Anastasia Adasheva

About / Bio

Screenshot (2025)
Screenshot (2025). Digital Print. A poetic act of encryption, transforming desktop icons into a surreal assemblage of everyday objects that disrupt the logic of digital space.
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025). Video (4:15). This visual poem is a hectic dream or a real internet experience, a trippy dialogue with oneself, and an absurd journey to wherever it might lead. Awakened in a post-apocalyptic neon oasis, the protagonist seeks friendship and political recognition while confronting the moral dilemmas of digital consumerism. The old feminist dream of nonviolent technology is now just someone’s blocked post on Twitter.
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Pick me, choose me, love me (2025)
Postapocaliptic News (2025)
Postapocaliptic News (2025). Video (3:45). A chaotic news special uncovering the shocking truth behind pigeon drones, meme currency, and an underground sock civilization. Plus: a must-see commercial break introducing the revolutionary brain-frying pan.
Postapocaliptic News (2025)
Postapocaliptic News (2025)
Postapocaliptic News (2025)
Postapocaliptic News (2025)
Art Police (2024)
Art Police (2024). The performance, titled "Art Police," is conceived as a fluid, site-specific happening rather than a fixed event. It unfolds organically over the course of an opening evening, during which my collaborator (Olga Kotova) and I circulate through the exhibition space, "patrolling" it. This interactive performance invites engagement with both attendees and artists. We pose questions that parody the formal structure of police interrogations and observe the artworks as though conducting an investigation, documenting our findings in a protocol-like manner. The fictional "Art Police"—further exaggerated by the playful use of pink uniforms—dismantles the visual and conceptual language of control. This results in a "cute dystopia," a vision of omnipresent surveillance under the cover of harmlessness.
Art Police (2024)
Art Police (2024)
Art Police (2024)
Art Police (2024)
Butterfly Trick (2024)
Butterfly Trick (2024). Video (9:37). In Butterfly Trick, a surreal political saga unfolds within the walls of Germany’s most iconic police station, reimagined in an alternative universe. A crew of journalists embarks on a guided tour of the Davidwache police station, led by Officer Max Schneider—a trickster, a robot, and yet just a regular cop. As he deals with fantastic creatures claiming to belong to a secret anarchist society, the journalists uncover the station’s peculiar secret: the so-called “butterfly trick,” the only means of escape. Blurring the boundaries between documentary, speculative fiction, and cinematic experimentation, Butterfly Trick interrogates themes of authority, visibility, and the surreal mechanisms of liberation.
Butterfly Trick (2024)
Butterfly Trick (2024)
Butterfly Trick (2024)
Butterfly Trick (2024)
Butterfly Trick (2024)
Butterfly Trick (2024)
Refreshment Office (2024)
Refreshment Office (2024). Performance, Video (2:19). ErfrieschungsBehörde is a parafictional organization mimicking a modern administrative facility tasked with regulating water consumption. In a deadly dry, post-capitalist future marked by the massive exploitation of natural resources, people find themselves filling out forms just to obtain a glass of water, rendering bureaucracy a futile intermediary between humanity and this essential resource.
Refreshment Office (2024)
Refreshment Office (2024)
Refreshment Office (2024)
Refreshment Office (2024)
Refreshment Office (2024)
Refreshment Office (2024)

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