INTRUSION by Olga Matveeva

By in Series on 8. January 2018

According to ancient legends, vampires appeared on the Earth at the same time as the first people. They changed, mutating and imitating. If we interpret vampirism wider than a myth about aristocratic bloodsuckers, we may assume that each of us carries an element which, unrevealed up to a certain time, is able to turn any human into a savage monster. The history moves spirally – despite external changes the essence of events and their form in many ways repeat the previous ones: tyrannical rulers and their regimes, internecine wars, the global remaking of geopolitical spheres of influence, new inquisition and crusades, the dominance of surrogate social and political ideas, which are repeated by leaders of the countries, etc. The terrible and the beautiful change places; in war we see ecstasis that is close to sexual one, in sex we see alienation of death, and the death itself acquires grim aesthetic deepness. But actually the smooth, aloof mask of any vampire is just a symbol of global deception. His actions look like a lifecycle of a virus. And here the most interesting thing happens – in the process of being enslaved the prey gradually becomes an accomplice. We accept this game, and maybe all this isn’t even conformism, but our genetic predisposition that gives us a chance to find salvation in a moment of crisis? Sweet anabiosis instead of non-existence, while real life is left behind the scenes. They are so close and yet so different – parts of countries, myths, and genitalia – all this is merging in an endless striving to invade and accept, to give and succumb, to own and belong. A greasy lens is projecting horrible figures with broken wings onto black house fronts. These forms drive us from one night to another, deforming and transforming bodies, but we are already ready for anything. Explosions cover the sky with multicolor fireworks, while everybody has already supped and is now stealthily looking out of the windows of their stuffy bedrooms.

Olga was born in 1986 in Moscow, Russia.

Graduated from the State Academic University for the Humanitarian Sciences, political science (2008) and Rodchenko Art School, art photography (2013).

Participant of national and international festivals and exhibitions of contemporary art.

Olga works with mediums of art photography, sculpture and video to talk about ideas of individual and collective identity, focusing mainly on the territory of post-Soviet countries and Balkans. She works on her subjects, using the method of induction- interaction of intimate space and personal experiences with the global social processes.

Member of the Russian Photo Union since 2010.

Olga`s images have appeared in British Journal of Photography, Snoecks, Forbes, Calvert, Granta, FK magazine, Emaho magazine, Eikon, etc…

Her works are in collections of Hilger NEXT Gallery, Anzenberger Gallery, Multimedia Art Museum Moscow, and private collections in Russia, Austria, France, Japan, Germany.

Olga`s works has been recognized with awards including

Summer Academy grant, Salzburg (2017), 1. Vienna Photobook Festival Prize (2014), Silver Camera, Moscow (2011), Volga Biennale, Nizhny Novgorod (2010), The government grant for the young photographers (2016, 2015, 2010).

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