‘选自项目“唯有相互引力”’— 叶甄妮娅·图特
"There is Nothing but mutual gravitational attraction"
The story of people meeting is told across several sheets. The graphics are pushed to the brink of dematerialization—holes, light, time, algorithm, space, void—searching for a formula to describe the world.
At the core of the project lies the inner cosmos of two individuals and their shared destiny. Clouds of points reflect a person’s inner world, while intersecting lines symbolize interaction and attraction between people.
Each work functions like a “page” of a personal diary. The titles reveal the narrative thread:
Simply a Coincidence
When We Had Yet to Meet
On the Day of Our First Encounter
Calls and Waiting for Calls
As If I Am Writing You a Letter
When We Were a Cloud
When We Become an Iceberg
When We Became the Horizon
One of these works was exhibited in Evgenia Tut’s solo show “Slow Shores” at MMOMA (Moscow) in 2025. It also featured in the main project of the International Eco-Biennial of Contemporary Art “Skin of the Earth” in Nizhny Novgorod in 2025. Part of the series has been acquired by the Limonov Art Foundation, one of Russia’s largest and most significant contemporary art collections.
The project constructs a poetics through the prism of writing as a sacred ritual. At its core lies a narrative of human encounter envisioned as the meeting of planets in the cosmos—an event of universal magnitude. Each work functions like a “page” of a private diary. The series of abstractions unfolds into a “sentimental journal,” where every piece becomes an entry in a chronicle of memory and premonition. The convergence of two people appears as a “planetary rapprochement,” evoking the inexorable laws of the universe. By invoking non-verbal codes, the project offers an alternative to language and probes the possibilities of other modes of communication in a post-digital era—an era in which, ultimately, “there is nothing but attraction.”
Working at the intersection of academicism and the avant-garde, the artist’s discourse emerges from the tradition of écriture féminine, with its emphasis on corporeality and the archaic. She invites the viewer into the ritual of writing, where spatial experience supersedes semantic content. Through the construction of an “immersive field,” she engages questions of transparency, power and irrational magnetism. Cosmic metaphors of encounter and the diary-narrative structure reflect her ongoing interest in time, myth and the sacred within the secular. This interdisciplinary approach positions her practice as a map of the future—one in which the boundaries between “space” and “text” dissolve.
Born on 1982 in Saint Petersburg, Russia.
Evgenia Tut (b. 1982). She lives and works in Saint Petersburg. In 2006 she graduated from the Saint Petersburg State University of Architecture and Civil Engineering with a degree in Architecture. Since 2018 she has maintained an active artistic practice and regularly participates in exhibitions. In 2022 she completed the Rodchenko School’s Kirill Savchenkov Transmedia Laboratory.
Her career highlights include participation in the Ars Electronica festival (2021); a residency at the GES-2 Center for Art Production “Svody,” V-A-C Foundation, Moscow (2022); and a nomination for the Sergey Kuryokhin Award in the “Best Work of Contemporary Art” category (2023). She is the author of the non-commercial solo project “1024,” supported by the Limonov Art Fondation (2024), and of the solo exhibition “Slow Shores” at MMOMA (2025). In 2025 she also took part in the main project of the International Ecobiennale “Skin of the Earth.” Evgenia Tut is the founder of the artists’ program “Tut Workshop.”
Her works are held in museum, private, and corporate collections, including the State Russian Museum, Garage Museum of Contemporary Art, Limonov Art Fondation, Ru Art’s Foundation, Swan Hellenic, and others.
Artist’s Statement
In my projects, I explore questions about the digital future and methods of evading total transparency. I expand the practice of “women’s writing” and “minor gestures”. My work actualizes the act of writing and employs spatial means to convey artistic statements. My creative method has been shaped by my architectural background, the study of classical calligraphy, and dance, as well as by an interest in archaic consciousness and nonverbal information transmission. I experiment with various techniques, working in graphics, painting, installations, and objects.
