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Design & Development — Elena Mashkova
INVOLVEMENT / Becoming Part of This Practice. Sharing the Experience of an Ongoing Artistic Research
Additional resources allow the practice to move further: to spend more time in the field, return more often, expand technical possibilities and bring completed work into exhibitions, publications and educational programmes sooner
WHAT THIS ARTISTIC PRACTICE CONSISTS OF
The artistic practice develops simultaneously through several interconnected directions, gradually forming a single system of observation and research.
1. Field Expeditions
Most projects begin with long-term fieldwork:
- planning expeditions and routes;
- working across different seasons;
- returning to the same places over many years;
- living alongside the people whose lives become part of the research;
- long periods of observation and waiting;
- photography;
- field notes, drawings and sketches;
- first selection of material during the expedition itself.
2. Research
Each project continues before and after the expedition:
- archival research;
- library work;
- academic publications;
- consultations with specialists and working groups;
- art historical research;
- identifying cultural and visual relationships;
- developing an independent research archive.
3. Creating Artworks
Field material gradually develops into finished works:
- reviewing the archive;
- long-term selection and editing;
- constructing photographic series;
- developing **Exhibition Sequences**;
- preparing individual works;
- writing accompanying texts;
- translating materials into English;
- preparing artists' texts, documentation and cataloguing.
4. Archive
Alongside the artworks, an archive is continuously developed:
- original negatives and digital files;
- working sequences;
- documentary materials;
- research notes;
- project documentation;
- biographies of individual animals;
- long-term visual observations accumulated over many years.
5. Documentary Film
Some projects continue as documentary films:
- field cinematography;
- independent directing;
- editing;
- developing the visual language;
- preparing films for public screenings.
6. Public Dissemination / Sharing the Practice
Research gradually becomes accessible to others through:
- websites;
- exhibitions;
- catalogues;
- publications;
- public lectures, artist talks and public talks;
- educational projects;
- open archival resources.
7. Developing the Practice
Additional resources make it possible to:
- undertake longer expeditions;
- return more frequently to long-term projects;
- expand technical possibilities for fieldwork;
- bring completed works into exhibitions more quickly;
- develop documentary film projects;
- organise and catalogue the archive;
- create new educational resources;
- dedicate more time to research and publications.
8. Participation
Several forms of participation are possible.
In every case, the artistic practice itself remains the central priority. It develops gradually, according to its own internal rhythm and research process
The artistic practice develops simultaneously through several interconnected directions, gradually forming a single system of observation and research.
1. Field Expeditions
Most projects begin with long-term fieldwork:
- planning expeditions and routes;
- working across different seasons;
- returning to the same places over many years;
- living alongside the people whose lives become part of the research;
- long periods of observation and waiting;
- photography;
- field notes, drawings and sketches;
- first selection of material during the expedition itself.
2. Research
Each project continues before and after the expedition:
- archival research;
- library work;
- academic publications;
- consultations with specialists and working groups;
- art historical research;
- identifying cultural and visual relationships;
- developing an independent research archive.
3. Creating Artworks
Field material gradually develops into finished works:
- reviewing the archive;
- long-term selection and editing;
- constructing photographic series;
- developing **Exhibition Sequences**;
- preparing individual works;
- writing accompanying texts;
- translating materials into English;
- preparing artists' texts, documentation and cataloguing.
4. Archive
Alongside the artworks, an archive is continuously developed:
- original negatives and digital files;
- working sequences;
- documentary materials;
- research notes;
- project documentation;
- biographies of individual animals;
- long-term visual observations accumulated over many years.
5. Documentary Film
Some projects continue as documentary films:
- field cinematography;
- independent directing;
- editing;
- developing the visual language;
- preparing films for public screenings.
6. Public Dissemination / Sharing the Practice
Research gradually becomes accessible to others through:
- websites;
- exhibitions;
- catalogues;
- publications;
- public lectures, artist talks and public talks;
- educational projects;
- open archival resources.
7. Developing the Practice
Additional resources make it possible to:
- undertake longer expeditions;
- return more frequently to long-term projects;
- expand technical possibilities for fieldwork;
- bring completed works into exhibitions more quickly;
- develop documentary film projects;
- organise and catalogue the archive;
- create new educational resources;
- dedicate more time to research and publications.
8. Participation
Several forms of participation are possible.
In every case, the artistic practice itself remains the central priority. It develops gradually, according to its own internal rhythm and research process
FORMS OF INVOLVEMENT IN THE ARTISTIC PRACTICE
1. Introductory Participation
2. One-time Participation
3. Field Season Participation
4. Long-term Participation
5. Archive Development
6. Documentary Film
7. Exhibition Projects
8. Research
1. Introductory Participation
2. One-time Participation
3. Field Season Participation
4. Long-term Participation
5. Archive Development
6. Documentary Film
7. Exhibition Projects
8. Research
9. Technical Development of the Practice
HOW INVOLVEMENT WORKS
The artistic practice develops as a long-term research process.
The principles below describe the way I approach collaboration.
1. The practice continues independently
The work develops continuously:
Participation does not create the practice or replace it. It expands its possibilities, accelerates the development of individual directions and allows new stages to be realised sooner.
2. Several forms of participation
Different forms of participation are available:
You may choose the one that feels most meaningful to you.
This may include introductory participation, support for a particular stage of work, a field season, a documentary film, an exhibition project, archive development, or the artistic practice as a whole.
3. Introductory participation
Introductory participation is a complete form of collaboration in its own right:
It allows both sides to become familiar with the practice before making longer-term or more substantial commitments.
As a guideline, its contribution is approximately 30% of the corresponding full participation.
4. Transparency
I do not provide accounting reports to participants:
An exception may apply when participation includes the acquisition of equipment or other major expenses directly connected with the agreed direction of support.
The primary result always remains the artistic work itself and the continued development of the practice.
5. What constitutes a result
For me, the principal outcomes are new artworks, exhibitions, documentary films, publications, lectures, research, and publicly accessible materials.
These become the natural result of the collaboration and the foundation for its continuation.
6. Uncertainty as part of the practice
Fieldwork and documentary filmmaking cannot be planned in every detail:
routes change, weather changes, permissions may be delayed.
Research sometimes develops in unexpected directions.
Participation therefore rests on trust in the practice itself rather than on a predetermined scenario.
7. When projects evolve
Projects may be postponed, combined or take a different form:
Participation follows the development of the practice and adapts to its current stage.
8. Completed projects
Participation is also possible after the field stage of a project has been completed:
Such support contributes to the practice as a whole, making it possible to move more quickly towards future research, films, exhibitions and expeditions.
9. Respect for time
The practice depends upon creative autonomy and sustained concentration during fieldwork:
The participation model is therefore designed to minimise administrative obligations and preserve the continuity of the research process.
10. The foundation of collaboration
Participation begins with an understanding and acceptance of the artistic practice, together with its objective and subjective characteristics
The artistic practice develops as a long-term research process.
The principles below describe the way I approach collaboration.
1. The practice continues independently
The work develops continuously:
Participation does not create the practice or replace it. It expands its possibilities, accelerates the development of individual directions and allows new stages to be realised sooner.
2. Several forms of participation
Different forms of participation are available:
You may choose the one that feels most meaningful to you.
This may include introductory participation, support for a particular stage of work, a field season, a documentary film, an exhibition project, archive development, or the artistic practice as a whole.
3. Introductory participation
Introductory participation is a complete form of collaboration in its own right:
It allows both sides to become familiar with the practice before making longer-term or more substantial commitments.
As a guideline, its contribution is approximately 30% of the corresponding full participation.
4. Transparency
I do not provide accounting reports to participants:
An exception may apply when participation includes the acquisition of equipment or other major expenses directly connected with the agreed direction of support.
The primary result always remains the artistic work itself and the continued development of the practice.
5. What constitutes a result
For me, the principal outcomes are new artworks, exhibitions, documentary films, publications, lectures, research, and publicly accessible materials.
These become the natural result of the collaboration and the foundation for its continuation.
6. Uncertainty as part of the practice
Fieldwork and documentary filmmaking cannot be planned in every detail:
routes change, weather changes, permissions may be delayed.
Research sometimes develops in unexpected directions.
Participation therefore rests on trust in the practice itself rather than on a predetermined scenario.
7. When projects evolve
Projects may be postponed, combined or take a different form:
Participation follows the development of the practice and adapts to its current stage.
8. Completed projects
Participation is also possible after the field stage of a project has been completed:
Such support contributes to the practice as a whole, making it possible to move more quickly towards future research, films, exhibitions and expeditions.
9. Respect for time
The practice depends upon creative autonomy and sustained concentration during fieldwork:
The participation model is therefore designed to minimise administrative obligations and preserve the continuity of the research process.
10. The foundation of collaboration
Participation begins with an understanding and acceptance of the artistic practice, together with its objective and subjective characteristics
My artistic practice has evolved as a long-term inquiry. Field expeditions, archival and library research, photography, drawing, documentary filmmaking, exhibitions, publications and public talks all form parts of one continuous process.
Some projects have accompanied me for many years. They require time, repeated returns, patience and sustained development. Alongside the artworks themselves, archives, research materials, educational resources and open-access materials gradually take shape, continuing to develop their own lives beyond individual projects.
If this resonates with you, there is an opportunity TO BECOME PART OF THIS PRACTICE AND EXPERIENCE ITS RESEARCH JOURNEY, even for a single stage.
I believe that meaningful collaborations develop gradually — through an understanding of the practice itself, respect for its internal logic, and the quiet growth of mutual trust.
If you would like to continue this conversation, I would be pleased to hear from you. A few words about yourself and what drew you to my work will help me understand the context of your message and respond thoughtfully:
smbelena@gmail.com
Some projects have accompanied me for many years. They require time, repeated returns, patience and sustained development. Alongside the artworks themselves, archives, research materials, educational resources and open-access materials gradually take shape, continuing to develop their own lives beyond individual projects.
If this resonates with you, there is an opportunity TO BECOME PART OF THIS PRACTICE AND EXPERIENCE ITS RESEARCH JOURNEY, even for a single stage.
I believe that meaningful collaborations develop gradually — through an understanding of the practice itself, respect for its internal logic, and the quiet growth of mutual trust.
If you would like to continue this conversation, I would be pleased to hear from you. A few words about yourself and what drew you to my work will help me understand the context of your message and respond thoughtfully:
smbelena@gmail.com
Elena Mashkova