The Fulcrum, 2013. Garage MCA. The Fulcrum is both a symbolic and physical attempt to find support in reality, where the basic values are constantly changing and being replaced by new guidelines
Purification, 2011. Solyanka VPA Gallery. Special project of the 4th Moscow Biennale of Contemporary Art. 9 days in a row, Kroytor would spend 5 hours a day cleaning the floor around a gallery visitor
Isolation, 2014. When invited to the Hans Ulrich Olbrist’s curatorial project Do It, Kroytor chose from the instructions the one written by Tino Sehgal’s one: “Do It.” The resulting performance was her emotional response to the Russian-Ukrainian conflict
The Scary Room, 2019. Solyanka VPA Gallery. In a space similar to a visiting room of a prison, Kroytor would ask participants, “What would you like to be free of?” Conversations would last for 20 minutes
The Overcome, 2015. Street Art Museum, Saint Petersburg. The attempts to overcome the resistance of the rope, the gravitational pull, and the wind that continuously changes the amplitude of the rocking are the real suffering of the present
Cocoon, 2016. Archstoyanie Festival of Landscape Objects, Kaluga Region. A cocoon becomes a symbol of protection and a harbinger of something new but simultaneously, a warning that with time, a place of safety can become dangerous for its inhabitant
I’m Sorry I’m Too Late, 2019. Leveldva space. The artist was acting at a dinner party the way she’d act if she were at home: taking a bath, reading a book, etc. 3 hours later, she got changed and emerged before the audience saying, “Sorry, I’m late”
Untitled, 2013. Archstoyanie Festival of Landscape Objects, Kaluga Region. Here, Kroytor reflected on the relationship between the artist and the work by putting her own body behind glass, where her work could be
Adaptation, 2019. K. A. Timiryazevs State Biological Museum, Moscow. Voice performance: Alexey Kokhanov, curator: Dasha Demekhina, lighting: Alena Osina, director/DP: Philip Yakushin
2344. Penetration, 2018. “Here and now“, Central Exhibition Hall Manege, Moscow. 2344 refers to the length of the thread that the artist’s dress was made of. The dress becomes a “shell” that everyone needs to remove by naturally making their own path
Dreams, 2019. MMOMA, Moscow. This work was created for Yoko Ono’s personal exhibition in Moscow, where 6 local artists were invited to recreate Ono’s work Water Event (1971)
Dreams, 2019. MMOMA, Moscow
Decay, 2015-2017. This piece explores transitional states — first and foremost, those that are between life and death
Extras, 2015-2019. A series of photographs reflecting on presence and disappearance