Prima
The large-scale installation Prima releases "white" from the flat surface into space. Continuing the trajectory of the previous works, the landscape quality of the bedsheet photographs is amplified into a spatial structure — a twelve-metre white cloth descends from mid-air, like a waterfall, a curtain, or a remnant left behind in ruins; upon reaching the ground, it spreads between aerated concrete blocks, as if a riverbed has overflowed across a stony shore. These concrete blocks are neither natural enough nor architectural enough, hovering between artificial rockery and construction debris, making the entire space read simultaneously as a Zen garden, a construction site, and an ambiguous, unformed zone.
Tut references Minimalism and the Zen garden, but the true power of the installation lies in its "unformedness" — not a finished Minimalist work, but a temporary construction assembled with minimal gestures, a white field that has not yet been named. In the narrative arc, it completes a crucial externalization: the white bedsheet from the private room is expanded into a monumental presence occupying public space. The aerated concrete blocks point to the construction and order of systems, while the suspended fabric, like flowing water and mountain mist, drags industrial materials into an empty, natural atmosphere.
Sound: Alexander Pogrebnyak
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.
