Professor Olga Kisseleva
University of Paris 1 Pantheon-Sorbonne
Born in St. Petersburg (1965), Olga Kisseleva belongs to the first generation of Russian intelligentsia after Perestroika. From the middle of the 90s, on the invitation of the Fulbright Foundation she found a roof for her work in the research group which dealt with the development of digital technologies. In 1996 she is getting her PhD and she is invited to teach New Media and Contemporary Art in Sorbonne, where she runs the "Art&Science" international program.
Olga Kisseleva’s exhibitions include: Centre Pompidou, KIASMA , Guggenheim Bilbao, National Center for Contemporary Art (Moscow), MOMA (NY), ARC (Paris), Reina Sofia, Venice, Moscow, Dakar, Lyon, Tirana and Istanbul Biennale...
The artist Olga Kisseleva's approach to her work is much the same as a scientist's. A discrepancy detected during a procedure or within the workings of a structure oblige her to formulate a hypothesis, in order to explain the complication in question, and wherever possible, to propose a solution to the problem. She then determines the skills necessary to pursue the relative study, and commissions the research.
The artist calls upon exact sciences, on genetic biology, geophysics, and also on political and social sciences. She proceeds with her experiments, calculations and analyses, while strictly respecting the methods of the scientific domain in question. Her artistic hypothesis is thus verified and approved by a strictly scientific method.
In each of Olga Kisseleva's projects, at each stage of its development, from the initial draft (when the context is taken into consideration), until the moment when the indications allowing the esthetic propositions to come to light are gathered together, a line is traced upon which the different elements convened are inscribed. This way of addressing places and people allows the artist to take on an unusual position, a kind of involvement consisting of questioning, affronting or testing the elements constituting the reality of a situation in which she can borrow from numerous mediations, supports and modes of representation as diverse as the situations themselves. Yet it still implies, for the viewer as well as the artist, a certain faithfulness to a watchword - vigilance - returning to a principle of responsibility, and implying the establishment of open relationships between the different elements brought into play by esthetic propositions.