A modular sculptural system composed of interlocking elements connected through slots. Initially presented as a pile of parts, the work is collectively transformed by visitors during exhibitions into temporary abstract forms. Building them often requires deep social interaction, collaboration, and unexpectedly active physical effort.

An interactive installation exploring curiosity as a force capable of overriding learned fears, ideological conditioning, and even the instinct of self-preservation. Visitors are invited to insert their fingers into a real electrical socket. Their fingers close the circuit; the socket sparks, smokes, and crackles like a short circuit. Although it does not actually shock anyone, visitors inevitably and reflexively pull their fingers out. A public counter above the socket registers the growing number of users.

A set of wearable sculptural elements that allows participants in the experiment to continuously reassemble the composition of their own bodies.

A participatory installation investigating the transformation of aggression through play. Visitors record a message, shout, song, or statement through a dedicated control panel, then physically engage with a punching bag that fragments, distorts, and replays the recording with every swing, turning confrontation into absurdity, laughter, and dance. The work emerged after repeated attempts by Moscow vandals to destroy or break our other installations, which led us to imagine an artwork that could not be destroyed by aggression, only improved by it.

A large-scale inflatable sculpture combining visual references from Soviet toy design and pre-revolutionary folk play objects. The work juxtaposes two distinct cultural imaginaries of childhood, creating a hybrid figure suspended between historical eras. Was realised as a collaboration with Maxim Svitchev Yo-mo-yo.

An interactive installation exploring the relationship between individual presence, collective gathering, and mechanisms of social control. The installation responded to the number of visitors standing nearby. A solitary viewer triggered only a faint glow and ambient noise, while the presence of two or more people activated flashing lights, police sirens, and recorded dispersal commands, referencing public-space restrictions and crowd-control measures introduced during the Alexei Navalny protests.

A multi-light-and-music interactive installation built as a social game. A built-in touchscreen with a series of abstract buttons allowed viewers to choose configurations of the object’s sound and light.

A temporary participatory sculpture created for Maslenitsa celebrations. Visitors assembled changing sculptural compositions from cardboard modules before the work was ultimately burned as a contemporary interpretation of a ritual seasonal effigy.

A festival version of the original POKE–N–CLICK project, realised at street scale. Visitors are invited to become co-authors of the work and, through interaction with the built-in drum machine, control the sculpture’s light patterns and transform its sound.

A temporary monument to Moscow's large-scale urban renovation programme. Constructed entirely from materials taken from renovation sites, the work transformed construction debris into a parody of a public New Year celebration, reflecting on corruption, public spending, and the aesthetics of permanent reconstruction.

A responsive inflatable installation composed of multiple tentacle-like forms that reacted to the presence and movement of visitors inside the structure. As people entered the tunnel, individual elements inflated and rose around them. The object invited visitors to lean back and fall into these moving, air-filled tentacles.