Olga Kisseleva

Currently based
Affiliated institution

"The artist Olga Kisseleva's approach to her work is much the same as a scientist's. A discrepancy detected during a procedure or within the workings of a structure oblige her to formulate a hypothesis, in order to explain the complication in question, and wherever possible, to propose a solution to the problem. She then determines the skills necessary to pursue the relative study, and commissions the research.

The artist calls upon exact sciences, on genetic biology, geophysics, and also on political and social sciences. She proceeds with her experiments, calculations and analyses, while strictly respecting the methods of the scientific domain in question. Her artistic hypothesis is thus verified and approved by a strictly scientific method.

In each of Olga Kisseleva's projects, at each stage of its development, from the initial draft (when the context is taken into consideration), until the moment when the indications allowing the esthetic propositions to come to light are gathered together, a line is traced upon which the different elements convened are inscribed. This way of addressing places and people allows the artist to take on an unusual position, a kind of involvement consisting of questioning, affronting or testing the elements constituting the reality of a situation in which she can borrow from numerous mediations, supports and modes of representation as diverse as the situations themselves. Yet it still implies, for the viewer as well as the artist, a certain faithfulness to a watchword - vigilance - returning to a principle of responsibility, and implying the establishment of open relationships between the different elements brought into play by esthetic propositions."

excerpt from the catalogue “Windows”, Musée Marc Chagall, Nice, 2008


2016 Orange Telecom Award - artist in Residency, Orange Art Factory, Paris, France

2015 ATA Art&Science Award - shortlist - artist in Residency, New Art Foundation Barcelona, Spain

2015 Artist in Residency, Museum of Astronomy and Related Sciences, Rio de Janeiro, Brazil

2015 Artist in Residency, COP21 - Foundation Surfrider Europe, Biarritz, France

2012 Artist in Residency, New York Stock Exchange, New-York, USA

2013 France-Stanford Award for Power Struggle project, Stanford, Palo-Alto, USA

2012 Award of the Ministry of Research, Paris, France, for the Geo Quick Responce, land-art project, collaboration with the Gassendi Museum and with the Geopark de Haute-Provence, Digne-les-Bains, France

2011 Pro&Contra Award, Moscow, Russia

2011 OPLINE PRIZE, Bordeaux, France

2011 COAL PRIZE Art & Environnement - shortlist - Paris, France

2008 Art work commission by Asmeg (EDF), Kaysersberg, France

2007 Artist in Residency in Regart.net, Paris, France

2006 DISONANCIAS art & innovation award, San Sebastian, Spain

2006 ZeroOne award / French Cultural Service French Ambassy in USA for LANDSTREAM workshop, San Jose Museum of Art - South Hall / Stanford University, Palo Alto, USA

2006 Kio-A-Tao award for LANDSTREAM project, Taipei, Taiwan

2005 Pierre Scheffer SCAM award- Multimedia, Paris, France for “in VISIBLE” project

2005 Academy of Sciences award, Abbadia Art Residency, Hendaye, France

2004 ARCADI - Multimedia Award for “Seven Deadly Desires” project.

2004 Award of French Research Minister for DG-Cabin project

2003 DICREAM - Multimedia Award of French Minister for Culture for DG-Cabin project

2002 Award “Contemporary art in traditional museum” ProArte Fondation, St Petersbourg, Russia

2000 Foundation Fulbright, Research Grant, USA

2000 Sanscriti Award, Sanscriti Foundation, New Delhi, India,

1995 Research Grant of Europeen Community, Media program, Bruxelles, Belgium


BesArt, Lisbonne, Portugal
CNEAI, Paris, France
Communauté urbaine de Brest, Brest, France
Fine Art Foundation, New York, NY, USA
Fondation De 11 Lijnnen, Ostende, Belgium
Fondation LVMH, Paris, France
Fonds Municipal d'Art Contemporain de la Ville de Marseille, France
Fonds Municipal d'Art Contemporain de la Ville de Paris, France
FRAC Aquitaine, Bordeaux, France
FRAC Bretagne, Rennes, France
FRAC Languedoc-Roussillon, Montpellier, France
Getty Institute, Los Angeles, CA, USA
Machida Graphic Museum, Tokyo, Japon
Media Art Museum, ZKM, Karlsruhe, Germany
MOCAK, Krakow, Poland
MMOMA, Moscow, Russia
MOMA New York, NY, USA
Moscow Museum of Contemporary Art, Moscow, Russia
NCCA, Moscow, Russia
Ningxia Contemporary Art Museum, Yinchouan, China
Pecci Museum of contemporary art, Prato, Italy
The State Russian Museum, Saint-Petersburg, Russia


since 2011
Director Art&Science Laboratory University of Paris 1 Panthéon-Sorbonne, France

since 2009
Member-Founder, Institut for Convergency of Art and Science, Greenwich University, UK

since 2007
Professor, Head of Art&Science department University of Paris 1 Panthéon-Sorbonne, France

2000 – 2006
Lecturer « Art and New Media » University of Paris 1 Panthéon-Sorbonne


2007 HDR University of Paris 1 Panthéon-Sorbonne

1996 Ph.D. University of St Petersburg, Russia

1988 Master of Fine Arts, The National Fine Arts Academy Vera Muchina, St Petersburg, Russia
EDEN, new exhibition by Olga Kisseleva

Chateau de Gentilly - FRAC (Contemporary Art Foundation) of Ile-de-France presets the new Olga Kisseleva's solo exhibition EDEN from September 1st to October 10th in Paris.


The artiste Olga Kisseleva works of bringing extinct species back to life, or of creating new species on the preexisting base of DNA. A truly artistic utopia, assuming that extinction, can be revoked thanks to the advancement of contemporary human civilisation.


Nowadays, a lot of extinct vegetable and animal species can be classified as being “physically extinct, but not genetically”. These species have disappeared as a result of global warming and its immediate consequences on their natural habitat and their living conditions. Their DNA has nevertheless been safeguarded and preserved in laboratories or museums, and can therefore be reactivated by scientists. Thanks to the advancement made through research in the domain of genetic technology, DNA can be used as a base in the rebirth of the species to which it belongs, the exception being with the dna of animals who lived a very long time ago. That of dinosaurs being a good example; they are classified as being “physically and genetically extinct”.


One of the directions explored by bio-art and the artist Olga Kisseleva is the possibility of bringing extinct species back to life, or of creating new species on the preexisting base of DNA. A truly artistic utopia, assuming that extinction, despite its supposedly definitive and irreversible characteristic, can be revoked thanks to the advancement of contemporary human civilisation. the realization of this utopia therefore allows for the preservation of biological diversity, the reestablishment of weakened ecosystems and the deletion imagined by the damage caused to nature by man.

EDEN, new exhibition by Olga Kisseleva
Olga Kisseleva invents new CASH in the frame of Shiryaevo International Biennale of Contemporary Art (Samara, Russia)

The subject – Cash – reveals the conflict between a wish to create a relationship of trust between each other and to survive under new conditions of total market networks. Within the framework of the declared subject it is planned to define a sphere of real authentic human values appropriate for everybody – in small local places and in the global situation of today.

The main project of the Biennale includes 34 artists from Russia, Austria, Germany, Denmark, the Netherlands, Poland, France, Sweden, the USA, Brazil, Uruguay, Chile, Singapore, Australia. Apart from the Nomadic Show the main project presents the exhibitions “Cash”, “History of Shiryaevo Biennale”, music event and a special program for children.

In the framework of the special program two exhibitions will be held in Samara: “CASH — from Symbol and Dream to Hard Core Reality" curated by Martin Schibli in Samara Regional Museum of Art (opening date – August 24th) and “The New Ecology” curated by Vitaly Patsukov in Samara Regional History and Local Lore Museum named after P.V. Alabin (opening date – August 25th). The seminar “On Museum of the Intangible” will be carried out on August 28th- 30th at Shiryaevo Community Centre and in Samara (at the Factory Kitchen, in Samara Regional Museum of Art and in Samara Regional History and Local Lore Museum).

Olga Kisseleva invents new CASH in the frame of Shiryaevo International Biennale of Contemporary Art (Samara, Russia)
SEA VIEW solo exhibition by Olga Kisseleva

The Centre Régional d’Art Contemporain Languedoc-Roussillon (Sete, France) is devoting a monographic exhibition to Kisseleva, the pioneering Franco-Russian artist in digital art.


The SEA VIEW project has nothing to do with holidays, nor with a pleasant coastal address. It is a scientific project based on collaboration between the artist-explorer and the researchers of the CNRS (French National Centre for Scientific Research) and environmental NGOs. Through her ultra-technological installations, the artist applies three resolutely contemporary methods to marine backgrounds: data visualisation, the study of consumerism, and its consequences, and a foreshadowing of the future.


The artist


Olga Kisseleva is one of that first generation of Perestroïka, who contributed to the fall of the Berlin Wall and the raising of the Iron Curtain. Her installations, photographs, videos and paintings deal with the mixing of cultures, mingling of languages, new technologies, and shifting social relationships.


She founded the Art&Science laboratory, which plays a pioneering role in the area of contemporary creation of research and thought on emerging forms of creativity.


The work of Olga Kisseleva interweaves activities which take place in urban settings or online with interventions in galleries and museums. Her work has been shown at the National Centre for Contemporary Art (Moscow, Russia), the ARC (Paris, France), Kiasma (Helsinki, Finland), at the Reina Sofía Museum (Madrid, Spain), at the biennial exhibitions of Venice, Istanbul, Dakar, Tirana, Rennes and Moscow.


Olga Kisseleva began her career as an artist in France in 1998 when she took part in the collective exhibition Cet été-là (That Summer) at CRAC LR (Centre Régional d’Art Contemporain [Languedoc Roussillon]) in Sète.


The work


The world of digital science, nanotechnology and coded messages comes visibly to life in the work of Olga Kisseleva.

Strange objects and astonishing arrangements give form to the artist’s installations and only reveal their mysteries to curious visitors. Then they can access an invisible world, populated by figures, numbers, line codes, through which time flows and is traded at a crazy speed like a commodity on the stock exchange. Olga Kisseleva’s work question our relationship with the world in a hyper-connected society of excessive consumption.


It is her openness to the world which enables Kisseleva to create a repertoire of her own. Using images, words and concepts, she invents a universal and inter-disciplinary language which crosses our societies, in which everyone recognises himself as a wise explorer of current affairs.

Her work aims to make what she observes intelligible and captures what surrounds her. Like breathing, her inspiration comes from this world, inhabits it and keeps it awake then gushes forth again towards the other.


Her works therefore straddle the human and social sciences, as well as those related to nature. It is a work of meetings with the space we live in and with ourselves. It is also an awareness of the individual experience within the collective, which sets experience and memory as tools capable of representing our body and its social effects in the present. It is a world in which we evolve, made sensitive through paying increasing attention to the emotional and sensory dimensions of social facts.

SEA VIEW solo exhibition by Olga Kisseleva
Olga Kisseleva is Chair of the MAH 2017 Re: Act

The 7th International Conference on the Histories of Media Art, Science and Technology: « Re: Act 2017 » will take place in Sorbonne, Paris.

The conference will discuss the status of socio-spatial key categories such as space, place, territory, borders, movement and mobility. Adams and Jansson (2012) discuss five such trends, which indicate the close relationship between mediatisation and socio-spatial transformations:



« • Mediated/mediatized mobility, which blurs the distinctions between texts and contexts; between symbolic and material spaces, and makes the settings of media use (production and consumption) increasingly fluid.



• Technological convergence, which makes various kinds of content flow more or less frictionless between and across platforms and spaces.



• Interactivity, which dissolves some of the lines of division between producers and consumers, and displaces the position of the ‘‘author.’’



• New interfaces, through which the user’s interaction with the media may come closer to the body, whereas the mutual adaptation of software and user leads to various representational extensions of the Self.



• Automation of surveillance, through which the distinctions between those watching and those being watched partly dissolve, and user-generated data, which affect the spacing and timing of social practices, circulate through more or less diffuse, de-territorialized assemblages. »

Olga Kisseleva is Chair of the MAH 2017 Re: Act
2080, new installation by Olga Kisseleva

In "Climatic Meridien", show with Olga Kisseleva, Olafur Eliasson, Wen Fanng, Art Orienté Objet, Labofactory, Lucy+Jorge Orta, Benjamin Sabatier, Toma Saraceno, Taryn Simon, Jean-Luc Vilmouth in the frame of COP21, Sorbonne, Paris.

2080, new installation by Olga Kisseleva