Prologue

                     We are still at the very beginning of the path to a full understanding of what the Fourth Dimension is. But this start has been made, many things have been achieved, and this text is an attempt to briefly tell about the main stages of the path that we have traveled to date. Moreover, today is the birthday of the Main Navigator of our movement, thanks to whom we have moved so far and plan to move even further – to the limits of the world and even beyond them.

                     As we have already noticed when compiling the first book on the New Genius made by Sabina Kuangaliyeva, in the New Genius art and science are inseparable from individuals and from the personal. So in this text, which should shed light on some aspects of the Fourth Dimension, the story of historical facts cannot be separated from the personality of Alexandra Morozova. And this text is personal, it is a declaration of love for her. Because love is one of the keys to the door to the Fourth Dimension.

            We are still at the very beginning of the path to a full understanding of what the Fourth Dimension is. But this start has been made, many things have been achieved, and this text is an attempt to briefly tell about the main stages of the path that we have traveled to date. Moreover, today is the birthday of the Main Navigator of our movement, thanks to whom we have moved so far and plan to move even further – to the limits of the world and even beyond them.

            As we have already noticed when compiling the first book on the New Genius made by Sabina Kuangaliyeva, in the New Genius art and science are inseparable from individuals and from the personal. So in this text, which should shed light on some aspects of the Fourth Dimension, the story of historical facts cannot be separated from the personality of Alexandra Morozova. And this text is personal, it is a declaration of love for her. Because love is one of the keys to the door to the Fourth Dimension.

Portal to the forth dimension
CHAPTER 1

                     The opening of the Portal to the Fourth Dimension began in 2011, when Alexandra for some reason said that the two of us should go to Moscow – something led her there. Then, the purpose of the trip was not clear, and in Moscow, one can imagine, it was not easy at all. But "accidentally" Alexandra stumbled upon an ad for enrollment (it was even the very last extra session of enrollment) to study at the great Boris Yukhananov’s school MIR. And then together we learned from him directing, producing, theater, cinema, art and projecting – that is, what later became the basis of our practice and gave us the tools to create the World Project.

            The opening of the Portal to the Fourth Dimension began in 2011, when Alexandra for some reason said that the two of us should go to Moscow – something led her there. Then, the purpose of the trip was not clear, and in Moscow, one can imagine, it was not easy at all. But "accidentally" Alexandra stumbled upon an ad for enrollment (it was even the very last extra session of enrollment) to study at the great Boris Yukhananov’s school MIR. And then together we learned from him directing, producing, theater, cinema, art and projecting – that is, what later became the basis of our practice and gave us the tools to create the World Project.

CHAPTER 2

                     And after graduating from MIR, in 2015, Alexandra again clearly saw: we had to go back to Almaty and make art there. But how exactly – again it was not clear. But she felt something. And we returned, and we had a failed and strange story with one theater: we were first let down by the head of the theater, and then by the actress of this theater. We were very confused (remember!), but Alexandra took pulled us together – and we decided to create our own company, the name for which she also came up with – ORTA. This is another of her super-powers – she is a master of names. We made the first project – and she gave it a name: “Pop-mechanical performance “Medea. Material”. And the project showed us that we can do art at a fairly deep level. And then the selfless Kristina Matvienko introduced us to the powerful Elena Kovalskaya, we showed her the video of the "Pop Mechanical Performance", and Elena showed the video and said something to Marina Davydova – and our project became part of the NET festival!

                     We showed the performance on the big stage of the Meyerhold Center – it seemed, of course, surreal: it was the very festival that brought Romeo Castellucci and other legends and within the framework of which we watched the funny and simple Philippe Quesne on the stage of the same unreachable Meyerhold Center. To show the “Pop Mechanical Performance”, the two of us dared to take a whole truck of scenery and 30 people to Moscow! Together. We almost died. And right before that, Alexandra and I had a very difficult and sad personal event, from which we – both I and she – are still recovering. I tried to find another so organizationally independent theatrical project from Kazakhstan that would “carry” so many people abroad – and I did not find it. So Alexandra and I “pumped the muscle” and prepared. And so already then her navigation worked in something that will later be called by us the Fourth Dimension: all these events, at first glance, are just a series of accidents, but this foreshadowing of their appearance in our lives has always been there, and we made certain decisions and developed principles that certainly influenced these events.

            And after graduating from MIR, in 2015, Alexandra again clearly saw: we had to go back to Almaty and make art there. But how exactly – again it was not clear. But she felt something. And we returned, and we had a failed and strange story with one theater: we were first let down by the head of the theater, and then by the actress of this theater. We were very confused (remember!), but Alexandra took pulled us together – and we decided to create our own company, the name for which she also came up with – ORTA. This is another of her super-powers – she is a master of names. We made the first project – and she gave it a name: “Pop-mechanical performance “Medea. Material”. And the project showed us that we can do art at a fairly deep level. And then the selfless Kristina Matvienko introduced us to the powerful Elena Kovalskaya, we showed her the video of the "Pop Mechanical Performance", and Elena showed the video and said something to Marina Davydova – and our project became part of the NET festival!

            We showed the performance on the big stage of the Meyerhold Center – it seemed, of course, surreal: it was the very festival that brought Romeo Castellucci and other legends and within the framework of which we watched the funny and simple Philippe Quesne on the stage of the same unreachable Meyerhold Center. To show the “Pop Mechanical Performance”, the two of us dared to take a whole truck of scenery and 30 people to Moscow! Together. We almost died. And right before that, Alexandra and I had a very difficult and sad personal event, from which we – both I and she – are still recovering. I tried to find another so organizationally independent theatrical project from Kazakhstan that would “carry” so many people abroad – and I did not find it. So Alexandra and I “pumped the muscle” and prepared. And so already then her navigation worked in something that will later be called by us the Fourth Dimension: all these events, at first glance, are just a series of accidents, but this foreshadowing of their appearance in our lives has always been there, and we made certain decisions and developed principles that certainly influenced these events.

Alexandra Morozova
CHAPTER 3

                     "Pop Mechanical Performance" creatively brought us together with Alexandr Bakanov and Darya Jumelya. We started working with them in 2017 on the life and work of Sergey Kalmykov. And it all started with the fact that I once said to Alexandra: “Do you know something about such an artist as Sergey Kalmykov?” And she said, “Of course! This is the most incredible artist who lived in Almaty! Let's get on with it!" We went to the State Archive and asked for Kalmykov's manuscripts, and then she felt something – she said literally: “I don’t know, but everything must be done!” And we began to do. And it was a more distinct step towards the Portal.

            "Pop Mechanical Performance" creatively brought us together with Alexandr Bakanov and Darya Jumelya. We started working with them in 2017 on the life and work of Sergey Kalmykov. And it all started with the fact that I once said to Alexandra: “Do you know something about such an artist as Sergey Kalmykov?” And she said, “Of course! This is the most incredible artist who lived in Almaty! Let's get on with it!" We went to the State Archive and asked for Kalmykov's manuscripts, and then she felt something – she said literally: “I don’t know, but everything must be done!” And we began to do. And it was a more distinct step towards the Portal.

CHAPTER 4

                     And in 2018, together with the Goethe Institute, we tried to make an installation by Heiner Goebbels “Genko-An” in Almaty, which Alexandra and I saw in Moscow. In order to prepare the local environment for this project, Alexandra then came up with the idea of ​​making “The week of Heiner Goebbels” festival and showing videos of his best performances. And then Heiner, at our invitation, flew to Almaty and gave a lecture, and there was a creative meeting with him. And he said that in his entire life no one had ever tried to do something like that. "The week" was an outstanding event. And we didn't manage to make the installation itself, although we had been going to it for several years. But at “The week of Heiner Goebbels”, Sabina Kuangaliyeva joined us, and Alexandra again pulled us together, and together they made the first book of Kalmykov’s texts in Kazakhstan – The First Volume of a Novel in a thousand volumes”. And Alexandra showed even more her another natural gift – creative production.

            And in 2018, together with the Goethe Institute, we tried to make an installation by Heiner Goebbels “Genko-An” in Almaty, which Alexandra and I saw in Moscow. In order to prepare the local environment for this project, Alexandra then came up with the idea of ​​making “The week of Heiner Goebbels” festival and showing videos of his best performances. And then Heiner, at our invitation, flew to Almaty and gave a lecture, and there was a creative meeting with him. And he said that in his entire life no one had ever tried to do something like that. "The week" was an outstanding event. And we didn't manage to make the installation itself, although we had been going to it for several years. But at “The week of Heiner Goebbels”, Sabina Kuangaliyeva joined us, and Alexandra again pulled us together, and together they made the first book of Kalmykov’s texts in Kazakhstan – The First Volume of a Novel in a thousand volumes”. And Alexandra showed even more her another natural gift – creative production.

CHAPTER 5

                     There was a very important moment in the process of creating “Svetoprestavleniye Sergey Kalmykov” performative installation. We were filming a video, and suddenly Alexandra says a monologue in which she says: “I should be on posters A4, A3, A2, A1 and even A0! I should be on the cover of the New York Times!” Suddenly, these words explained to us the whole essence of the Height of World Advertising, which Kalmykov spoke about. And they became the key to the next door on the way to the Portal. For example, a journalist from The New York Times eventually interviewed us and even did a photo shoot with us.

            There was a very important moment in the process of creating “Svetoprestavleniye Sergey Kalmykov” performative installation. We were filming a video, and suddenly Alexandra says a monologue in which she says: “I should be on posters A4, A3, A2, A1 and even A0! I should be on the cover of the New York Times!” Suddenly, these words explained to us the whole essence of the Height of World Advertising, which Kalmykov spoke about. And they became the key to the next door on the way to the Portal. For example, a journalist from The New York Times eventually interviewed us and even did a photo shoot with us.

Alexandra Morozova
CHAPTER 6

                     Also, some time then Alexandra once said: “We need to go to the Venice Biennale. This will be good! We then – as almost always – did not take her words very carefully – because how will you get to the Venice Biennale? And then Bayan Shaikh, our friend and wonderful curator, offered to try to make a project at the Kochi-Muziris Biennale, and this is the largest biennale of contemporary art in Asia. And we flew there twice with Bakanov and Bayan, and she introduced us to the president of the Biennale, Bose Krishnamachari. We had developed a project, chosen a space, met local wonderful people. The project was supposed to start in December 2020 and last 5 months. And then the pandemic happened, and the Biennale was canceled, and so was our project. Alexandra again had to pull us together. And to do something in terms of navigating the Fourth Dimension: there was a lockdown, we were all sitting at home, the project, for which we had been preparing again for almost two years, was canceled again. And Alexandra recalled her mastery of the Kazakh embroidery technique “biz keste” and began to embroider Kalmykov’s life-affirming texts on pieces of fabric that she found at home and that her neighbor found. And so she embroidered every day for 8-10 hours for the next few months. It seemed like a completely pointless exercise, but Alexandra knew something.

            Also, some time then Alexandra once said: “We need to go to the Venice Biennale. This will be good! We then – as almost always – did not take her words very carefully – because how will you get to the Venice Biennale? And then Bayan Shaikh, our friend and wonderful curator, offered to try to make a project at the Kochi-Muziris Biennale, and this is the largest biennale of contemporary art in Asia. And we flew there twice with Bakanov and Bayan, and she introduced us to the president of the Biennale, Bose Krishnamachari. We had developed a project, chosen a space, met local wonderful people. The project was supposed to start in December 2020 and last 5 months. And then the pandemic happened, and the Biennale was canceled, and so was our project. Alexandra again had to pull us together. And to do something in terms of navigating the Fourth Dimension: there was a lockdown, we were all sitting at home, the project, for which we had been preparing again for almost two years, was canceled again. And Alexandra recalled her mastery of the Kazakh embroidery technique “biz keste” and began to embroider Kalmykov’s life-affirming texts on pieces of fabric that she found at home and that her neighbor found. And so she embroidered every day for 8-10 hours for the next few months. It seemed like a completely pointless exercise, but Alexandra knew something.

Alexandra Morozova
CHAPTER 7

                     And in 2021, Meruyert Kaliyeva suggested that we make a project in the national pavilion of Kazakhstan at the Venice Biennale – of course, if the Minister of Culture agrees and appoints her as the commissioner of the pavilion. According to Meruyert herself, there were 30 percent chances for the consent of the minister – then it was Aktoty Raimkulova – because the minister at that time had not even answered the letters that Meruyert had written to her for a year. We agreed because by that time our World Project was already underway and we knew what to do. And the ministerunexpectedly for everyone – suddenly made an appointment with Meruyert and also agreed. The Venice Biennale! The first national pavilion of Kazakhstan! It was the end of September, we started to work, be afraid, stress, work, work, work, stress, be afraid, stress, be afraid, work, work, work. Because we were artists, and curators, and a production, and project managers.

                     And there were 7 months left before the opening of the Biennale, and during these seven months so many events happened – two of which are terrible and incomprehensible: the events of January in Almaty and Kazakhstan and the Russian invasion of Ukraine. And because of this war, two trucks with our installation got stuck on the road and did not make it in time for the official opening of the Biennale on April 20. When we found out about this, we were crushed for two days, crying, drinking, angry, silent, crying. And then we decided that we would make a Temporary Pavilion – to replace the one stuck on the road. Make an advertisement for the future pavilion. Because if you tell everyone: “The pavilion is empty”, then no one will simply come. So at least let them come. Although this was almost an even greater risk – instead of our installation, which is the fruit of almost 5 years of work, to show something made in two weeks on the spot in Venice.

                     But we decided that we would not be afraid. And Alexandra immediately said: “I will sit and embroider the Venetian lion all week from morning until evening!” And every day she sat on stools from morning to evening and embroidered and held the whole pavilion with her energy – both the crowds of visitors, and all of us. Because it is her main natural gift – to create a gravity with her presence. And we spent the whole week next to her telling people literally from all corners of the Earth about what “biz keste” is, who Sergei Kalmykov is and what the New Genius is, as well as what happened with us in January, and how Russia’s war in Ukraine affected our pavilion. Twice a day we conducted Spectacular Experiments, which were led by Alexandra and her magical voiceher another main natural gift. And between the Spectacular Experiments, were formed spontaneous coteries in which people told how they fled from Ukraine, how they left everything in Russia, how they experienced the January events in Kazakhstan. And Alexandra's bet on embroidery worked: people were very involved when they saw this process, they could not tear themselves away, photos of Alexandra embroidering scattered all over the world – from the Art Newspaper, to Vogue. uk and house and garden. Her ability to interact with the Fourth Dimension worked again and her determination to always look for the side of purity and honesty, which always means giving up what is not needed.

            And in 2021, Meruyert Kaliyeva suggested that we make a project in the national pavilion of Kazakhstan at the Venice Biennale – of course, if the Minister of Culture agrees and appoints her as the commissioner of the pavilion. According to Meruyert herself, there were 30 percent chances for the consent of the minister – then it was Aktoty Raimkulova – because the minister at that time had not even answered the letters that Meruyert had written to her for a year. We agreed because by that time our World Project was already underway and we knew what to do. And the ministerunexpectedly for everyone – suddenly made an appointment with Meruyert and also agreed. The Venice Biennale! The first national pavilion of Kazakhstan! It was the end of September, we started to work, be afraid, stress, work, work, work, stress, be afraid, stress, be afraid, work, work, work. Because we were artists, and curators, and a production, and project managers.

            And there were 7 months left before the opening of the Biennale, and during these seven months so many events happened – two of which are terrible and incomprehensible: the events of January in Almaty and Kazakhstan and the Russian invasion of Ukraine. And because of this war, two trucks with our installation got stuck on the road and did not make it in time for the official opening of the Biennale on April 20. When we found out about this, we were crushed for two days, crying, drinking, angry, silent, crying. And then we decided that we would make a Temporary Pavilion – to replace the one stuck on the road. Make an advertisement for the future pavilion. Because if you tell everyone: “The pavilion is empty”, then no one will simply come. So at least let them come. Although this was almost an even greater risk – instead of our installation, which is the fruit of almost 5 years of work, to show something made in two weeks on the spot in Venice.

            But we decided that we would not be afraid. And Alexandra immediately said: “I will sit and embroider the Venetian lion all week from morning until evening!” And every day she sat on stools from morning to evening and embroidered and held the whole pavilion with her energy – both the crowds of visitors, and all of us. Because it is her main natural gift – to create a gravity with her presence. And we spent the whole week next to her telling people literally from all corners of the Earth about what “biz keste” is, who Sergei Kalmykov is and what the New Genius is, as well as what happened with us in January, and how Russia’s war in Ukraine affected our pavilion. Twice a day we conducted Spectacular Experiments, which were led by Alexandra and her magical voiceher another main natural gift. And between the Spectacular Experiments, were formed spontaneous coteries in which people told how they fled from Ukraine, how they left everything in Russia, how they experienced the January events in Kazakhstan. And Alexandra's bet on embroidery worked: people were very involved when they saw this process, they could not tear themselves away, photos of Alexandra embroidering scattered all over the world – from the Art Newspaper, to Vogue. uk and house and garden. Her ability to interact with the Fourth Dimension worked again and her determination to always look for the side of purity and honesty, which always means giving up what is not needed.

Alexandra Morozova
the Opening

                     So today, on November 9, 2022, the Opening of the Portal the Fourth Dimension has been accomplished. It took 11 years, hundreds of experiments, more than a dozen of transdisciplinary projects and Alexandra’s navigation in the Fourth Dimension. The principles and laws of this skill are yet to be revealed in full. But now we can confidently state: we have entered the new stage of reality – the Fourth Dimension is now open for anyone to explore it. And it is because of you, Alexandra!

                     I am honored and blessed with the opportunity to walk hand in hand with you in this life. Forever your Rustem.

            So today, on November 9, 2022, the Opening of the Portal the Fourth Dimension has been accomplished. It took 11 years, hundreds of experiments, more than a dozen of transdisciplinary projects and Alexandra’s navigation in the Fourth Dimension. The principles and laws of this skill are yet to be revealed in full. But now we can confidently state: we have entered the new stage of reality – the Fourth Dimension is now open for anyone to explore it. And it is because of you, Alexandra!

            I am honored and blessed with the opportunity to walk hand in hand with you in this life. Forever your Rustem.

This article was prepared with the participation of
Darya Jumelya and Sabina Kuangaliyeva.

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