How does a museum work? What is the principle behind the selection and museification of «living» things? Who is responsible and «doomed» to turn the unknown living into the classic dead? Doomed, because there is no way out of this situation. After all, it is impossible, for example, for a museum to dissolve itself, to close down and cease to exist, to get out of the game? What is the flair of the one who decides what belongs in a museum and what belongs out of it? We are trying to find our own figurative understanding or misunderstanding of this question. Looking at a museum from the outside, it seems that the museum is frozen and petrified, such the most reliable institution in the world, but this is not true inside life. This is true of any museum, artistic or otherwise. A museum is a form of transition from the present to the past, but to me an outside observer it is an absolute of the past. A museum cannot afford to «bury its dead,» it must have someone alive in it to erect a monument to the past out of the remains of its own kind. This project is our first museum, and we wanted to make a near and dear Russian Museum. We do not evaluate, we observe the phenomenon from the outside, what the situation really is, for us remains a mystery hidden behind the unapproachable facade of the palace. The museum, as an instrument of entering history, remains beyond comprehension and objective reading.
A sacrifice is always needed: in action, in deed, in life, and in creativity. But there are smooth smooth times-all is well. We invent problems for ourselves, then solve them, sacrificing our squeamishness, just to get a taste of real life without sweeteners. The artist languishes in the high genre of tragedy, playing a game with his fate, consciously choosing not to go straight.