Although the exact medium of “1st Studio Siberian Mouse – Masha & Veronika Babko (368 Link)” is not publicly documented, we can infer a multimodal approach based on prevailing trends:
| Medium | Likely Application | Rationale | |--------|-------------------|-----------| | Interactive website | Hosts the “368 link”; users navigate a branching narrative | Emphasises hypermedia and user agency | | Short film / animation | Features a mouse traversing Siberian landscapes, intercut with urban Kyiv scenes | Visualizes the juxtaposition of geography and identity | | Audio collage | Incorporates folk chants, field recordings from Siberia, and spoken word by Veronika | Highlights the auditory texture of cultural memory | | Print zine | Distributed locally in Irkutsk and online as a PDF | Bridges analogue tradition with digital dissemination | | Live performance | A duet where an actress (Masha) interacts with a projected avatar of Veronika | Explores embodiment of the two personas in real time | 1st studio siberian mouse masha and veronika babko 368 link
Such a polyvocal strategy aligns with contemporary studio practices that reject monolithic formats in favour of a “studio as ecosystem.” Although the exact medium of “1st Studio Siberian
Through the figure of the Siberian mouse, the project interrogates how identity is formed in liminal spaces. The mouse’s ability to move unseen mirrors the diaspora of Siberian cultural memory—how stories travel in whispers across vast distances, re‑emerging in new contexts. Through the figure of the Siberian mouse, the
The inclusion of a “link” in the title places the project firmly within the realm of hypermedia art—a discipline that blurs the line between text, image, sound, and interactive code. By embedding the number 368, the studio may be referencing a specific node in a larger web of linked artworks, each node offering a fragment of a non‑linear narrative. This approach mirrors the structure of Russian folk epics (bylina) where episodes are linked by recurring motifs rather than a strict chronological order.
The Siberian region, known for its vast wilderness and extreme climate, is home to a variety of wildlife, including unique species of mice. These small creatures have adapted to the harsh conditions, offering fascinating insights into survival and biodiversity.
“Masha” is a diminutive of Maria, a name that resonates across Russian literature—think of Masha in The Brothers Karamazov or in contemporary cinema—as an emblem of youthful curiosity and emotional depth. “Veronika Babko” is a more specific identifier; the surname “Babko” is of Ukrainian origin and appears in various artistic circles, suggesting a personal collaborator who brings a distinct voice to the project. The conjunction of the two names may denote a dialogic partnership: a Russian archetype (Masha) meeting a contemporary Ukrainian‑Russian artist (Veronika Babko). Their interaction becomes a micro‑cosm of the cultural negotiations occurring in post‑Soviet spaces.