My Place is a mobile installation, reassembled anew in each space as a temporary shelter and a map of memory. It is a room that travels with the artist, sprawling into a chaos of objects and traces of everyday life. Composed of textiles, threads, boxes, pencil notes, fragments of thoughts, reworked and transformed materials, every element becomes a vessel of memory, affect, and bodily experience. This is not a simple reconstruction of a room, but a kind of compressed universe — an architecture of subjectivity organized like a nest or a refuge.

The installation references Dash Snow’s Hamster Nest, the enclosed worlds of hikikomori, and forms of voluntary isolation in which objects begin to replace social bonds, language, and the chronology of life. It resonates with Gaston Bachelard’s The Poetics of Space, where the home is not just a structure of walls, but a space of dreams sedimented in matter. Here, things do not simply lie around — they inhabit the space, gather the marks of time, and become inseparable from the body and memory. The home becomes a portable shelter from meaninglessness, the extended body of a subject expanding beyond the limits of skin.

My Place can be seen as a reverse perspective on Tracey Emin’s gesture of exhibiting her bed as a display of biographical vulnerability. With Anna Savi, the approach is different: not a scream, but accumulation; not a confession, but a restrained internal monologue articulated through objects. Clutter turns into an archive, into a mode of self-documentation. This is not a gesture of declaration, but a tactic of presence.

A central object in the installation is the Rabbit of Sorrow — a plush toy that is not merely a detail, but a companion-object. It absorbs touch, interventions, and embodies corporeal memory. Each interaction leaves a trace, like a scar that becomes part of the body and identity. The marks on the Rabbit’s body mirror the inner and outer anatomy of the artist herself. Just as Yayoi Kusama’s dots serve to dissolve the self into space and blur the boundary between body and world, so too does the contact with the Rabbit become an act of dissolving subjectivity into matter.

My Place and the Rabbit of Sorrow form a shelter-exhibition: an object as a vessel of biography, a space as a temporary extension of the body. It is a way to remain when nothing holds you. A way to delineate a territory of existence — not to assert the self, but to not disappear.

Ekaterina Zvereva