Anastasia Bogomolova’s works have been exhibited at Garage more than once. The project Bakal (2016), about the inmates of the labor camp in Chelyabinsk Oblast, was shown at the 1st Garage Triennial of Russian Contemporary Art (2017), and the installation Lookbook (2014–2018) was part of the exhibition The Fabric of Felicity (2018).
Bogomolova’s interests are broad and varied: from the toponymics of the Urals to botany. The installation Total: 1,118,176 rubles and 4 kopecks to produce 10 art projects in the period 01.11.2017 to 01.11.2022 (of which 6 completed, 1 in progress, 3 unknown status) was commissioned by Garage and explores economics and the financial position of the artist, a theme that until recently was rarely and unenthusiastically discussed but which today is an object of sociological research. Bogomolova arranges her financial autobiography in the form of an accountant’s office where you can find receipts, reports and other sensitive information that is usually concealed.
These types of documents are usually analyzed by descendents (as in the case of the illustrated list of purchases created by Michelangelo for his servant on March 18, 1518) or are a means of criticizing various aspects of the capitalist system (Hans Haacke’s works). But Bogomolova uses financial accounting with a different aim in mind. By revealing the “exact sum” to the viewer, she proposes perceiving artistic labor as actual labor and not as an inspired impromptu event with no concrete value.
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