Alisa Gorshenina (Alice Hualice)


Born in 1994 in the village of Yakshina (Sverdlovsk region). Graduated from the Department of Fine Arts of the Nizhny Tagil State Social and Pedagogical Institute (a branch of Russian State Pedagogical University). Lives and works in Nizhny Tagil. Фото: Фото: Юля Майорова

Russian Alienated

The project was shown in 2019 as part of the artist’s solo exhibition in the village of Yakshina (Sverdlovsk region) and in 2020 at the “A Beautiful Night for All the People” exhibition at the 2nd Garage Triennial of Russian Contemporary Art (Garage Museum of Contemporary Art, Moscow)

Courtesy of the artist

In the project “Russian Alienated”, I talk about my feelings in the context of the entire country: embedding myself in its landscapes, trying on images of pagan goddesses — while at the same time feeling tiny compared to the scale of Russian history and culture. The project oscillates between very different worlds, from digital photo collages and video art to textile masks and total installations. “Russian Alienated” is not only the name of the project but also my mental condition.

The first work in the series appeared in 2017, after I returned from an expedition to my native village of Yakshina. I was browsing the photos and found an interesting image where I was running through a field with a dog. I added my masked face to this composition — a giant face rising like the sun on the horizon. This image became the starting point of the project.

Later, I created a whole series of similar collages, and all the masks I used became part of this project/condition.

I’ve always wanted to make my work more real by incorporating it into the landscape. Thus, the idea arose to create an exhibition project that would take over the whole village and “bring my collages to life”.

In 2019, I opened the exhibition “Russian Alienated” in Yakshina, placing my works all over the village without intruding on the lives of the locals.

At the opening, I gave a tour where I said nothing about the works. I only talked about my life and the life of the village. This gave the objects a soul of sorts; they became part of the landscape, merged with it, and together with the audience I finally found myself inside my collages.

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