</Rina Volnykh: If The Book Is Truly For Girls, Then Why Is It All About Pleasing Men?>
author: Andrei Savenkov
photos: Lisa Merkulova
Rina Volnykh has been conquering the Russian art scene one step at a time: first, she was the artist-in-residence with two of Russia’s most coveted programs: Open Studios of the Winzavod Contemporary Art Center and the Garage Contemporary Art Museum’s Studios. She went on to win a grant from Garage Museum and most recently, she has had a joint exhibition with fellow artist Lyuba Sautina called “Zveroboi” at the Moscow Museum of Modern Art (MMOMA). And Volnykh shows no sign of stopping: she has released a zine, a single on Apple Music and even a music video on Youtube — all with Lyuba — to promote their latest exhibition.
In her artistry, Volnykh tackles heavyweight topics such as political ideology and gender inequality, but does it in a subtle and non-patronizing manner, often using pop culture references that resonate with a viewer.
In her artistry, Volnykh tackles heavyweight topics such as political ideology and gender inequality, but does it in a subtle and non-patronizing manner, often using pop culture references that resonate with a viewer.
“Zveroboi” exhibition at the Moscow Museum of Modern Art (MMOMA), 2021-2022 / photos by Sasha Pavlovskaya
A.S.: RINA, YOUR LATEST EXHIBITION ENGAGES IN DIALOGUE WITH “THE GIRLS, A BOOK FOR YOU” BY SOFYA MOGILEVSKAYA, A MANUAL FROM 1962 THAT TEACHES GIRLS HOW TO BE A PERFECT HOUSEWIFE. BUT WOMEN’S ROLE IN SOCIETY HAS RESHAPED SINCE THEN AND THE RUSSIAN PUBLIC SEEMINGLY NO LONGER EXPECTS WOMEN TO DO HOUSEHOLD LABOR. SO WHY DID YOU CHOOSE THIS PARTICULAR BOOK?
R.V.: To be honest, I’m fascinated with books such as this one by Sofya Mogilevskaya, to scare you even more I collect housekeeping books from the soviet period. And I’m a huge Martha Stewart fan. Thank you for seeing it as a dialogue and not as a mere critique. I’ve approached this sort of material ever since my early university years. The first book I’ve released depicted my little journey from a loser goth girl (that I proudly still consider myself to be) to a perfect Russian woman culminating with a wedding. It was more of a straightforward statement that still managed to have some fun colliding soviet and “Cosmopolitan” aesthetics. But the truth is, who doesn’t want a manual, right? Then there was the charm book for girls “5 demons.” It was the moment I started looking for the formats that have already contained the empowering potential but have been heavily indoctrinated, creating this bizarre contradiction of content and form, that I am interested in. Mogilevskaya’s book for girls is the essence of this idea. I’m pretty sure, it was Lyuba [Sautina — ed.], who came with this particular book. Wouldn’t it be great to have a single book that could assist you on your way of gaining control over your life? Cooking, housekeeping, gardening are the survival skills, aren’t they? The devil’s in the language. If the book is truly for girls, then why is it all about pleasing men? I’m not projecting any certain opinion, even though I obviously have one, but my opinion doesn’t matter. I am no activist. This inner dissonance is what we picked up and worked with.
R.V.: To be honest, I’m fascinated with books such as this one by Sofya Mogilevskaya, to scare you even more I collect housekeeping books from the soviet period. And I’m a huge Martha Stewart fan. Thank you for seeing it as a dialogue and not as a mere critique. I’ve approached this sort of material ever since my early university years. The first book I’ve released depicted my little journey from a loser goth girl (that I proudly still consider myself to be) to a perfect Russian woman culminating with a wedding. It was more of a straightforward statement that still managed to have some fun colliding soviet and “Cosmopolitan” aesthetics. But the truth is, who doesn’t want a manual, right? Then there was the charm book for girls “5 demons.” It was the moment I started looking for the formats that have already contained the empowering potential but have been heavily indoctrinated, creating this bizarre contradiction of content and form, that I am interested in. Mogilevskaya’s book for girls is the essence of this idea. I’m pretty sure, it was Lyuba [Sautina — ed.], who came with this particular book. Wouldn’t it be great to have a single book that could assist you on your way of gaining control over your life? Cooking, housekeeping, gardening are the survival skills, aren’t they? The devil’s in the language. If the book is truly for girls, then why is it all about pleasing men? I’m not projecting any certain opinion, even though I obviously have one, but my opinion doesn’t matter. I am no activist. This inner dissonance is what we picked up and worked with.
A.S.: DO YOU THINK THAT THE IDEOLOGICAL CANONS HAVE BEEN PLANTED SO DEEPLY AND SUBCONSCIOUSLY THAT THEY STILL AFFECT HOW GIRLS ARE BEING RAISED NOWADAYS?
R.V.: Speaking of the gender politics, things have changed since the 60s for sure. But I think to talk about these changes as if there is this one way route we’re on is quite dismissive. Don’t we invest much more in our appearances now, after we have moved towards the services instead of the production of goods?
R.V.: Speaking of the gender politics, things have changed since the 60s for sure. But I think to talk about these changes as if there is this one way route we’re on is quite dismissive. Don’t we invest much more in our appearances now, after we have moved towards the services instead of the production of goods?
And how big is the gap in beauty-investments between the genders? You know, every time I’m about to make some general statement or a very strict conclusion I see Rebecca Bunch in my head, saying that “the situation is a lot more nuanced than that”. Which is also the gif I use the most. We all need this gif.
But if you’re seeking some scary stories, then I’ll be glad to say that recently I have found myself making dinner with a woman, whose husband has joined us too. He was just sitting there watching us cook. I thought he was confused, so asked him to chop the veggies or something like that. He looked at me like I was out of my mind and told me that was definitely not his job. I mean, who thought a guy would dare talking like this to a woman holding a knife in her hands. A very basic story. What makes it scary (apart from the Chekhov’s knife) is the fact that these things happen daily. So yeah, things have changed, aren’t they?
A.S.: YOUR EXHIBITION AT MMOMA HAS DRAWN ATTENTION OF ANNA TOLSTOVA, ONE OF RUSSIA’S MOST RENOWNED ART CRITICS. IN A FACEBOOK POST, SHE HAS BASICALLY ACCUSED YOU AND LYUBA SAUTINA OF PLAGIARIZING THE ART OF ULYANA PODKORYTOVA AND ALISA GORSHENINA, ALSO KNOWN AS ALICEHUALICE. THE CRITIC HAS ALSO MADE REMARKS AT YOUR AGE. HOW WOULD YOU RESPOND TO THE CRITICISM AND COMPARISONS WITH THE FELLOW ARTISTS? HAS YOUR EXHIBITION BEEN IN ANYWAY INSPIRED BY THEIR ART?
But if you’re seeking some scary stories, then I’ll be glad to say that recently I have found myself making dinner with a woman, whose husband has joined us too. He was just sitting there watching us cook. I thought he was confused, so asked him to chop the veggies or something like that. He looked at me like I was out of my mind and told me that was definitely not his job. I mean, who thought a guy would dare talking like this to a woman holding a knife in her hands. A very basic story. What makes it scary (apart from the Chekhov’s knife) is the fact that these things happen daily. So yeah, things have changed, aren’t they?
A.S.: YOUR EXHIBITION AT MMOMA HAS DRAWN ATTENTION OF ANNA TOLSTOVA, ONE OF RUSSIA’S MOST RENOWNED ART CRITICS. IN A FACEBOOK POST, SHE HAS BASICALLY ACCUSED YOU AND LYUBA SAUTINA OF PLAGIARIZING THE ART OF ULYANA PODKORYTOVA AND ALISA GORSHENINA, ALSO KNOWN AS ALICEHUALICE. THE CRITIC HAS ALSO MADE REMARKS AT YOUR AGE. HOW WOULD YOU RESPOND TO THE CRITICISM AND COMPARISONS WITH THE FELLOW ARTISTS? HAS YOUR EXHIBITION BEEN IN ANYWAY INSPIRED BY THEIR ART?
R.V.: I’ve only seen the screenshots that were leaked on Telegram. I don’t think it is enough for me to form an opinion on what’s been said in the conversation that the mentioned Facebook post catalyzed. But the whole age aspect made me very conscious about never again missing on my daily Retinol or Argireline. Art must be beautiful, artist must be beautiful.
Jokes (not really) aside, I’m really fond of Ulyana [Podkorytova — ed.], we were in different Garage Studios seasons, so we’ve never worked under the same roof. I have never met Alisa [Gorshenina — ed.]. I’m pretty sure she’s not aware of my existence (not like she should be).
I wouldn’t actually place us all under the same umbrella due exclusively to the aesthetics we opt for, as we’re all dealing with completely different matters in terms of artistic gestures.
Rukobludnitsi (I usually translate the book title as ‘hand job’) are all about winking and double-blinking.
Jokes (not really) aside, I’m really fond of Ulyana [Podkorytova — ed.], we were in different Garage Studios seasons, so we’ve never worked under the same roof. I have never met Alisa [Gorshenina — ed.]. I’m pretty sure she’s not aware of my existence (not like she should be).
I wouldn’t actually place us all under the same umbrella due exclusively to the aesthetics we opt for, as we’re all dealing with completely different matters in terms of artistic gestures.
Rukobludnitsi (I usually translate the book title as ‘hand job’) are all about winking and double-blinking.
I am equally fascinated and terrified with how this peculiar and heterogenous new Russian folk trend co-exists and is opposed to the soviet nostalgia. Ideas never die. They haunt. And let’s see ghost utopias for what they are and try to avoid turning them into some sad vengeful spirits. Is there really an opposition, if thinking of tsarinas we picture Alyuonushkas from Rou’s films or Zabava and her 70s disco-infused songs? What if we are just saying goodbye to one utopia and are welcoming the other that promises us just another happily ever after? What exactly utopias may hide inside their Trojan horse that are their bright and beautiful aesthetics? What we did is we attempted to make the utopia work. You wanted - we made it. Now let’s test together this demo-version of reality.
Mogilevskaya’s book had this conflict of form and content. And we were looking for the content that would actually (finally) serve girls. Russian folk utopia had this constant emptiness, it only had a form. We’ve created the constant. Does it look like happily ever after? Will it serve girls?
I think the dialogue in the center of this enormously big project that contains a book, a band, an exhibition is a dialogue between utopias, between a pioneer and a tsarina. And this dialogue very gently brings up the continuum that has exploration of one’s identity on one end and self-exoticization on the other.
Mogilevskaya’s book had this conflict of form and content. And we were looking for the content that would actually (finally) serve girls. Russian folk utopia had this constant emptiness, it only had a form. We’ve created the constant. Does it look like happily ever after? Will it serve girls?
I think the dialogue in the center of this enormously big project that contains a book, a band, an exhibition is a dialogue between utopias, between a pioneer and a tsarina. And this dialogue very gently brings up the continuum that has exploration of one’s identity on one end and self-exoticization on the other.
A.S.: YOU HAVE ACHIEVED SOME LEVEL OF SUCCESS IN THE RUSSIAN CONTEMPORARY ART SCENE AND IN GENERAL YOU CAN AFFORD TO WORK IN ART HAVING NO SIDE JOBS. SO HOW TO MAKE IT IN THE RUSSIAN CONTEMPORARY ART, WHAT ADVICE WOULD YOU GIVE TO THE EMERGING ARTISTS?
R.V.: I would rather call myself consistent than successful. Before “Open Studios” there was a university. Before the university there were short courses. I believe that sometimes there’s nothing better than boring. No dramatic life-changing decisions, no major turning points.
A.S.: IN CONTEMPORARY ART IN RUSSIA, WE STILL HEAR MORE ABOUT MALE ARTISTS RATHER THAN FEMALE, ALTHOUGH THE SITUATION WITH EQUALITY HAS IMPROVED IN RECENT YEARS. HAVE YOU NOTICED ANY POSITIVE DEVELOPMENTS YOURSELF? HAVE YOU FACED ANY CONDESCENDING TREATMENT BASED ON YOUR GENDER?
R.V.: It feels weird, but it’s like I’m inside these several separate and confronting movements or flows. I witness the growth of the industry in general and the amount of women in it. And I’m scared that the growth is proportional. I hope it is not. Simultaneously as I go along my career path the amount of women beside me shortens. We had like two boys at the university, then it was almost always perfect gender ratio in the residencies. It also makes me scared of looking up and seeing what’s there.
I think in my case my gender teams up with my age to play against me. My dearest fellow artist Sasha Pavlovskaya has a picture, in which I’m angelically smiling in my pyjamas and the text message right bellow says something like “gonna come so cute and crush you all”. I’m not delusional about the way I look. I work with visual culture, that is literally my job to read images. And to work with images, to subvert them, to make them work the way I need them to, you know? I work with what I have.
R.V.: I would rather call myself consistent than successful. Before “Open Studios” there was a university. Before the university there were short courses. I believe that sometimes there’s nothing better than boring. No dramatic life-changing decisions, no major turning points.
A.S.: IN CONTEMPORARY ART IN RUSSIA, WE STILL HEAR MORE ABOUT MALE ARTISTS RATHER THAN FEMALE, ALTHOUGH THE SITUATION WITH EQUALITY HAS IMPROVED IN RECENT YEARS. HAVE YOU NOTICED ANY POSITIVE DEVELOPMENTS YOURSELF? HAVE YOU FACED ANY CONDESCENDING TREATMENT BASED ON YOUR GENDER?
R.V.: It feels weird, but it’s like I’m inside these several separate and confronting movements or flows. I witness the growth of the industry in general and the amount of women in it. And I’m scared that the growth is proportional. I hope it is not. Simultaneously as I go along my career path the amount of women beside me shortens. We had like two boys at the university, then it was almost always perfect gender ratio in the residencies. It also makes me scared of looking up and seeing what’s there.
I think in my case my gender teams up with my age to play against me. My dearest fellow artist Sasha Pavlovskaya has a picture, in which I’m angelically smiling in my pyjamas and the text message right bellow says something like “gonna come so cute and crush you all”. I’m not delusional about the way I look. I work with visual culture, that is literally my job to read images. And to work with images, to subvert them, to make them work the way I need them to, you know? I work with what I have.
Inside the Rina Volnukh's art studio / photos by Lisa Merkulova
A.S.: CONTEMPORARY ARTISTS WORKING WITH VIDEO AND INSTALLATIONS LIKE YOURSELF OFTEN HAVE TROUBLE WHEN TRYING TO SELL OR COMMERCIALIZE THEIR ART. DO YOU PLAN TO COMMERCIALIZE YOUR ART IN ANY WAY AND WHAT ADVICE WOULD YOU GIVE TO YOUR PEERS WORKING WITH THE SAME MEDIA?
R.V.: I’ve never sold any work, to be honest. I’ve sold some books, some merchandise, but I mostly sell my skills and my knowledge. I think we should call artists’ parents patrons, as they invest in art not less than some institutions.I hope there will be more commissions.
I’m glad to see that there is now more interest in sketches, for example. I used to treat them poorly. I would sketch on any piece of paper I had right next to me, what made them non-collectible. I didn’t care enough about preserving anything apart from what I perceived as outcomes. Don’t be me. Invest not only in your software and your installations. Now I am not afraid to spend more money on some nice paper, nice watercolours, all these kind of things. I wish I knew I could monetize it long before. Or maybe I just didn’t believe in myself or was taken over by the ideas and not the material aspects of processes behind the work, we’ll never know.
R.V.: I’ve never sold any work, to be honest. I’ve sold some books, some merchandise, but I mostly sell my skills and my knowledge. I think we should call artists’ parents patrons, as they invest in art not less than some institutions.I hope there will be more commissions.
I’m glad to see that there is now more interest in sketches, for example. I used to treat them poorly. I would sketch on any piece of paper I had right next to me, what made them non-collectible. I didn’t care enough about preserving anything apart from what I perceived as outcomes. Don’t be me. Invest not only in your software and your installations. Now I am not afraid to spend more money on some nice paper, nice watercolours, all these kind of things. I wish I knew I could monetize it long before. Or maybe I just didn’t believe in myself or was taken over by the ideas and not the material aspects of processes behind the work, we’ll never know.
Rina Volnykh's albums
Rina’s next project is a course for children on genres in contemporary art with a dedicated focus on the practices of contemporary female artists. It is hosted by the Garage Museum of Contemporary Art in Moscow.
Rina Volnykh's art studio