Pussy Riot’s Nadya Tolokonnikova on bringing her punk protest artwork and a jail cell to New Mexico

On the wall is a photograph exhibiting Nadya Tolokonnikova, one of many creators of the Russian feminist protest artwork collective Pussy Riot, in a blue jail uniform, seated at a small desk, with a naked picket board to her proper. The wall is that of a small room, an nearly actual replica of the jail cell in Siberia the place the artist spent two years in solitary confinement. The room is on the finish of a corridor lit shiny purple, with purple paint splattered on the ground to resemble blood. It’s the ultimate scene guests encounter in Tolokonnikova’s exhibition at Container in Santa Fe, Putin’s Ashes (till 20 July).

The exhibition spans two flooring, contains many works made in current months and takes guests on a journey by way of the traumas and violence Tolokonnikova suffered as a consequence of her activism towards Russian president Vladimir Putin’s regime. The artist guides me, by means of her cellphone’s digicam, by way of what she calls a “complete set up”, a reference to the view of late Ukrainian American artist Ilya Kabakov that conceptual artists ought to be in command of the context of their exhibitions, together with the areas between the artworks.

Pussy Riot shaped in 2011, with a loud punk aesthetic framing the performances staged by the group. Initially an all-women and female-identifying collective, Pussy Riot has advanced into a worldwide motion with a whole bunch of members of all genders. This exhibition shares the identical title as a Pussy Riot efficiency staged earlier this 12 months, wherein a gaggle of ladies in balaclavas burned an effigy of the Russian president. The ashes retrieved from that efficiency have been collected in small glass flasks of various sizes that at the moment are a part of the set up. Together with them, there are buttons on the wall that, if pushed, promise to show Putin into ashes and remove sexism.

The area is an element white dice, half road protest, with paint-splattered barrels positioned all through and graffiti on the partitions. Close to the doorway are plush-framed panels that includes phrases resembling “this artwork is just too political” or “this artwork is created by a felony”. A few of them are splashed with purple paint to evoke blood, some have stitching machine elements hooked up to them.

Throughout her practically two years’ detention in Russian penal colonies, Tolokonnikova needed to sew navy uniforms utilizing outdated machines with often-broken parts that injured her fingers. “At night time, I’d dream that I might get new units of needles and elements of stitching machines,” she says. “In actuality you by no means had sufficient and also you needed to injure your self whereas stitching. So that is my blood.” Incarcerated ladies have been sometimes required to work between eight and 16 hours every day. “They’d me work lower than different prisoners as a result of I had legal professionals and stuff, however I nonetheless needed to fulfill the identical quota, so I needed to be very centered.”

In a hallway at Container, a sequence of screens exhibits what the artist calls Pussy Riot’s “legacy movies”, recordings of the performances that introduced the group world consideration. They embody footage of a current efficiency in entrance of the jail wherein the opposition chief Alexei Navalny is detained, and Punk Prayer, the 2012 efficiency in Moscow’s Cathedral of Christ the Saviour that earned Tolokonnikova and two different activists of the group jail sentences. The wall alongside the staircase to the gallery’s second ground would possibly seem like one thing out of a nightclub, however the pink squares that adorn it body knives like these made in jail with makeshift supplies, as improvised weapons of self-protection. These have been cast from steel recovered from an deserted jail and are formed in a particular Pussy Riot fashion into symbols of ladies’s energy.

Alongside the centrepiece of the present, a fall-filing projection of the quick movie documenting the Putin’s Ashes efficiency, there are posters that includes lyrics from Pussy Riot’s first tune, Kill the Sexist, and textual content from Tolokonnikova’s courtroom sentence. Atop the texts are drawings of a vagina-shaped Virgin Mary determine, which the artist says resulted in her being added to Russia’s checklist of wished criminals. Within the centre of the room is a sculpture that includes a dollhouse, HAUNTED! (2023), whose façade and interiors are coated in tablets and orange capsule bottles crawling over each floor like invasive species. The capsule bottles are for duloxetine, Tolokonnikova says, “the remedy I’ve to take ever since I obtained out of jail as a result of I used to be recognized with PTSD and melancholy. I hate these tablets and am attempting to get off them. However they hold coming again to my life. And it’s at all times a battle.” The work is accompanied by a soundscape and poetry created by Bono of U2. One passage states, “I turned my rage into magnificence and my magnificence into rage.”

Although Pussy Riot’s artwork instantly engages with Russian politics, among the matters the present at Container offers with are related to different nations as nicely. “Since Pussy Riot’s inception, now we have at all times wished to be common and world,” Tolokonnikova says. “I like to name it alter-globalist as a result of I imagine that we want coordination on a worldwide stage to realize our targets as humanity. In any other case, world poverty, psychological well being, monetary inequality and wars will not be going to be solved. We’re not doing an excellent job on that. I imagine that collectives like Pussy Riot, or Zapatistas in Chiapas, Mexico, or Extinction Revolt, with their world help base, are essential to counteract the dangerous gamers, resembling transnational companies or authoritarian governments.”

Because the imprisonment of three of their members, one of many focus areas for Pussy Riot has turn into incarceration and jail reform. Throughout a earlier go to to the US, Tolokonnikova and different members of the group made clear that this was a precedence. “We met the then mayor of New York, Invoice de Blasio, and he requested us, ‘How can I enable you?’” she says. “We mentioned, ‘We wish to go to jail.’ He was like, ‘You simply obtained out of jail,’ and we mentioned, ‘No, we wish to go to Rikers.’ We wished to see the situations there.”

The mayor’s workplace organised a go to to the notorious Rikers Island jail complicated, which activists have been calling on metropolis to close down for years. Pussy Riot members toured the power and talked to incarcerated folks however took the expertise with a grain of salt. “Formally organised visits will not be actual, so then we spoke with individuals who went by way of Rikers and we related with teams engaged on rehabilitation by way of artwork,” says Tolokonnikova. “My curiosity continues. I visited jail amenities in downtown Los Angeles, I obtained to attempt the meals—which was completely horrible. I obtained to see how they deal with mentally in poor health folks: they chained them to the desk. There’s a lot to deal with. And the truth that the jail inhabitants per capita in the USA is the largest on the planet whereas the nation claims to be the land of the free is simply unhappy.”

A hall marked by purple lights results in the jail cell, the place the exhibition ends. Tolokonnikova was there on opening day, welcoming guests to Container and to the reproduction of her cell. She says she is not going to rent a bodyguard—as her buddy, artist Judy Chicago, retains recommending—as a result of in her view if her authorities actually needs to poison her with a military-grade nerve agent, having a guard will make little totally different.

“Once I obtained out of jail in early 2014, I couldn’t recognise my nation,” she says. “It was a lot darker, censorship was stronger and other people have been extra afraid. After which [Russia’s annexation of] Crimea occurred and it was actually the start of the tip.”

Since Russia’s full-scale invasion of Ukraine started in February 2022, the artist has felt an ever-stronger must act. She has been collaborating with Ukrainians who she says are much less scared than Russians and have been an inspiration for her because the nation’s first Orange Revolution started, in 2004. And whereas she concedes that there are some Ukrainians for whom “the one good Russian is a lifeless Russian”, she says there are additionally many who’re keen to collaborate together with her. For the exhibition at Container, Tolokonnikova relied on the assistance of Ukrainian producerVal Zabaluyev, and he or she says about 40% of the ladies who took half within the Putin’s Ashes efficiency have been from Ukraine; a few of them had just lately fled the nation due to the warfare.

“I nonetheless imagine that artwork might be extra highly effective than tanks and bullets generally as a result of bullets can solely penetrate your physique, artwork can penetrate your thoughts,” Tolokonnikova says. “So my artwork follows the phrase: this artwork is a weapon.”

• Pussy Riot/Nadya Tolokonnikova: Putin’s Ashes, till 20 July, Container, Santa Fe, New Mexico