which has given us 24-hour Supermarkets and Manipulative Stereovision as the its highest achievements. The Communication body has grown too much, in prejudice to the Resonance consciousness (which is usually called conscience)… Noise has increased too much. The quantity of new technologies graduate with new qualities. The invisible world has become solid. It seems that a man is entering a new stage of losing himself.

We came to remind you about something very important, except everyday affairs and shops.

We came to remind you that the Earth and the Sun, the Planets and the Stars are alive.
To remind that birds sing and cows moo, dolphins speak to each other, the shadows of trees dance and the winds sing songs.
But in our today tempo and business there is no time to teach ourselves, furthermore to teach somebody or something else. Our interest is superficial and our experience is superficial.
And if sometime a man’s ambition to understand the world has given start to the art creation process, then why is the contrary impossible now?
Art is able to run the process of a man’s comprehension of the world again. This is a comprehension of the modern world by an up-to-date man by means of contemporary art which also has the power to transform mass mind into collective consciousness.
Art began as a cartography of inner spaces because man needed to fix an understanding of his own circumstances and his own understanding of external phenomena. He needed to offer an explanation to analyze his experience and to express it in representational forms. As his experiences become more and more plentiful, art became more prolific. The more profoundly man endeavoured to come to know himself and the things around him, the more complicated became the form of this expression.
Art vibrates between the two poles, one is mythopoetic and it is something lightsome and saintly, and another is more analytic, so to say genital and genial. As far as sociosphere got solid and heavy, both of poles got fractal degenerated into pseudo-mythogenic postmodernism and pseudo-analytic postavantgarde.

The Nine Keys of the Labyrinth are nine Arts and nine ways of perception. They open us to eternal ways of perception and enclose us to an ancient mystery of primary creation...
Labyrinths created by nature are no easier than those created by a man, but the first are even more perfect and splendid. The labyrinth is in the convergence point of nature, sacred forms and art. Everything will occur in the labyrinth and we are going to work there on transforming the wild mysterious forest into the Liturgy.

We’ve chosen the word «liturgy» (from Greek λειτουργία, “common cause”) not accidentally, but because here we deal with the sacred space dimension. Saying sacred space dimension we mean the impossibility of rational apprehension of what this space is in fact. This space is still imagination- provoke and escapes any definition nevertheless allows to work with it.
The forest liturgy is a way of reading labyrinths by means of the movements of all participating artists and their guests who are spectators. This is the artistically organized movement on the labyrinths created by artists on freakish bends of the Ugra river.

Sound, light and topological landmark works of art will be lined up in one whole procession, the ritual walk in tradition of Country ceremonies of the Collective Actions group, but increased in scale. The project is called to organize space and time of the festival so that to show the deep coherence of nature, history, contemporary art and science about sacred perception of reality.
From the height of bird's flight the Labyrinth in Nikola-Lenivets appears like Meta-symbol of all labyrinths and also of nine conscious states of each person on the festival territory. The illogical space of the Labyrinth overturning all upside down provokes an intrinsic feelings outpouring and a new understanding of life. Being guided by only logic, you will not survive in the labyrinth of the contemporary world.

Our aim is to investigate a phenomenon of coordinated collective actions for the purpose of conscious influence upon the around world by means of contemporary art.
Spectators are offered to become participants of an art ritual which consists of searching, finding, visiting, apprehension and re-evaluation of objects and complete intention of the project. Everybody will be helped by the navigational charts of the Labyrinth’s space in the Nikola-Lenivets.




The RNA Foundation is a cultural platform that aims at promoting established as well as up and coming Russian artists and creative individuals. Founded by Victoria Golembiovskaya, the RNA utilizes its wide reaching connections to provide support and exposure to artists, facilitating their relations with curators, dealers and critics. With experience in art management and curating Golembiovskaya established RNA in order to contribute to the Russian art education system, diversifying its narrow scope and implementing a wider, international engagement.


By providing space and means for artists to develop their practice, our goal is to establish a constantly expanding and developing network, where the Russian contemporary art scene can be introduced to a wider art market, galleries and institutions across the globe. To do so, an exploration of new ideas is needed, as well as an active expanding of boundaries of the media available. This progressive outlook allows us to bring out the collaborative potential of not only museums and galleries we work with, but also of other foundations, auction houses and art institutions.


One aspect of our future projects is to establish a series of workshop spaces that will provide an interdisciplinary environment for Russian artists from all backgrounds and with varying degree of experience. Serving as a meeting point and an exchange ground for cultural capital, these work and gallery spaces would also function as lecture theatres for educational purposes and public events. We also plan to create residencies between Russian and international artists, where we hope to instigate a much needed cross-fertilization and collaboration.


However in order to realize such varied projects, we often need financial support whether from an individual, patron, trust or company. Philanthropy and charity are important factors in realizing any cultural project and we would be happy to work with you, directing the need of social engagement and cultural support through RNA’s activities.


Active since 2008, RNA Foundation is an exciting, passionate organization that has exhibited and curated around the world, devoting our focus on international artistic progression.

Art Advisory


Before launching the RNA Foundation in 2008, Victoria Golembiovskaya worked as a film producer and artistic director, gaining a vast experience in art management and further expanding her knowledge of history of art, which has graned the RNA foundation an original place and point of view within the international art community.

Our service is second to none; we provide consultations for the establishment and maintenance of private collections, as well as for large-scale curatorial projects. We have the contacts and resources to get a hold of rare works from all over the world for both private and public clients. In the last three years alone the RNA Foundation has produced shows in London, Moscow and Venice, handling valuable works in unprecedented environments, with a priority in presenting them in unique yet elegant manner. While maintaining a high standard and a rigorous vision we tailor our services to the client.

As a consultant, we go further than most agencies, providing legal advice for sales, organizing transportation of art works, and of course taking care of the acquisition process, operating on a strictly confidential basis.



Katerina Tesa
+7 926 2497367