* 1965, currently based: Paris
Affiliated institution: Sorbonne
http://www.kisseleva.org/
About
"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
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
CV
AWARDS
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
WORKS IN PUBLIC COLLECTIONS
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
ACADEMIC
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
EDUCATION
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
Works
- »Memory Garden« 2021
- »Champs Libres« 2020
- »Pine Family« 2017
- »Splice« 2017
- »NET(WORK)« 2016
- »Urban Datascape« 2015
- »Tweet Time« 2014
- »Hyper Real« 2014
- »Contre Temps« 2013
- »Bio-Présence« 2013
- »Syracuse Tree« 2013
- »Geo quick response« 2012
- »Vice Box« 2012
- »Time Value« 2012
- »EDEN« 2012
- »Power Struggle« 2011
- »Perfume Organ« 2011
- »Custom Made« 2011
- »Proverbs« 2011
- »It´s time« 2010
- »Divers Faits« 2010
- »Tutor« 2009
- »CrossWorlds« 2008
- »Conquistadores« 2007
- »Douce France« 2007
- »Fitness Art Centre« 2007
- »Hidden« 2007
- »Landstream« 2007
- »Paradise« 2007
- »Double Life« 2006
- »Border/No Border« 2005
- »Doors« 2004
- »D-G Cabine« 2003
- »Powerbike« 2003
- »Connection« 2002
- »Your Self Portrait« 2002
- »Hybrid Space« 2002
- »World Wide VIP« 2000
- »Silence« 2000
- »Plane« 2000
- »How are you?« 1998
News
02.10.2016
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
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.
27.07.2016
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)
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).
01.07.2016
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
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.
08.11.2015
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
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. »
26.10.2015
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
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.
Exhibitions & Events
Publications & References
Kisseleva, Olga. Hyper Reality. Krakow, Poland: MOCAK, 2016.
Kisseleva, Olga. Mondes Sensibles. France: CDA d'Enghien, 2016.
Kisseleva, Olga and Barbara Formis. Custom Made. London: KT Press, 2014.
Kisseleva Olga, ed. Art et biodiversité : un art durable ? PLASTK Art&Science #4. Paris, France: Pantheon-Sorbonne University, 2014.
Kisseleva Olga. L'art fait ventre. Heule, Belgium: Snoeck, 2014.
Kisseleva Olga and Manovich Lev and Formis Barbara. SENSITIVE WORLDS. PARIS: CDA, 2014.
Parkhomenko Daria and Pelijhan Marko and Tshkov Leonid and Ponomarev Alexander and Kisseleva Olga. Ice Laboratory. Moscow, Russia: Laboratoria ART&SCIENCE space, 2014.
Kisseleva Olga. Olga Kisseleva, Nano Worlds: Custom Made. Paris, France: Onestarpress in collaboration with the Centre Georges Pompidou, 2013.
Manetas Miltos and Kisseleva Olga and Jodi and Gaulon Benjamin and Cheang Shu Lea and Closky Claude and Beloff Zoe. Octopus Project. Montpellier, France: Book In Progress, 2013.
Kisseleva Olga, ed. Nano PLASTK Art&Science #3. Paris, France: Pantheon-Sorbonne University, 2013.
Kisseleva Olga. Le temps à l'oeuvre. Paris, France: co-edition Louvre-Lens et Invenit Éditions, 2012.
Kihm Christoph. Olga Kisseleva - WINDOWS, catalog. Nice, France: DEL'ART & National Museums, 2012.
Kisseleva Olga. The Landscape of Being,. Yorkshire, UK: Dr Graham Martin, AGENCY – Art, Life and Society, 2012.
Marguerin Mathieu. « Une voyante m’a dit », Keur Thiosane – Artfactories,. Dakar, Senegal: 10th Biennial of Contemporary Art, 2012.
Kisseleva Olga. Double Life. Dijon, France: les presses du réel, 2011.
Kisseleva Olga and Pelt Jean-Marie and Toma Yann and Vesna Victoria and Mangin Benoit and Laval-Jeantet Marion and Lageira Jacinto and Glissant Edourad and Clement Gilles. Aesthetics of the Worst, the first simposium of the Centre Pompidou Metz. Richard Conte th ed.Paris, France: Lienart, 2011.
Kisseleva Olga. REWRITING WORLDS. Moscow, Russia: 4th Moscow Biennale of Contemporary Art, 2011.
Olessia Turkina. female nano, catalog. Moscow, Russia: Moscow Museum of Modern Art, 2011.
Moscow Museum of Modern Art, ed. The History of Gender and Art in Post-Soviet Space. Moscow: MMOMA, 2010.
Groys Boris and Degot Ekaterina and Riff David and Costinas Cosmin. Shockworkers of the Mobile Image - Catalog. Ekaterinburg: 1st Ural Industrial Biennial of Contemporary Art, 2010.
Zhukova, Daria and Herve Mikaeloff and Dimitri et. al. Ozerkov. Futurologia. Moscow, Russia: CCC Garage, 2010.
Kisseleva, Olga. Indomitable Women. Barcelona, ES: Video Art World, 2010.
Kisseleva, Olga. INTER-ESSAI: Oeuvre en dialogue. Saarbrücken: Editions Universitaires Europeenes, 2010.
Kisseleva, Olga. »To be here and there: General Relativity and Quantum Physics.« In PLASTK Art and Science 1, Université Paris 1, Panthéon-Sorbonne, edited by Olga Kisseleva. Paris: Université de Paris I, Panthéon-Sorbonne, 2010.
Kisseleva, Olga, ed. Divers fait. Paris: Jannink Editions, 2010.
Kisseleva, Olga and Elena Sorakina and Natasa Petresin-Bachelez. »Communism´s Afterlives: Part II.« In Proceedings of the Conference Communism's Afterlife, edited by . Brussels: The Public School, 2010.
Kisseleva, Olga and Oliver Grau. »Theory and Practice of Media Art: Aesthetic Parergons and Perspectives.« In First Post Industrial Contemporary Art Biennale, edited by NCCA. Ekaterinburg: NCCA, 2010.
Starodubtseva Zinaida, ed. Russian Artists Abroad - 20 century, with suport of V.Potanin Foundantion, interviews by Erik Bulatov, Ilya Kabakov, Olga Kisseleva, Oscar Rabin, Vladimir Yankilevsky, Boris Zaborov. Moscow, Russia: NCCA (National Centre for Contemporary Art), 2010.
Vargin Olivier. REGARDS SUR L'ART CONTEMPORAIN RUSSE 1990 -2010. Paris, France: l'Harmattan, 2010.
Backstein Joseph. Lesson of History, catalog. Moscow, Russia: ICA, 2010.
2nd Western China Contemporary Art Biennale, ed. catalog. Beiging, China: ,, 2010.
The 2nd Western China Contemporary Art Biennale, ed. Art x-ray. Beiging, China: ,, 2010.
The 2nd Western China Contemporary Art Biennale, ed. Art perspective. Beiging, China: ,, 2010.
Jouannais Jean-Yves and Debize Christian and Conte Richard, ed. It might never happen, catalog. Metz, France: Centre Pompidou Metz, 2010.
Staebler Claire and Vesic Jelena, ed. No More Reality: Crowd and Performance. Istanbul, Turkey: DEPO Tütün Deposu, 2009.
Kunsthaus Pasquart, ed. Genipulation, catalog,. Biel, Switzerland: ,, 2009.
Fourmentraux Jean-Paul and Mahé Emmanuel and Huitorel Jean-Marc and Pontbriand Chantal. Valeurs croisées, catalog of the 1st Rennes Contemporary Art Biennale. Dijon, France: Les presses du réel, 2009.
Dietz Steve, ed. Superlight : Global Festival of Art on the Edge. Cleveland, USA,: MOCA, 2009.
WJ-SPOTS, ed. 15 years of NetArt. Paris, France: WJ-SPOTS, 2009.
Illouz Audrey. Olga Kisseleva: atelier de production. Paris: Centre Photographique Ile de France (CPIF), 2009.
Kisseleva Olga. Art-Nature, catalog. Sancy, France: Horizons, 2009.
Kisseleva Olga. Soyez réalistes, demandez l’impossible!. Arles: Semaine, 2008.
Viale Marie-Laure and Rivet Jacques and Mollet-Viéville Ghislain. TOOL BOX. Nantes, France: Entre-deux, 2008.
Bourgeois Caroline and Lebovici Elisabeth. L'Argent, catalog. Paris, France: FRAC Ile de France, 2008.
Shanghai Art Museum. Another Voice - WE, catalog. Shanghai, China: Shanghai Art Museum, 2008.
Lebovici Elisabeth. Mondes Croisés, Abbaye de Maubuisson. Paris, France: Archibooks, 2008.
Kihm Christophe. Olga Kisseleva : signs that don’t lie. Nice , France: Musée National Marc Chagall, 2008.
Kovats Stephen and Cramer Florian and Petresin Natasa and Vincent Cédric and Kunst Bojana and Holmes Brian. Conspire (transmediale pacours 1). Frankfurt am Main, Germany: Revolver_Archiv für actuelle Kunst, 2008.
Secardin Olivier. Même heure même endroit. Paris, France: Archibooks, 2007.
Misiano Viktor. Progressive Nostalgia. Prato, Italy: Centro per l'arte contemporanea Luigi Pecci, 2007.
2nd Moscow Biennale of contemporary art. 2nd Moscow Biennale of contemporary art,. Moscow, Russia: 2nd Moscow Biennale of contemporary art, 2007.
FEM. Poetic terrorism. Madrid, Spain: FEM, 2007.
Fau Alexandra. Conclusive Evidence. Marseille, France: Dukan et Hourdequin, 2007.
Lechner Marie. Disonancias. San Sebastian, Spain: XBD, 2007.
Sorokina Elena. Moscow time. Paris: CPIF, 2007.
Misiano Viktor and Taillade François. Olga Kisseleva, catalog,. Paris: ISTHME, 2007.
Kisseleva Olga. Where Are You? artist book. Paris, France: Onestarpress Editions, 2006.
Parent Sylvie and Martel Christine. Largus : Art and Giving. Quebec, Canada: La Chambre Blanche, 2006.
Solovyova Larisa. Olga Kisseleva, a Clearing between East and West. Nijni Novgorod, Russia: ,, 2004.
Marguerin Mathieu. "7 envies capitales", for catalog "Art grandeur nature". Saint-Ouen, France: ,, 2004.
Turkina Olesya. "Olga Kisseleva's Psychopathological Trainer "Powerbike"",for catalog « Open 2003». Venice, Italy: ,, 2003.
Ippolitov Arcady. “Metamorphoses…”, in "Hybrid Space". St Petersburg, Russia: The Petersburg foundation for culture and the arts “PRO ARTE Institute”, State Russian Museum of Arctic and Antarctic, Russian Academy of Sciences, 2002.
Sorokina Elena. DG Cabin and the hut of Baba Yaga: historical and theoretical parallel. Paris, France: ,, 2002.
Leleu Nathalie. « Pays de Cocagne » in "Covalences". Orléans, France: CNRS, 2002.
Marguerin Mathieu. the wrong city. Paris, France: Mains d’œuvres, 2002.
Yvergniaux, Daniele. "So far, so close …",
in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2002.
Beliaeva Valentina. "Labyrinthe …", in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2001.
Bokhorov Constantin. « D’où venons-nous ? Qui sommes-nous ? Où allons-nous ? », in "Where are you ?". Moscow, Russia: Moscow Contemporary Art Institute, 2001.
Borovsky Alexandre. "The wrong city …", in "The wrong city …". St Petersburg, Russia: State Russian Museum, 2001.
Wright Stephen. « Erehwon et son double »,
in "Where are you ?". Moscow, Russia: Moscow Contemporary Art Institute, 2001.
Lestocart Louis-José. "… Exister, être-auprès-de et comprendre… ". Paris, France: ,, 2001.
Lestocart Louis José. « Histoire(s) d’une main »,
for « Archivages ». Paris, France: ,, 2000.
Manovich, Lev and Jean-Luc Alpigiano, ed. Communication<->Identification. Paris: Galerie Jorge Alyskewycz, 1999.
Manovich Lev. " Emotion Machines and Database Imagination ",
in « Communication-identification ». Paris, France: ,, 1999.
Morice Anne Marie. Quelques remarques sur la mise en œuvre
de l’art participatif for "Le petit livre rouge",. Montpellier, France: Frac Languedoc-Roussillon, 1999.
Manovich Lev. " The possibility of communication",
in « Communication-identification ». Paris, France: ,, 1998.
Weintraub, Linda. Art on the Edge and Over: Searching for Art´s Meaning in Contemporary
Society, 1970-1990s. New York: Art Insights Inc., 1996.