Tatiana Efrussi is an artist and art historian currently based in Paris. In 2011 she graduated from Moscow State Lomonosov University with a paper on Soviet connections to the Bauhaus. On the basis of this research, in 2012 she curated the exhibition Bauhaus in Moscow at Moscow’s VKhUTEMAS gallery. In 2014 she commenced work on a dissertation entitled “Hannes Meyer – A Soviet Architect” at Kassel Universität—a research focus that contextualizes Meyer’s thinking and work of the Soviet period as part of the 1930s architectural scene in Moscow, examining in detail his process of “moving away” from the Bauhaus. Tatiana has recently written two articles soon to appear in print on this subject : “Nach Dem Ball: Hannes Meyer stellt das Bauhaus in Moskau vor” and “Einer von uns, aber sehr naiv: Hannes Meyers Abreise aus der Sowjetunion und die ‘Ochitovič-Affäre.’“ The latter will appear in the book Hannes Meyer nach dem Bauhaus. Im Streit der Deutungen, edited by Thomas Flierl and Philipp Oswalt.
The idea of discovering the Soviet past through the eyes of an engaged foreigner inspires her artistic work, which combines archival research and research into the archaeology of spaces with images and fiction. Previously Efrussi studied video and new media art at the Moscow Rodchenko School of Photography and Multimedia, and is currently continuing her artistic education at the Ecole Nationale de Beaux-Arts in Paris. Recent exhibitions include: Escapism. Training Program (Fabrika CCA, Moscow); Eccentric values after Eisenstein (with Elena Vogman, Diaphanes space, Berlin, 2018); One cannot be too careful (ЦЭХ, Minsk, 2017); and Birobizhan/Биробиджан: Artistic research of the Jewish Autonomous Oblast (Philarmony of the JAR, Birobizhan, Russia, 2017). An interest in contemporary conditions of cultural labor caused her to co-found the collective Flying Cooperation in 2015.