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An illegal work on the October 1993 Russian parliament coup attempt

But Most’s work is not just a projection of his own cynicism about revolution and ideology. His pieces also throw light on a more general climate of political frustration in Russia. He remembers too well the optimism of December 2012 and March 2013, moments in Russia’s recent history when real change seemed possible. These political movements, while invigorating at the time, ultimately lacked viable leadership and permanent solutions.

Most is no newcomer to the art world. He co-founded Moscow’s veteran graffiti crew Zachem (What for) in the early 2000s and was nominated for the Kandinsky Prize, a major Russian art award, in 2008 in the young artist category. He has been exhibited in Ukraine, Azerbaijan, the US, Italy, Switzerland, Germany and France. Back home in Moscow, he curates the Wall Project at the Winzavod art centre, an ongoing graffiti exhibition.

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On Novy Arbat from the series Collapse (2012)

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Warsaw Street Art

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2007 Orange Revolution

In his early 30s now, Most understands that mass chaos rarely ends well; he is sceptical of revolution everywhere, not just the Russian sort. In 2007, for example, he criticised the Orange Revolution in Ukraine by painting a mural of apathetic, faceless protestors accepting cash to demonstrate. And in 2012, he sketched the outlines of a public rally on a wall in Warsaw to indicate that revolution everywhere can be orchestrated to achieve nearly identical results. In his more recent series,Collapse (see above), Most painted a pool of blood beneath rubble, a critique on the costs of ideology — the bricks that once housed power and authority can easily come tumbling down.

The author and the artist at his home inside Narkomfin. 2013.

The author and the artist at his home inside Narkomfin. 2013.