Natalia Tikhonova (b. 1986, Gorky) is an interdisciplinary artist, curator, and researcher based in St Petersburg. She works with a wide rang of media, from video and poetry to social and curatorial projects where she uses her background in engineering. In her practice, Tikhonova explores collective memory as well as construction of identity, personal and political boundaries, and the definition of art itself. She often turns to such subjects as the post-Soviet space, neuroses and metastable states, hybrid forms and regimes, militarism, and mass media. Her works have been shown in many museums and galleries in Russia and abroad.
Recommended by Khristina Ots
From no words | no war installation, 2015. A reflection on the war in Ukraine, the project offers two ways of viewing war photographs: the red images of soldiers disappear if you look at them through the red filter. Photo: Olga Danilkina
From no words | no war installation, 2015. Photo: Olga Danilkina
From no words | no war installation, 2015. Photo: Olga Danilkina
Million, 2016. From the Blue Series installation. This work is an attempt to adapt the ungraspable scale of the Siege of Leningrad tragedy into more mundane and comprehensible numbers through analytical, visual, and technical methods
n plus one rooms catalogue illustrations, 2019. n plus one rooms was a hybrid online/offline exhibition, where artists streamed CCTV cameras from their studio
Technologies of Presence installation, 2020. Kunsthalle nummer sieben. Photo: Tatyana Chernomordova. Total installation created for Kunsthalle nummer sieben space was made of materials found in the gallery, to which the artist added videos and objects
Technologies of Presence installation, 2020. Photo: Tatyana Chernomordova. The project makes a prediction that the occupations of military officials, artists, and environmentalists will merge into one
Technologies of Presence installation, 2020. Photo: Tatyana Chernomordova. The video juxtaposes footage from the environmental protests in Shies and Dzerzhinsk with images from Syria, while also featuring materials about military artists
Sometimes Behave So Strangely, 2019. Sounds and images of the work also reflect and interfere, acquiring new connotations and contexts along the installation
Sometimes Behave So Strangely, 2019. The visitor finds themselves in a suspenseful game—a trap that simultaneously reproduces movement and stopping
Sometimes Behave So Strangely, 2019
