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Dagnini
Dagnini — an artist from Saint Petersburg.
She works with dynamic performances, creates objects, installations, paintings and graphics. The main theme of her research is 'glitches' both in digital space and in reality. The breach of peace and of current everyday routine are the necessary conditions for her artworks.
The nominee for The State Award in Contemporary Art "Innovation 2020" in the "New Generation" category.
The nominee for The State Award in Contemporary Art "Innovation 2020" in the "New Generation" category.
"Call me Dagnini. What's great about this word, it doesn't have any clear gender connotation. Moreover, it is convenient to have the same short name in everyday life and at work. I don't separate the daily life from the artist's life, the routine from making art. That's why the one word describing me sounds appropriately for me".
The exhibition DISK (D:)
The exhibition, for which Dagnini has been nominated for the only state prize in Russia in the field of contemporary art, was held at the Fragment Gallery in 2019. The project "Disk (D:)" is dedicated to nostalgia for the age of mass distribution of ОS Windows 95/98 and to the political turmoil in Russia in the '90s. Canvas, murals and hand-embroidered tapestries were gathered by the artist in a total installation referring to an average entrance hall in a typical Russian apartment block. The project's curator — Julia Yousma.
Performance "Therapeutical Catering" at the opening of the exhibition "Disk (D:)
"Playfulness, the desire to be constantly in the image is the basis of Dagnini's work. This mood continues in the artist's paintings and tapestries which complement her performances. Both the paperclip, and the first president of Russia, and everything else (animate and not) are identities of Dagnini, the same as a chav or a head in a salad. In each of the paintings and tapestries, she continues to live, act and mess".
Art critic Sergey Guskov, Magazine MMOMA "Dialogue of arts", №3, 2019
Art critic Sergey Guskov, Magazine MMOMA "Dialogue of arts", №3, 2019
"This laugh will end in tears"
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Tapestry, hand embroidery
98 х 193 cm, 2020
"Dagnini's works combine a variety of meanings by appealing to the cultural tradition: tapestries, favoured by the Union of Artists of the USSR, are filled with references to the era of bulky computers. Dagnini's work is "two in one": the past and the future in the present".
Art Director of Cosmoscow International Contemporary Art Fair Simon Rees — for Esquire Magazine
98 х 193 cm, 2020
"Dagnini's works combine a variety of meanings by appealing to the cultural tradition: tapestries, favoured by the Union of Artists of the USSR, are filled with references to the era of bulky computers. Dagnini's work is "two in one": the past and the future in the present".
Art Director of Cosmoscow International Contemporary Art Fair Simon Rees — for Esquire Magazine
Tatyana Stolyar, the co-founder of "Antiglyanets" (the most popular Telegram channel in Russia about high life): "I saw Dagnini's tapestries. And I suddenly remembered that I've already seen this tapestry with a reindeer in the September issue of Esquire in the "Masterpiece" column and it hooked me.
I realized that my whole childhood I slept near such a tapestry with a deer — it hung in the village house of my grandparents. That's what I call a match. Although I don't consider myself an admirer of Joseph Brodsky, I think this quote is brilliant. Add to that the nostalgic aesthetics of Windows — I can't help but like it. … I checked Dagnini's Instagram, saw a picture of her in a cowboy pink hat, just like Britney Spears had, and I knew right away that I wanted to be friends with her.
I realized that my whole childhood I slept near such a tapestry with a deer — it hung in the village house of my grandparents. That's what I call a match. Although I don't consider myself an admirer of Joseph Brodsky, I think this quote is brilliant. Add to that the nostalgic aesthetics of Windows — I can't help but like it. … I checked Dagnini's Instagram, saw a picture of her in a cowboy pink hat, just like Britney Spears had, and I knew right away that I wanted to be friends with her.
I asked the gallery's team to send me a price as a joke and went looking for some champagne … I opened a bottle and realised that I could buy this tapestry, because I received my salary just in time, so I would spent it gladly on this work. I strive for solidity and love contemporary art. The other day, a workman will come to my place (I live on the outskirts) and hang the tapestry. I believe it will be the first piece of contemporary art in our area. And the artist Dagnini, I'm sure, has a great future ahead, it's quite obvious".
© Magazine "Sobaka"
© Magazine "Sobaka"
Fragment of the work "Attention choir"
From the series «Private performances»
Video (1:01, 1440х1080), objects (mixed media, 74*83 cm), 1/3+1А, 2020
From the series «Private performances»
Video (1:01, 1440х1080), objects (mixed media, 74*83 cm), 1/3+1А, 2020
Dagnini's activity schedule:
16 April 2020.
Quarantine performance
Quarantine performance
The new work for The Document Journal from the series "Private performances" created during home isolation.
19 April 2020.
Somewhere over the 🌈🐛
Somewhere over the 🌈🐛
The exclusive premiere of the performance "Somewhere over the 🌈🐛" which was not included in the exhibition "This laugh will end in tears" in the HSE ART Gallery .
23 April 2020.
Stream
Stream
The broadcast of the process of creating a new graphic work from the "Deadline denial" series.
26 апреля 2020.
Q+A session
Q+A session
Various identities of Dagnini are answering the questions from the audience.
The new work for The Document Journal from the series "Private Performances" created in conditions of home isolation.
Performances from this series usually are happening one-on-one with the viewer, or for a strictly limited number of participants in a forest, sandy quarry, in a kitchen or veranda, an empty gallery, or a museum.
This time the performance takes place in a bathroom. It is an important place in every person's life—an everyday functional facility and yet a space for solitary meditation, eternal thoughts, or trying to deal with existential crises. These days, it's an increasingly hard time finding peace or even simple pleasures. Your day-to-day life may be sort of isolated and you may not be going out too often spending most of your time working on your projects at home or in a studio—but when you are told to stay inside by someone else it's a different experience. Your simple pleasures or the usual ways of finding peace are harder to achieve. The sacred space is ruined. It feels like another isolation inside the isolation.
Performances from this series usually are happening one-on-one with the viewer, or for a strictly limited number of participants in a forest, sandy quarry, in a kitchen or veranda, an empty gallery, or a museum.
This time the performance takes place in a bathroom. It is an important place in every person's life—an everyday functional facility and yet a space for solitary meditation, eternal thoughts, or trying to deal with existential crises. These days, it's an increasingly hard time finding peace or even simple pleasures. Your day-to-day life may be sort of isolated and you may not be going out too often spending most of your time working on your projects at home or in a studio—but when you are told to stay inside by someone else it's a different experience. Your simple pleasures or the usual ways of finding peace are harder to achieve. The sacred space is ruined. It feels like another isolation inside the isolation.
Quarantine performance
From the series «Private performances»
The rainbow-caterpillar first appeared during the preparation of the exhibition "This Laugh Is Going to End in Tears" (curator Julia Yousma) in the Hse Art Gallery, but was not included in the exhibition. It is the most "inanimate" of all Dagnini's images — a creature which has lost any resemblance to a human or animal. It is made of recognizable artefacts of the Soviet-Russian childhood. Red plastic pots, gold medals, a rainbow slinky toys, stiffness and clumsy movements. It resembles all the ridiculous holidays in kindergarten, confused children who follow the frighteningly absurd instructions of their teachers, and the first attempts of five-year-olds to socialize in a world where nothing is stable if you are an adult. If you were lucky not to understand anything, then cheap and bright things from China, which filled the Russian market at that time, became real treasures that still cause sentimental feelings. Weird pots of toxic flowers, uneatable chocolate, flimsy toys raised and gave a character to a whole generation of caterpillars that grew up by feel.
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