The diaries
The Diaries series embodies a paradox: titled "Diaries," yet it narrates no events, leaving only minimally repeated vertical strokes. The splatters on the canvas read like a metaphor for disorder breaking through the rules. The fragment of text in the lower right corner — phrases such as "artificially cultivated warm days" — is not a gateway into the image, but rather an exposure of the image's retreat back into blank space: "Today, how do I leave a trace that is visible but unreadable?" Behind this lies a posture of retreat from visibility, from language, from identity naming. Yet there is a tension between the artist's own statement and the work itself: she deploys terms like total visibility and data extraction to push the work toward a politics of anti-surveillance, but the work itself resists excessive clarity — the white sheet is first of all drowsiness, writing is first of all the movement of the hand, landscape is first of all mist and absent-mindedness.
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.
