Pros and cons of the large projects is in the long term preparations; since the idea is articulated it takes several months to materialise it. At the time art process and the artists continue producing new ideas.

The "Body Space" project has been designed with firm and elegance, to be developed in time and space. Parts of the installation had to be shown one by one in considerably small exhibition spaces. First came out the sudden "Suture", at Guelman Gallery in 1994. "Holes and Heads" were planned to be exposed at XL Gallery soon after that. The compound installation at Central House of Artists should have sounded a final chord. Though some mysterious forces along with objective obstacles, like XL's moving to the new space, made showing "Holes and Heads" impossible; and that was for good. Then came the substitution with the "Family Portrait in the Interior". The project was assigned an inside title of "The New Frankenstein", and was designed according to the new gallery's space.

Why, then, this illogical curator's delight? The answer is generation of almost electrical tension between the two exhibitions. The elegantly discoursive "Body Space", that violently treat the viewers with its "physiological" activity, though effect the latter with rather strong portion of reasoning; at this point the projects may be considered sort of final cut for visual theory of bodily problems and stuff like that. On the contrary, "Family Portrait in the Interior" opens up a new page in Moscow contemporary art's story. In this sense, the title of "The New Frankenstein" was absolutely adequate. The project, precisely designed as it is typical for AES, is a compressed formula of "the right to misery", that includes performance, body-art, meta'n'physics of the family life, delicate echoes of "corporeity", the theme of violence, drama and parody, allusions on Tarantino and Tinto Brass, the distinct virtuality of the visual and so on. Following Mary Shelly's "Frankenstein", this metaphor of the family life derives from hell, but unlike the Romantic monster story, this metaphor is not compelled but consciously destructive. As much as Shelly's hero has suffered from his own imperfection, our "weird couple" ultimately exposes and decomposes its own construction, with obvious pleasure; or to be precise it fixates the state of the ultimate decay. That's why came out the latest version of the project's title - "Antifrankenstein".

Farewell ye branching discourse, welcome the rigid and capacious metaphor of condition!

Forecast is an ungrateful business, but we'd try to predict a new trend at Moscow art scene, generating this difficult yet exciting method of working with the "material".