BARCELONA, SPAIN

In her projects, Olesya is inspired by the ability of people to communicate using contexts, cultural codes, and connotations. Some cultural codes become relevant, some become obsolete, and the artist’s interest is in checking how an outdated phenomenon can be rebuilt and resurrected

Besides people communication, Olesya is passionate about themes of corporality and human memory, biological and ecological theories. 

Olesya’s favorite art mediums are those capable of responding (plants, molds, compost) or imitating the will (ink drawing, painting, monumental drawing, media art).

EDUCATION

Rodchenko Art School, Media arts (Moscow, 2022)

Pro Arte Institute for Young Artists ( St.Petersburg, 2018)

St.Petersburg State Academy of Industrial Arts, department of Monumental Arts (2015)

SELECTED EXHIBITIONS

Selected solo shows:

2025. Root Directory, :DDD Kunst House, Yerevan, Armenia

2025. me[RROR], Alexander gallery, Rose, Montenegro

2023-2024. The Teardrop of the Last Fossil Creature, Ria Keburia Residency

2021 - 2022. alive/not\alive, curated by L. Griasnova, Aalto Library, Vyborg

Selected group exhibitions:

2025. Artists to watch 2024-2025, Pale Space Gallery, New York, 2025

2025. Virus. Artist Against Kremlin, deBaille, Amsterdam, Netherlands

2025. Take a Seat, de_colonialanguage + independent curator Irina Denkmann, Frankfurt→Germany

2024. Signal, Haus der Statistik, Berlin

2024. Rubezh, IV International Instant Exhibition of Émigré Art, Tbilisi→Sakartvelo[Georgia], 2024

2023. Represije. Torture. Rat. Rusija, Halle→Germany; Belgrade→Serbia, 2023

2023. To Be a Plant, New Delhi→India, 2023

2023. The Sphere, CICA Museum, South Korea, 2023

WORKS ARE PRESENTED

collection of Anna Akhmatova Museum, St. Petersburg

collection of CICA, Modern Art Museum, South Korea

private collections in the USA, Ukraine, Georgia, Russia, France, Finland

LINKS 

Personal website https://gonserovskaya.com/ 

Instagram https://www.instagram.com/gonserovskayaolesya/ 

ARTIST VOICE 

I see communication as a sign of animateness. From one project to another, I keep asking questions about the origin of life and self-consciousness without much hope for a definitive answer. In these searches, I am accompanied by the theme of corporality and human memory. For example, Ashes (2018), where I draw imperfect human bodies with ashes. The starting point for a project is often biological theories: PAIC, a follower of LUCA, (2020), where I am looking for a future artificial intelligence ancestor, Tulpa, (2022), where I grow my double using waste composting.

Sometimes I like to joke in projects and allow ambiguity in their interpretation. Often my project can be described as a question without an answer. Or a joke without an addressee. I try to stick to as wide a range of art mediums as possible with respect for the planet and those around me. I appreciate the audience's ability to participate and the potential for site specificity. Among my favorite art mediums are those who are alive and ready to fight back in my work, to show their will (plants, compost, mold), or who imitate interactivity (drawing with ink and other materials, painting, monumental drawing, media art).