Exhibition | Works
Symbiotic Drift exhibition across imagined architecture of Street, Entrance, Depth, Exit.
Works unfold gradually from September to December 2025, following the rhythm of the exhibition’s Instagram publication.
Zone A – Street
This zone gathers works around disappearance, monumental presence, and the street as ecosystem.
Aissulu Kadyrzhanova
The Sea Wave
2025, rubber, metal needles, acrylic on wood, 11×18×3 in (28×46×7,6 cm)
This work reflects on the ecological catastrophe of the Aral Sea through Timothy Morton’s dark ecology, dwelling in strangeness, unease, and unresolved grief. Formed from an acupuncture applicator, a medical device for healing, its surface of sharp, blue-painted needles recalls the vanished waters of the sea. Once a source of life, the Aral became a site of loss and slow death through human intervention. A healing tool defined by pain embodies this paradox of care and harm.
Monologue to the Aral Sea
2025, video, 48 sec
Once the world’s fourth-largest lake, the Aral Sea now survives as salt, dust, and fractured memory. This work translates disappearance into moving image: blue fields retract until bare land remains, while a female voice in Kazakh recites an elegy that binds grief to complicity. Rather than moralizing loss, the piece stages entanglement – beauty and devastation inseparable, language haunted by absence. In the spirit of dark ecology, geography becomes testimony, and the viewer inhabits a trembling interval between witness and participant.
Courtesy of the artist.
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Sasha Zhitneva
Myth Me Not (from the A PETting Bestiary series)
2025, reclaimed plastic containers, 5.5 × 4 × 3 ft (168 × 122 × 91 cm)
Composed from discarded plastic – matter saturating land and water – the figure is monumental yet infirm, unable to see, hear, or speak. Intended permanence dissolves into residue; what should have vanished remains. The work is both memorial and indictment, asking how cultures decide what deserves precious care and what becomes invisible even as it persists.
Courtesy of the artist.
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Inga Allakova
Shawl from Shawl series
2025, human hair, variable dimensions
A wall-hung canvas woven from human hair reframes the material as cultural image rather than abject residue. In absence of the body, strands braid into patterns of experience; the video reveals their dynamic life. By granting hair the place of painting, the work shifts value and attention, asking how memory persists when subject and support exchange roles.
Courtesy of the artist.
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Wadim Sei
Liminal Fields / Entropy Bloom / Drifted Horizon
2025, acrylic on linen, various dimensions
This trio of paintings imagines future ruins where digital residue intertwines with organic matter. Airbrushed strata drift into unstable horizons; fluorescent traces glow like dust of time; fragments suggest an archaeology already unfolding. Together, they map thresholds where memory mutates into matter.
Courtesy of the artist.
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AlessandraBB
Where Are You
2025, performance and video installation, video 2.5 min, full HD
Where Are You transforms underwear into a second skin for stone, carried by water into cycles of dissolution and renewal. Intimacy shifts into resilience as fabric, rock, and tide form an unstable balance. Feminine vulnerability turns into strength, unfolding within a web of unstable ecological relations that echo Timothy Morton’s dark ecology.
Courtesy of the artist.
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Zone B — Entrance
This zone introduces works that engage the body as threshold. Materials such as hair, fabric, and concrete frame entry as both intimate and architectural, where what is fragile becomes structural.
Dasha Gauser
Morphologies of the Third Place
Morphologies Of The Third Place project, 2025
Morphologies Of The Third Place project, 2025
from Morphologies Of The Third Place project, 2025
2025, high-fired ceramic, variable dimensions
Emerging from close attention to carnivorous plants, these ceramic forms carry the tension of traps that lure and endanger at once. Their contours slip between floral and predatory, resisting stable recognition and conjuring shapes that hover at the edge of the familiar. Material turns porous and mutable, an environment that unsettles perception. Connection here is charged with fragility, unfolding as risk and vulnerability rather than reassurance.
Courtesy of the artist.
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Theodora Eliezer
Soft Decay
Soft Decay, 2019
Soft Decay, 2019
Soft Decay, 2019
2019, vintage soft toys, Pleurotus ostreatus, Pleurotus citrinopileatus, and Pleurotus djamor mushrooms, variable dimensions
Fungi appear here as a quiet intelligence and as a living network, their growth overtaking synthetic toys and turning them into hybrid organisms. What is usually cast as decay becomes a mode of care, a process that binds organic and artificial matter in fragile equilibrium. The forms carry impermanence as their condition, showing transformation as tenderness and inviting a different relation to what seems abject.
Courtesy of the artist.
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Katya Bessonova
Interspecies
2025, hair, glue, fabric, epoxy , 10*12 in
Interspecies imagines futures where human and non-human life coexist in tangled collaboration. Drawing on Timothy Morton’s Dark Ecology and Donna Haraway’s Chthulucene, the work embraces confusion, mutation, and hybridity as visible conditions of the present. Hybrid forms blur boundaries between natural and artificial, gesturing toward mythopoetic otherness and the possibility of collaboration across species.
Courtesy of the artist.
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Zone C — Depth
This zone moves into hybrid terrains. Works here unfold as uncanny organisms, digital meshes, and dark ecologies. They explore persistence and mutation, where residues, microbes, and voices construct immersive environments.
Alice Potts
Breaking Pointe “PERSPIRE”
2018, sweat ballet shoes, 12 × 8 × 2 in (30 × 20 × 5 cm)
Alice Potts’s Breaking Pointe “PERSPIRE” brings symbiosis into the intimate scale of the body. Sweat crystallizes into fragile monuments, turning fleeting exertion into enduring matter. Ballet shoes become mineral archives of movement, where performance, biology, and material transformation converge into a shared ecology.
Photo credit: James Stopforth, dancer Cira Robinson
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Aksana Prutskova
Networks
2025, digital painting diptych
The work explores the experience of inhabiting the mesh—Timothy Morton’s “network of all things,” where everything is interconnected and where the alien becomes the foundation of new symbiosis. Here, the branches act as mediating agents: they link the material and the immaterial, memory and its distorted reflections, immersing the viewer in an ongoing process of entanglement and mutation.
In this landscape, the illusion of completion dissolves: intertwined lines sprout and fade, pointing to subtle yet inevitable transformations. The work invites the viewer into the slow process of forming new hybrid bodies, where the organic and the artificial no longer exist apart, but generate a shared field of unstable equilibria.
Courtesy of the artist.
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Further works in this zone will be revealed as the exhibition unfolds on Instagram. Follow @symbiotic.drift for the unfolding sequence.
Camila Sposati
Phonosophia
Phonosophia continues Camila Sposati’s long-term exploration of how sound inhabits matter. The clay vessels act as organs of listening, combining mouth, ear, and chamber into fragile instruments that translate vibration into form. The sounds in the video come from the instruments themselves, created in collaboration with four musicians in São Paulo at the Goethe-Institut.
Within Symbiotic Drift, the work expands the exhibition’s field of listening through matter, proposing sound as a relational ecology between body, air, and clay.
Courtesy of the artist.
Within Symbiotic Drift, the work expands the exhibition’s field of listening through matter, proposing sound as a relational ecology between body, air, and clay.
Courtesy of the artist.
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Ekaterina Guskova
Made in Plastic
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Ekaterina Tiuhta
Symbiotic Crucifix
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Anton Khamchishkin & Yana Osman
Dark Ecology of My Father
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Elena Le Taon Fattakhova
Mother's Worker Bee
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Richard Prigg
Work to be published as the exhibition unfolds
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Ekaterina Trusova
Portrait of a Plush Dog
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Varvara Silanteva
The Language of Flowers
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Anna Sinitsyna
Landscape without us
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Iurii Chernyshev
Metro Microbiome
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Julia Marinchenko
Uninvited
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Zone D — Exit
This zone gathers concluding works that open to transformation. Mythic figures, dreamlike architectures, and speculative futures create porous exits, where decay and renewal, fragility and power, coexist.
KISI
After Life
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Luna Popp
Museum of Dreams
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Yevgenia Bondareva
Venus of the Anthropocene
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Verenika Perla
Ways of Being Alive
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Olga Nekrasova
Bioenergy Structures
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Roman Savchenko
Living Inanimate Beings or the Other Way Around
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Daria Serkova
String Hunter
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Katerina Kazakova
Fragments of Reality
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Victorya Prosvirnina
Hyperflowers of Timothy Morton
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Maria Ansh
The Birth of a New Narcissus
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Ilya Golobov
Symbiotic Drift. Hyperobject 1
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Vadim Mirgorodskii
Ecologue
@ 2025 Symbiotic Drift. All Rights Reserved.