https://osmans.me Yana Osman & Anton Khamchishkin Thu, 30 Jul 2026 11:08:22 +0000 https://osmans.me en https://osmans.me/home Thu, 26 May 2022 19:40:45 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/home If we look at the Sun from Mars, it will be blue. https://osmans.me/unknown-unknown-unknown Thu, 30 Jul 2026 10:47:39 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/unknown-unknown-unknown unknown, unknown, unknown 2026, hybrid film, 90 min The film immerses the viewer in the Moscow underground art scene of the late 1980s, 1990s, and early 2000s — a space where well‑known figures coexist with unknown witnesses and participants of the time. Among them appears a foreign researcher working on his dissertation about a medieval manuscript, and as he becomes absorbed in this milieu, he begins to draw us into an investigation of how the manuscript intersects, in strange and unexpected ways, with Russian reality. These intersections accumulate, creating the sense that the film’s structure functions as a journey through memory that breaks apart into fragments. The past behaves like a fictional world: recognizable yet not aligned with reality, documentary yet resistant to verification. The film reveals how many connections remain unnoticed, and how strongly the interpretation of coincidences depends on who tells the story, in what language, and at what moment in time. authors: Yana Osman, Anton Khamchishkinmusic:&nbsp; Uri Lankin materials: Garage Museum <img width="1422" height="1080" width_o="1422" height_o="1080" data-src="https://freight.cargo.site/t/original/i/af7fefca6b1179830faccc449b21e88ec6ae771933c57e85f7341cb42605855c/Photo-Album-2---02.png" data-mid="250834239" border="0" src="https://freight.cargo.site/w/1000/i/af7fefca6b1179830faccc449b21e88ec6ae771933c57e85f7341cb42605855c/Photo-Album-2---02.png" /> <img width="1360" height="1080" width_o="1360" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0cebd5b961fa62f99237c9bc0c2532d896d43295467c7cc49935d7b0c65cccbf/Photo-Album-2---04.png" data-mid="250834240" border="0" src="https://freight.cargo.site/w/1000/i/0cebd5b961fa62f99237c9bc0c2532d896d43295467c7cc49935d7b0c65cccbf/Photo-Album-2---04.png" /> <img width="1354" height="1080" width_o="1354" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fad18206ed4bcdc408284e1694097f55511db224f75d1981c9e06bb92d05703e/Photo-Album-2---08.png" data-mid="250834241" border="0" src="https://freight.cargo.site/w/1000/i/fad18206ed4bcdc408284e1694097f55511db224f75d1981c9e06bb92d05703e/Photo-Album-2---08.png" /> <img width="1352" height="1080" width_o="1352" height_o="1080" data-src="https://freight.cargo.site/t/original/i/326bd434837d6d00a53bf6c253ab8b358c4b2fbef35d52b6e5368d6c57f84528/Photo-Album-2---09.png" data-mid="250834242" border="0" src="https://freight.cargo.site/w/1000/i/326bd434837d6d00a53bf6c253ab8b358c4b2fbef35d52b6e5368d6c57f84528/Photo-Album-2---09.png" /> https://osmans.me/Five-long-takes-dedicated-to-Abbas-Kiarostami-who-filmed-five-long Thu, 30 Jul 2026 11:08:22 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/Five-long-takes-dedicated-to-Abbas-Kiarostami-who-filmed-five-long Five long takes dedicated to Abbas Kiarostami, who&nbsp; filmed five long takes dedicated to Yasujirō Ozu work-in-progress The film begins as an attempt to create an homage to Kiarostami, but gradually the path of imitation dissolves, and through the copy a different film emerges — one that could only be born inside someone else’s frame. authors: Yana Osman, Anton Khamchishkinsound:&nbsp; Alexander Valentsov, Maxim Belovolov colorgrading:&nbsp; Aleksander Simonov music:&nbsp; Uri Lankin <img width="1920" height="1012" width_o="1920" height_o="1012" data-src="https://freight.cargo.site/t/original/i/6ebc345665a44a3de07e8e7e90c540d7dd10aef59774a74551c162fb2ef0c892/Timeline-1_01_01_43_06_.png" data-mid="250834373" border="0" src="https://freight.cargo.site/w/1000/i/6ebc345665a44a3de07e8e7e90c540d7dd10aef59774a74551c162fb2ef0c892/Timeline-1_01_01_43_06_.png" /><img width="1920" height="1012" width_o="1920" height_o="1012" data-src="https://freight.cargo.site/t/original/i/df86d3579ad24f0700fa1c927fda5ed40498ebcc318e05aab9ef517a6d4aacff/Timeline-1_01_07_33_11.jpg" data-mid="250834374" border="0" src="https://freight.cargo.site/w/1000/i/df86d3579ad24f0700fa1c927fda5ed40498ebcc318e05aab9ef517a6d4aacff/Timeline-1_01_07_33_11.jpg" /><img width="1920" height="1012" width_o="1920" height_o="1012" data-src="https://freight.cargo.site/t/original/i/a1e246e9acd1c1d400469794020fea45d34a5f46317136cfb2faaffcc58136cc/Timeline-1_01_11_52_17.jpg" data-mid="250834375" border="0" src="https://freight.cargo.site/w/1000/i/a1e246e9acd1c1d400469794020fea45d34a5f46317136cfb2faaffcc58136cc/Timeline-1_01_11_52_17.jpg" /><img width="1920" height="1012" width_o="1920" height_o="1012" data-src="https://freight.cargo.site/t/original/i/f64aedea8ec9baaf1adca950d4812e8a2bc30073fa39c6cccefd44692b0fd679/Timeline-1_01_24_05_12.jpg" data-mid="250834376" border="0" src="https://freight.cargo.site/w/1000/i/f64aedea8ec9baaf1adca950d4812e8a2bc30073fa39c6cccefd44692b0fd679/Timeline-1_01_24_05_12.jpg" /> https://osmans.me/zelzele Thu, 30 Jul 2026 10:32:36 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/zelzele zelzele We stand on nothing absolutely solid 2026, visual art book 170 × 260 188 pages The book is inspired by the Murakka — a traditional Persian album (emerging around the 15th century), a kind of “contemplative album” created for the owner’s private reflection, an inner journey through images and text. The word murakka means “that which has been stitched together,” and the form embodies a Persian way of seeing the world as scattered, fragmentary, composed of pieces. In the mythological space of the book, film photographs, VHS stills, and Persian expressions act as optical switches: they shift perception and redirect attention along an inner trajectory of contemplation. A blank figure moves through this space — a neutral human form from which any person can be imagined, including the viewer themselves. The Persian language shares this quality: it can hold something small, concrete, almost everyday — and at the same time an entire world. In this field of meanings, where a human being connects with the cosmos, fragments begin to align, echoing the Persian motif of what is scattered seeking to be assembled by the one who sees. authors: Yana Osman, Anton Khamchishkincurator:&nbsp; Zhenia Yakhina / bookelab сover and endpapers: Anya and Varya Kendel <img width="1894" height="2791" width_o="1894" height_o="2791" data-src="https://freight.cargo.site/t/original/i/d1cf35ae06db9bc5d42865c0a50961d527a8d2615c0bb9bf80fc63711a2d1652/Timeline-1_00000000.png" data-mid="250979507" border="0" src="https://freight.cargo.site/w/1000/i/d1cf35ae06db9bc5d42865c0a50961d527a8d2615c0bb9bf80fc63711a2d1652/Timeline-1_00000000.png" /> https://osmans.me/Twin-Fences Tue, 14 Jun 2022 15:50:00 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/Twin-Fences Twin Fences2024, film essay, 90 min The attempt to answer the question “Who creates fences?” leads the artists to Boris Lakhman, the author of one of the greatest patents in Soviet history: the concrete fence with diamonds, known as the Lakhman Fence. Originally designed under the influence of Malevich Suprematism just for military facilities during the Cold War, the Lakhman Fence has been used for the past 40 years to enclose kindergartens, schools, hospitals, stations, parks, cemeteries all over the post Soviet countries. In the early 1980s, its author, architect Boris Lakhman, received a gold medal for this Fence – and left the Soviet Union. The authors have found Boris Lakhman, but he has refused to be the hero of the project, stating, “This fence is not the greatest thing I’ve done”. After such a refusal, the artists have decided to tell Boris Lakhman about his fences by themselves. Gradually, what began as a scientific and artistic cataloging of the material fences, expanded into a broader exploration of the unsaid narratives, and behind the Lakhman Fence, the artists&nbsp; have found hidden: the Bremer Fence, the Durand Fence, the Heselden Fence, the Rose Fence, as well as Venetian palazzos of the Renaissance, the Ottomanization of Paris, Chinese martial art Tai chi, Malevich's burnt bone, first sausage factory, the Virgin Mary on the heights by Le Corbusier, and Afghan war rug, turning collective and personal memories into a tangible, woven testimony. director: Yana Osman camera:Anton Khamchishkin, Peter Silvestrov editing: Mikhail Bodukhin, Anton Khamchishkin, Yana Osman music: Uri Lankin, Anton Khamchishkin support: Andrey Silvestrov, Lyusia Artemieva festivals / exhibitions / pitches / labs / awards: Slamdance Film Festival vs. Sundance Film Festival, Official Selection, Nomination for Grand Jury Prize, Honorable Mention Award (Los Angeles, USA) Cité internationale des arts, Artist Open Studio (Paris, France) Matera Film Festival, Best Documentary Film Award (Matera, Italy) Emisferi CineFest, Best Documentary Film Award (Rome, Italy) IFF Galway Film Fleadh, Official Selection (Galway, Ireland) Bergamo Film Meetings, Official Selection (Bergamo, Italy) East West Talent Lab – goEast, Nominated project (Wiesbaden, Germany) DOK Leipzig, Dok Co-Pro, selected project (Leipzig, Germany) B2B Doc, Project lab, special mention by Documentary Association of Europe (Stockholm, Sweden) <img width="3307" height="4677" width_o="3307" height_o="4677" data-src="https://freight.cargo.site/t/original/i/19252d1b4c5d6bc0140ebf29a8c211b502bd3a7f26471e8f4e43b0a3a10f0437/TWIN-FENCES-210-297-white.jpg" data-mid="232744337" border="0" alt="poster: Anna and Varvara Kendel" data-caption="&lt;small style=&quot;font-size: 1.1rem;&quot;&gt;&lt;span style=&quot;color: #909090;&quot;&gt;poster:&lt;/span&gt; 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Instead, traditional Persian miniatures were conceived as ‘visual extensions of text’ — spaces for meditative looking and thought journeys, where the viewer entered the scene imaginatively, letting go of their own “I.” This installation reimagines the miniature through moving images in multi-channel composition. authors: Yana Osman, Anton Khamchishkin <img width="1323" height="1063" width_o="1323" height_o="1063" data-src="https://freight.cargo.site/t/original/i/c44fa9477f9bc6db20f7bc8b0514ff4439624d4a4d04cee299cfc9d199b0b12b/instalation_01_26_38_09.jpg" data-mid="233767989" border="0" src="https://freight.cargo.site/w/1000/i/c44fa9477f9bc6db20f7bc8b0514ff4439624d4a4d04cee299cfc9d199b0b12b/instalation_01_26_38_09.jpg" /> <img width="1319" height="1067" width_o="1319" height_o="1067" data-src="https://freight.cargo.site/t/original/i/323496253ad5ad726d8fdada7312115910099e40efe4b7fe18a755e7b22181fb/instalation_01_28_49_16.jpg" data-mid="233767990" border="0" src="https://freight.cargo.site/w/1000/i/323496253ad5ad726d8fdada7312115910099e40efe4b7fe18a755e7b22181fb/instalation_01_28_49_16.jpg" /> <img width="1323" height="1064" width_o="1323" height_o="1064" data-src="https://freight.cargo.site/t/original/i/72a27bdbda2135bc94fea01bb265e2d85172fde555faa463de761a5ca6be84e0/instalation_01_37_42_16.jpg" data-mid="233767991" border="0" src="https://freight.cargo.site/w/1000/i/72a27bdbda2135bc94fea01bb265e2d85172fde555faa463de761a5ca6be84e0/instalation_01_37_42_16.jpg" /> <img width="1314" height="1061" width_o="1314" height_o="1061" data-src="https://freight.cargo.site/t/original/i/1a1abac2ef5477bfcff924fa7c2b533562856299bacf857ca6c866e67e33e219/instalation_01_39_24_22.jpg" data-mid="233767992" border="0" src="https://freight.cargo.site/w/1000/i/1a1abac2ef5477bfcff924fa7c2b533562856299bacf857ca6c866e67e33e219/instalation_01_39_24_22.jpg" /> https://osmans.me/No-Water-in-the-Moon-Seas Wed, 23 Nov 2022 17:40:26 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/No-Water-in-the-Moon-Seas No Water in the Moon Seas 2023, documentary poems, audio installation The Moon, long perceived as a barren celestial body, paradoxically carries the poetic weight of seas — 43 named expanses that evoke emotional and philosophical states: the Sea of Dreams, the Sea of Clarity, the Sea of Crises. These names, first mapped by Italian scientists Giovanni Ciccioli and Francesco Grimaldi in 1652, emerged from a time when the Moon’s surface was imagined as fluid, holding the possibility of actual water. Though science later disproved this notion, the linguistic imprint remained, shaping a mythology of lunar landscapes where absence feels like presence. In developing this work, we draw on archival materials from lunar expeditions, astronauts’ memoirs, and historical descriptions of the lunar seas — documents that reveal how scientific observation and imaginative projection have always intertwined. Ultimately, the lunar seas, despite their emptiness, embody a collective dream: the persistence of myths, the enduring human tendency to imbue the unknown with meaning. authors: Yana Osman, Anton Khamchishkin illustrations: Peco Barbe (Japan) festivals / exhibitions / pitches / labs / awards: GES-2, Grant Program for Artists, winners (Moscow, Russia) Vaults Centre for Artistic Production, project residency (Moscow, Russia) As part of the project, the album No Water in the Moon Seas was released <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/31e9e09b28921ddbe07d9be29e3b0fbd2f8879744efb216e358e63c268e626fd/ezgif-413752688bca49.jpg" data-mid="233768509" border="0" src="https://freight.cargo.site/w/1000/i/31e9e09b28921ddbe07d9be29e3b0fbd2f8879744efb216e358e63c268e626fd/ezgif-413752688bca49.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/b3d09e5008d36adfa0ff73418acd9388e45b2fe46a0dc4b074cfc5455bd99887/Theres-No-Water-in-the-Moon-Sea2-ezgif.com-webp-to-jpg-converter.jpg" data-mid="233768514" border="0" src="https://freight.cargo.site/w/1000/i/b3d09e5008d36adfa0ff73418acd9388e45b2fe46a0dc4b074cfc5455bd99887/Theres-No-Water-in-the-Moon-Sea2-ezgif.com-webp-to-jpg-converter.jpg" /> <img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/d5c0abf9e9de6fd04448313cb24d33ef5aec947e7033f633ccc3431c4eea17b5/Theres-No-Water-in-the-Moon-Sea3-ezgif.com-webp-to-jpg-converter.jpg" data-mid="233768519" border="0" src="https://freight.cargo.site/w/1000/i/d5c0abf9e9de6fd04448313cb24d33ef5aec947e7033f633ccc3431c4eea17b5/Theres-No-Water-in-the-Moon-Sea3-ezgif.com-webp-to-jpg-converter.jpg" /> <img width="2260" height="2260" width_o="2260" height_o="2260" data-src="https://freight.cargo.site/t/original/i/e1de187e41e5cd6bbad6841b3385260a842a0122e0f6c60ae8cd6507590f3629/MoonPhases.jpg" data-mid="159969246" border="0" src="https://freight.cargo.site/w/1000/i/e1de187e41e5cd6bbad6841b3385260a842a0122e0f6c60ae8cd6507590f3629/MoonPhases.jpg" /> https://osmans.me/Pwe-ra-u-sog Wed, 19 Jun 2024 16:04:06 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/Pwe-ra-u-sog Pwéra úsog 2025, photo-video film, 19 min In 1945, in Paris, the Women’s International Democratic Federation (WIDF) was founded. According to historian Francisca de Haan, it was “the largest and probably the most influential international women’s organization of the post–World War II era.” Today, assessments of the organization’s legacy remain contested. Some scholars, citing reports from the FBI and the House Un-American Activities Committee, describe WIDF as a communist attempt to manipulate women. Others view it as a movement advocating for women’s rights, and researchers like Elizabeth Armstrong note WIDF’s role in anti-colonial and anti-racist struggles led by women in Asia, Africa, and Latin America. In 1987, during the Perestroika era, WIDF organized the World Congress of Women in Moscow, that brought together 2,800 women from 150 countries. Among them, there was the protagonist’s grandmother, an interpreter who collected words from global conversations that had no equivalents in other languages. Revisiting her notes, archival footage, and sites of official delegations, the protagonist is guided by these fragments to a question: what words can capture the present, when language itself slips away, dissolves, and borrowed slogans drown out one’s voice? authors: Yana Osman, Anton Khamchishkin,&nbsp;Zinaida Tuzova festivals / exhibitions / pitches / labs / awards: Moving Image Art Prize-2025, nominated project by Mudam Luxembourg, CWB Paris, and Tate Modern (Paris, France) Rencontres Internationales Paris/Berlin 2025 (with Jeu de Paume, Musée de la Chasse et de la Nature, Institut du monde arabe, the MEP Paris), Group Show (Paris, France) <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/53312f9d6d8541c49a6f80639effed3ebbc1fb43663390a7e733ca6787787148/version-2024-Marseille-new_01_05_28_15.jpg" data-mid="233751056" border="0" src="https://freight.cargo.site/w/1000/i/53312f9d6d8541c49a6f80639effed3ebbc1fb43663390a7e733ca6787787148/version-2024-Marseille-new_01_05_28_15.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/72b26bd127d0590c9c0ecef0255b90cb73f1c535fdf9d0fb92da70c2736eaf1d/version-2024-new_01_00_54_01.jpg" data-mid="233751057" border="0" src="https://freight.cargo.site/w/1000/i/72b26bd127d0590c9c0ecef0255b90cb73f1c535fdf9d0fb92da70c2736eaf1d/version-2024-new_01_00_54_01.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/40b20adbb7b643bf55eae572edbfb578c6c14f1fb11d93215fa5d1cdf61ff714/version-2024-new_01_04_32_01.jpg" data-mid="233751058" border="0" src="https://freight.cargo.site/w/1000/i/40b20adbb7b643bf55eae572edbfb578c6c14f1fb11d93215fa5d1cdf61ff714/version-2024-new_01_04_32_01.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/603c26bff5d8849378863dbeb984ac8aabbfeee7b0255fa61a94cfb6c0165581/version-marseille-fr_01_22_26_08.jpg" data-mid="233751059" border="0" src="https://freight.cargo.site/w/1000/i/603c26bff5d8849378863dbeb984ac8aabbfeee7b0255fa61a94cfb6c0165581/version-marseille-fr_01_22_26_08.jpg" /> <img width="1472" height="1080" width_o="1472" height_o="1080" data-src="https://freight.cargo.site/t/original/i/85df89fc90fc42d12f9eb94d7c0285f2e8cdd50f021b782b7e3138deae5a7bca/pole-pole-glavnaya.png" data-mid="213274561" border="0" src="https://freight.cargo.site/w/1000/i/85df89fc90fc42d12f9eb94d7c0285f2e8cdd50f021b782b7e3138deae5a7bca/pole-pole-glavnaya.png" /> <img width="1469" height="1080" width_o="1469" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e8c69d136e46330cd8231555ab7fbab0e772f8cf1249a062f65a99d6089bd00c/pole-pole-glavnaya-2.png" data-mid="217782240" border="0" src="https://freight.cargo.site/w/1000/i/e8c69d136e46330cd8231555ab7fbab0e772f8cf1249a062f65a99d6089bd00c/pole-pole-glavnaya-2.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ebbdd24e75eb0964abdb2207d0100911fa380f8554012a5dfdb52ebfc17480a3/Untitled_2.33.1.jpg" data-mid="213212986" border="0" src="https://freight.cargo.site/w/1000/i/ebbdd24e75eb0964abdb2207d0100911fa380f8554012a5dfdb52ebfc17480a3/Untitled_2.33.1.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2c135116dbb0a32eecf0d7d065f85fa9d52a3a07648a6e461a576912ad42442b/Untitled_2.53.1.jpg" data-mid="213212987" border="0" src="https://freight.cargo.site/w/1000/i/2c135116dbb0a32eecf0d7d065f85fa9d52a3a07648a6e461a576912ad42442b/Untitled_2.53.1.jpg" /> https://osmans.me/res-communis-omnium Wed, 19 Jun 2024 16:51:51 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/res-communis-omnium res communis omnium 2023, audio installation, 33 novels The concept of res communis omnium, rooted in Roman law, defines certain elements — earth, sky, and air — as belonging to all humanity. Traditionally applied to natural resources, its relevance persists in modern international law, particularly in discussions on intellectual property and cultural heritage. One of its most striking manifestations is the transition of copyrighted works into the public domain — 50 to 80 years after an author’s death, individual ownership dissolves, and once-protected creations become accessible to all. This installation project, what could be described as audio-cinema, explores more than 500 cultural figures whose works entered the public domain since 2022. Through historical analysis and visual lyricism, it reexamines 20th-century icons, revealing how their messages remain deeply relevant today. Acting as a time capsule, the project questions whether cultural memory is ever truly static, or if creative expression is locked in an ongoing cycle of reinvention. By navigating the fluid boundaries between legacy and reinterpretation, it asks: what does it mean for an idea to belong to everyone? and how do works, previously confined by copyright, transform when free to be reinterpreted, remixed, and reshaped? authors: Yana Osman, Anton Khamchishkinsupport:&nbsp; Mikhail Bodukhin <img width="1536" height="1024" width_o="1536" height_o="1024" data-src="https://freight.cargo.site/t/original/i/5e530d59d07c7ba309ac2910c1720b5918e898fadd53f084553a98f658006d35/-.png" data-mid="250979625" border="0" src="https://freight.cargo.site/w/1000/i/5e530d59d07c7ba309ac2910c1720b5918e898fadd53f084553a98f658006d35/-.png" /> Listen to the novel ‘Unspeakable horrors' https://osmans.me/She-stood-naked-her-body-column-like-in-Modigliani Thu, 26 Feb 2026 09:27:29 +0000 Yana Osman & Anton Khamchishkin https://osmans.me/She-stood-naked-her-body-column-like-in-Modigliani She stood naked, her body column-like, in Modigliani 2026, sound frieze Language: Russian In this work, we transform the architectural frieze into a sonic form. The sonic frieze functions like a bas‑relief: its structure is static, yet movement constantly circulates within it. Whispering creates the sensation of a continuous band along which the listener travels, just as the eye moves along a frieze. The piece unfolds as a vertical chant built around the Russian root sto‑, a root that means “to stand,” but also “to endure,” “to remain,” “to resist,” “to rise,” “to be held upright.” It is a linguistic column, and from it grows a procession of images — a standing nude in Modigliani, the standing sun over Ithaca, the standing Atlantes of the Hermitage, the standing chorus of Sophocles, the standing stones of Easter Island, the standing Terracotta Army, the standing wave in the Fabry–Pérot resonator. Into this vertical world history litany are woven also the moments of Russian memory, like February standing still in Pasternak — a month held upright by frost and breath, a season that refuses to move. These “standings” accumulate into a frieze of endurance — a vertical architecture of what remains. authors: Yana Osman, Anton Khamchishkin <img width="1672" height="942" width_o="1672" height_o="942" data-src="https://freight.cargo.site/t/original/i/649f76f903e398543e8aa701d88100a2bbf2740c261c2f72cb9ba58d2ba58b33/stoyali---01.jpg" data-mid="250979636" border="0" src="https://freight.cargo.site/w/1000/i/649f76f903e398543e8aa701d88100a2bbf2740c261c2f72cb9ba58d2ba58b33/stoyali---01.jpg" /> Listen to the piece&nbsp;