white, white, white
White, White, White, the prologue of the exhibition, presents a series of minimally differentiated photographs of white bedsheets. Here, "white" is a state of nothingness: a bedcover just vacated, its crumpled folds echoing the forms of mountain ridges, the grey-white wall space resembling a misty sky. "White" thus deviates from concept toward the corporeal — it is sleep, waking, departure, the material trace left behind after a person briefly withdraws from the world. Tut calls this the ethics of "economic uselessness": the bed, as the most intimate space, is where the regime of contemporary visibility temporarily fails; in sleep, efficiency, expression, and productivity all recede, and one withdraws from the servitude of algorithms and labor. The image itself is lighter and more dreamlike than the intentions pre-assigned by language — it is the residual warmth that precedes the "white" of resistant discourse, arriving before clarity has been reached.
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.
