The Last Report. From Antarctica With Love is a large-scale audiovisual installation centered around a luminous, faceted iceberg form. Using projection mapping, the object becomes a temporal interface in which vast geological and historical processes unfold. Within a compressed time frame, the viewer witnesses cycles of growth, transformation, and disappearance: from organic landscapes to technological structures and back to abstraction. The installation constructs a looping system in which time appears as a continuous process of accumulation and erasure. The iceberg becomes both a container and a surface of projection, holding traces of environments, civilizations, and their transformation. An additional audio layer is accessed through a local Wi-Fi radio stream, allowing visitors to listen individually to a sound composition based on recordings of melting ice from the Neva River. This extends the installation beyond the visible, introducing a more intimate, embodied dimension of the work. Rather than illustrating a specific history, the work reflects on the instability of what appears permanent, revealing planetary time as a shifting, cyclical condition. — ArtAntarctica, site-specific installation

E.D.E.N. (Emulated Digital Experience of Nature) is an immersive audiovisual installation conceived as a fictitious simulator from an unspecified future: designed to recreate the experience of nature beyond its disappearance. AI-generated landscapes unfold as a continuous, painterly environment through which visitors move. The system gradually loses stability: human presence introduces subtle shifts, while movement intensifies the process — the image dissolves, fragments, and drifts toward abstraction. Across cultures, the idea of a harmonious natural world persists as a foundational image. Here, it reappears as a simulated environment that cannot fully sustain itself. Interaction becomes a quiet but persistent force, exposing the fragility of what appears whole. — Shown at Todays Art Festival, The Hague, 2019.

The Great Black is a long-term socio-cultural project that explores how the appearance of a single object can transform a familiar environment. Initiated in 2012 and developed across more than ten countries, the project began as a performative interaction with a fictional character and gradually evolved into an open-ended experiment. Filming takes place in various locations, where the emergence of The Great Black disrupts the usual flow of reality. The presence of the figure alters both the environment and the perception of those who encounter it. For the person inside the black form, identity becomes unstable: age, gender, and appearance lose their relevance. The figure exists beyond fixed characteristics, functioning as a shifting point within each situation. The Great Black operates as both presence and absence. It absorbs and erases visual distinctions, creating a space where perception is no longer anchored in familiar categories.

The Great Black is a project by Dasha Shkel exploring how the appearance of a single form can transform a familiar environment. This audiovisual performance, created in 2017, brings together moving image, sound, and spatial intervention. THE GREAT BLACK 05/18/17 is a collaborative work combining live music, visual systems, and performative presence. Credits Photo/video: Dasha Shkel Visuals: Pavel Zmunchila, Polina Syrovyatkina Fashion: ANTISTAR (London) Live music: Roma Bromich Installations: Sergey Rublev Camera: Anthony Shirokikh

The Hope is a light-based installation exploring the tension between order and chaos. Composed of simple geometric forms and intersecting lines, the work unfolds as a dynamic structure where closed trajectories interact and shift. Within this system, a central line gradually emerges, cutting through the composition as a fragile yet persistent movement forward.

The Defenseless Masks is a project at the intersection of art and wearable form. Developed in response to the conditions of restricted contact, the work reconsiders the mask not as protection, but as a site of vulnerability. Placed over the lips rather than the face, the object shifts the function of concealment into a gesture of exposure. It interrupts speech while intensifying perception. Balancing between ornament and constraint, the masks operate as fragile interfaces between the body and its environment.

Defenseless Masks is an audiovisual event bringing together music, art, and fashion. The program included live performances, audiovisual sets, a fashion show, and a photo exhibition. Participants A/V live: Stas Glazov (Berlin), Tonoptik Fashion: SATINN, IULIASKU Vocal: Daria Chubakova DJs: Riad, Shinanay Freestyle: Samo Video: Lapa Vlad