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<channel>
	<title>Nika Kupyrova</title>
	<link>https://nikakupyrova.com</link>
	<description>Nika Kupyrova</description>
	<pubDate>Tue, 18 Aug 2026 11:31:38 +0000</pubDate>
	<generator>https://nikakupyrova.com</generator>
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	<item>
		<title>Simulacra Chapter 3</title>
				
		<link>https://nikakupyrova.com/Simulacra-Chapter-3</link>

		<pubDate>Tue, 18 Aug 2026 10:47:23 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Simulacra-Chapter-3</guid>

		<description>
	SIMULACRA Chapter 3
Performance with live concert by Ai fen

In the summer of 2024, in preparation for Nika Kupyrova’s exhibition “Simulacra” in Lentos Kunstmuseum, the artist talked to musician Ai fen about dreams, omens and the sensation of losing grip on reality, symptomatic of today’s generations’ excessive exposure to digital media. As they found themseves unable to fully separate their digital and physical experiences, Kupyrova proposed asking the same questions about this digitally enhanced reality as they would about the off-line one: What is consciousness? Are coincidences real? Are choices we make actually ours? At the time, in trenches of early motherhood, both artists’ grip on reality was fragile as is, with dreams running dangerously close to the waking states and encouraging the associative, kaleidoscopic final form of the “Simulacra” project. As a result of this conversation, Ai fen would go on to compose the sound piece for Nika Kupyrova’s video installation, a polyphony of human voice and its digital mirrors.

	
	
	
	


“Simulacra Chapter 3”, an intervention in the Secession garden,
was a continuation of this dialogue with a live concert by Ai fen
punctuated by performative entries. A performer wearing one of the
headpieces from “Simulacra” digital animist cosmology recited
from constructed dream diaries that merged real dreams of the two
artists with the ones from mythology, literary modernism and internet
culture. 








	

	
	
	
	




Musician: Ai fen
Performer: Anabel ScheffoldMakeup: Dragana Suljic
Objects and direction: Nika Kupyrova
Exhibition views at Secession as a part of the summer outdoor program Tuesday@Secession (Vienna, 2026)Photography by 
Natascha Unkart (performance)

and Katharina Liatskaia (backstage)



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	<item>
		<title>Simulacra</title>
				
		<link>https://nikakupyrova.com/Simulacra</link>

		<pubDate>Tue, 18 Aug 2026 11:31:38 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Simulacra</guid>

		<description>
	SIMULACRA&#38;nbsp;

	
	
	
	


Over the years, Nika Kupyrova has collected a large archive of
images: .jpg downloads, .png downloads and screenshots. “I spend a
lot of time on the Internet, which explains where many of the ideas
for the “Simulacra”&#38;nbsp; were born. One of the things about
spending a lot of time online is that the seemingly playful nature of
the pop-culture interpretations I encounter on the Internet is
accompanied by an oppressive anxiety about the state of the world and
a deep technological malaise.” Ambivalent feelings such as euphoria
and unease are not confined solely to the humanistic history of
technology and that of the Internet, but also extend to phenomena
which involve deviations in our perception of reality […]. The
hypnagogic gate, the transitional moment between wakefulness and
sleep, is a classic threshold state in which the perception of sound
and time frequently changes or hallucinations occur.&#38;nbsp;


From
a creative perspective, Kupyrova draws on methods used in digital
game design: “Assets” are digital resources that are generated or
used in the design process. These include 3D models, textures, colour
palettes, audio and video files as well as animations. Click by
click, code by code, the digital world is brought to life by means of
illusion mechanisms. […] In a pseudo-organic construct
composed of sunset, corals or mycelium, “Simulacra” unfurls a stage for
a digital, animist cosmology consisting of jpg downloads, screenshots
and avatars that serve as markers for the transition to an [altered]
world. This world is a hybrid of reality and fiction, mechanical and
organic elements. It is the world we live in, where the boundaries
between what we perceive as real or fictional are constantly
shifting. It is a phenomenon that is currently exemplified by images
generated by deep learning models – a method that the artist
consciously chooses not to employ, but at best to imitate.


Denise
Helene Sumi 







	

	
	
	
	




Papier-mâché, plaster, bi-resin, organic and synthetic fibres, acrylic and 
watercolour on wood, imitation gold leaf, varnished steel, digital print


Exhibition views Lentos Kunstmuseum&#38;nbsp;(Linz, 2025)

Photodocumentation by Janine Schranz
Simulacra, 
2024

Video (dual screens), 6 min 28 sec
Directing and art: Nika Kupyrova
Performers: Teuta Jonuzi, Trin Alt
Make up: Dragana Suljic
Camera: Ulrich A. Reiterer
Editing and postproduction: Patrick Topitschnig
Music: Ai fen&#38;nbsp;

Video trailer&#38;nbsp;



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	<item>
		<title>Woman in Green</title>
				
		<link>https://nikakupyrova.com/Woman-in-Green</link>

		<pubDate>Sun, 03 Aug 2025 10:14:24 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Woman-in-Green</guid>

		<description>
	WOMAN IN GREEN


“The Hollow” (Agatha Christie, 1946) is a
classic country house mystery and yet an unusual novel for its time
because of its many female protagonists and psychology-driven
narrative. Women
of “The Hollow” are expected to behave according to convention:
the dazzling Hollywood actress; the aristocratic lady of the house;
the stubbornly independent working girl. The key to the puzzle is in
understanding that the characters’ true motivations are in
contradiction to their assigned identities: at first glance a murder
mystery, “The Hollow” is actually a feminist and social
critique.
Within this variety of characters, the
exhibition focuses on the sculptress Henrietta Savernake.
Appropriating parts of the novel that constitute Henrietta’s inner
dialogue, “Woman in Green” examines an image of a woman artist as
seen from the outside. Moody, coffee-drinking, introspective
Henrietta is being observed — by the novel’s author and its
readers and now by the exhibition audience.



	Varnished steel, concrete, uncoated sheet steel, climbing rope, chalk, digital C-print, spray paint&#38;nbsp;


	
	
	
	


Woman
in Green, 2022
Video
6 min 31 secConcept
and art by Nika KupyrovaDirected and camera by Gerald
ZahnVoice by Rosie Waites 
Photography by Janine Schranz

Exhibition views at Bildraum 07 (Vienna, 2022)




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</description>
		
	</item>
		
		
	<item>
		<title>HXWXD</title>
				
		<link>https://nikakupyrova.com/HXWXD</link>

		<pubDate>Thu, 07 Mar 2024 07:56:23 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/HXWXD</guid>

		<description>
	HXWXD




Nika Kupyrova borrows her themes from literature and digital culture and translates them into large-scale multi-media installations that envision exhibition spaces as parallel worlds for the viewer to explore. HXWXD is&#38;nbsp; artist’s first monograph that non-chronologically and playfully revisits four solo exhibitions over the last six years. HXWXD recognises the absurdity of publishing a book in the age of digital media and asks questions about sculpture and its photographic reproduction, 2D and 3D as well as the malleable border between digital and analogue.





	

Texts by Borbála Soós, Kathrin Heinrich, Franz Thalmair, Denise Helene Sumi &#38;amp; Nika Kupyrova, Domen OgrajenšekEdited by Nika KupyrovaPublished by Verlag für moderne Kunst (Vienna, 2023)Design by Anymade Studio (Petr Cabalka, Filip Nerad)Softcover, 27,5 cm X 20,5 cm, 140 pages, 58 ills. in colorISBN 978-3-99153-048-0



available to order
 



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</description>
		
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	<item>
		<title>Yaekahngai</title>
				
		<link>https://nikakupyrova.com/Yaekahngai-1</link>

		<pubDate>Thu, 19 Aug 2021 14:38:13 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Yaekahngai-1</guid>

		<description>
	YAEKAHNGAI



Taking its name from a randomly generated WLAN password, Yaekahngai considers the screen as a portal to a hypothetical parallel world, with entry prerequisite to having access to the right gate and appropriate tools. A thorough search of the exhibition space reveals a subterranean system driven by a mushroom network and fiber-optic cables

—

 now just to calculate the exact position between the standing stones, known to mark the points of transition into mythological realms. 
But something isn’t quite right. Under closer scrutiny the seemingly organic growth is revealed to be an algorithmic repetition of the same six shapes and three hues; a trick well-known to experienced digital-world builders. The stars hang flat and unblinking, draped over a sky dome. Through the exhibition space window everything looks familiarly flattened and framed. Searching for passage into the world behind the glass, we might have already passed unwillingly into it.

 



	Hard finish plaster, pigments, 
fibreboard, steel, rubbing plaster, screw clamps, 



digital print on synthetic satin, monitors with computer-generated animation

Photography by Johannes Puch


Exhibition views at Kunstraum Lakeside (Klagenfurt, 2021)




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</description>
		
	</item>
		
		
	<item>
		<title>Budget methods of cultural survival</title>
				
		<link>https://nikakupyrova.com/Budget-methods-of-cultural-survival</link>

		<pubDate>Wed, 07 Apr 2021 10:40:23 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Budget-methods-of-cultural-survival</guid>

		<description>
	BUDGET METHODS OF CULTURAL SURVIVAL





	
	
	
	


In 2021, an unusual type of Egyptian mummy was discovered—the
remains had been encased in a mud shell, a cheaper and more easily
available material than the embalming resin used on other mummified
bodies. Ancient Egyptian embalming method was a lengthy, expensive
process, only available to those with substantial wealth. Although
Egyptians of moderate means undoubtedly had their own embalming
practices, none of them survived the test of time—until now. Bodily
integrity was essential to ancient Egyptian beliefs about the
afterlife, so the unattainability of efficient embalming methods for
the general population effectively proclaimed that immortality was
reserved for those of the upper class.
In the context of
cultural preservation, art institutions and museums act as
temperature- and humidity-regulating containers ensuring the longest
possible survival for its contents. For the artist, entry in these
sarcophagi of cultural heritage is subject to increasingly more
expensive education, suitable social background, connections,
affluent residence country, financial independence and time to
maintain a consistent studio practice. Considering the enterprising
ancient Egyptians and their pursuit of immortality, perhaps it is
time to think of budget methods of cultural survival. 


	Glazed stoneware, shipping boxes 
(2021)



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</description>
		
	</item>
		
		
	<item>
		<title>No More Mr Nice Guy</title>
				
		<link>https://nikakupyrova.com/No-More-Mr-Nice-Guy</link>

		<pubDate>Mon, 21 Oct 2019 17:12:32 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/No-More-Mr-Nice-Guy</guid>

		<description>
	
NO MORE MR NICE GUY

A series of novels by Ian B. Banks is set in
The Culture, a post-scarcity human-machine symbiotic society that is home to a vast
and varied population of machines with different levels of self-awareness 
— among them conscious spaceships. These thousands year-old immensely intelligent machines give themselves their own names reflective of their distinctive
personalities— witty, whimsical, quite absurd, but mainly nothing like the
names humans would give each other. &#38;nbsp;Claimed
and altered by a non-human entity, naming becomes an act of consciousness,
challenging our preconceptions of humanity in a post-human age.








	Hand-cut rubberised textile, steel, fairy lights, printed wallpaper
Photography by Radek Brousil
Exhibition views at Fait Gallery (Brno, 2019)




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</description>
		
	</item>
		
		
	<item>
		<title>Adventure, fantasy, mystery, action</title>
				
		<link>https://nikakupyrova.com/Adventure-fantasy-mystery-action</link>

		<pubDate>Mon, 10 Jun 2019 18:46:39 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Adventure-fantasy-mystery-action</guid>

		<description>
	
ADVENTURE, FANTASY, MYSTERY, ACTION








































As survival fantasies replace technological utopias as pop
culture’s go-to narrative, it’s not just a trend, but a mark of society’s ability
to envision its own future. &#38;nbsp;Video gaming
is a genre especially associated with post-apocalyptic survival scenarios 
—


perhaps its typical protagonist-driven first-person narration encourages
romanticization of a loner fighting against a hostile outside world. 



 Protagonist is usually on a quest of some sort, making
acquaintances and alliances, but remaining solely responsible for their own
survival. Instead of a collaborative, social structure —

 personal
self-sufficiency in the face of a crisis.



 Inevitably, she would carry her entire possessions in a
supposed ‘backpack’&#38;nbsp;—

 an inventory that
can be opened and scrolled through, to equip the recent and most efficient
pillaged equipment and toss out the one that outlived its use. 








	

	
		
		
	
	
		
			
				
					
						“Roses are red,
&#38;nbsp;Gaming is fun,

‘You are carrying too much to be able to run’.”

The Internet

					
				
			
		
	
Fibreboard, steel, faux granite paint, textile, leather, tree branches, found materials
Photography by Lea Titz and Nika Kupyrova
Exhibition views at Wien Museum MUSA (Vienna, 2018)
 



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	<item>
		<title>Otis Rem</title>
				
		<link>https://nikakupyrova.com/Otis-Rem</link>

		<pubDate>Tue, 11 Jun 2019 11:51:56 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Otis-Rem</guid>

		<description>
	
OTIS REM



	
		
		
	
	
		
			
				
					


Do playing cards ensure the way we hold them by their shape and function —

 or does the user define the rectangles of paper as playing cards by handling them as such? Pages of the book are turned with the same motion whether there is anything to be gained by it or not. Black, sleek, blank screen of a switched-off device shows smudges of fingers devoid of context as to what they were meant to achieve. Separated from objects that were their source, these abstracted gestures are grotesque yet poignant, irrational yet deliberate. Tactile exercises in reaching for the unseen, the subliminal essence of the object, the ghost in the machine. Switched off iPhone is like a spiritual séance – who moved the hand on the Ouija board?

 


	Laminated fibreboard, steel, plastic bags, analogue photoprint, acrylic paint, rubberized fabric, photocopy on paper, colour filters, found objects
Photography by Adam Šakový and Nika Kupyrova
Resin casts are part of collaboration between Nika Kupyrova and Kristin Weissenberger
Exhibition views at 

	
	
	
	

Tomas Umrian Contemporary (Bratislava, 2018)


 



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</description>
		
	</item>
		
		
	<item>
		<title>Thinking about artists</title>
				
		<link>https://nikakupyrova.com/Thinking-about-artists</link>

		<pubDate>Tue, 11 Jun 2019 16:46:09 +0000</pubDate>

		<dc:creator>Nika Kupyrova</dc:creator>

		<guid isPermaLink="true">https://nikakupyrova.com/Thinking-about-artists</guid>

		<description>
	
THINKING ABOUT ARTISTS

Maybe the belief that an appropriation is always a conscious
strategic decision made by an author is just as naïve as believing
in an ‘original’ author in the first place. (Michalis Pichler
“Statements on Appropriation”)




Within the art context, it is fairly common for professors, curators and peers to recommend me to look at the work of certain known artists in relation to my own artistic practice. Interesting as a gesture in itself, these recommendations propose a complex interplay between reference, imitation, originality and plagiarism. As the recommendations originate in the perceived similarity between the works, they are one of the few opportunities to gain insight into how my own work is regarded.


Thinking about artists is a selection of artistic strategies from the list of recommendations I have collected over the years. A series of artworks developed in a fictional dialogue with recommended
artists is an investigation into the artist figure, artistic labour, and the
discourse on original vs. copy. 






	Thinking about Anselm KieferSteel, digital print on carpet, 170x200x150cm (2016)Thinking about Richard TuttleSteel, fibreboard, pencil, high-gloss varnish, found objects, 30x180x60cm (2016)


Thinking about Constantin BrancusiFibreboard, imitation goldleaf10 objects, 40x23x13cm each (2016)Thinking about Isa GenzkenHand-made imitation of a plastic flower
 55x12x6cm, epoxy resin, tarpaulin, acrylic, colour pencil (2016)




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&#60;img width="1803" height="1181" width_o="1803" height_o="1181" data-src="https://freight.cargo.site/t/original/i/9465ba3d97d8ad2f1bd972425ac257819b41b7e84d6e2e4c568c29034131fcac/brancusi_web_02.jpg" data-mid="135181462" border="0"  src="https://freight.cargo.site/w/1000/i/9465ba3d97d8ad2f1bd972425ac257819b41b7e84d6e2e4c568c29034131fcac/brancusi_web_02.jpg" /&#62;
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