Context
The art piece "Fountain", located near the Samara branch of the Tretyakov Gallery, serves as a reference to the Factory-Kitchen and the history of the food industry.
The building that now houses the Samara branch of the Tretyakov Gallery has a remarkable history of transformation. It is a unique architectural monument, built in 1932 and designed by Yekaterina Maksimova — one of the first female architects in Russia.
The structure is shaped like a hammer and sickle, but the choice of this configuration was not driven by ideology. In this form, Yekaterina Maksimova saw the principles of Henry Ford’s conveyor system and adapted them to the realities of the Soviet Union. The "hammer" housed the kitchen, while the arc of the "sickle" contained the cloakroom, a children’s dining room, and canteens for adults. Meals were delivered from the kitchen to the dining areas through three conveyor-style corridors, ensuring fast and efficient service for the workers.
The structure is shaped like a hammer and sickle, but the choice of this configuration was not driven by ideology. In this form, Yekaterina Maksimova saw the principles of Henry Ford’s conveyor system and adapted them to the realities of the Soviet Union. The "hammer" housed the kitchen, while the arc of the "sickle" contained the cloakroom, a children’s dining room, and canteens for adults. Meals were delivered from the kitchen to the dining areas through three conveyor-style corridors, ensuring fast and efficient service for the workers.
Portrait of Yekaterina Maksimova
Over the course of its existence, the Factory-Kitchen building underwent numerous transformations. In 1944, it was reconstructed: to reduce heat loss, much of the original glazing was replaced with solid walls and smaller window openings, and the central entrance was removed. The building remained in this altered state until the late 1990s, when the roof was painted blue and the façades were covered with white siding. Inside, the space was home to a sauna, nightclubs, shops, and offices. In 1999, these were replaced by a shopping mall called Passazh.
In 2008, there were plans to demolish the building and replace it with a 30-story residential tower. However, this proposal sparked a wave of civic activism. Numerous campaigns and public actions helped draw media and public attention to the threat facing this architectural monument. As a result, the building was saved from demolition. In 2019, a restoration process was launched, and in May 2024, the Samara branch of the Tretyakov Gallery officially opened its doors to visitors.
In 2008, there were plans to demolish the building and replace it with a 30-story residential tower. However, this proposal sparked a wave of civic activism. Numerous campaigns and public actions helped draw media and public attention to the threat facing this architectural monument. As a result, the building was saved from demolition. In 2019, a restoration process was launched, and in May 2024, the Samara branch of the Tretyakov Gallery officially opened its doors to visitors.
- Andrey SaylevArtistAfter all, the Factory-Kitchen was a place where food was produced, and where many generations, well… consumed it. Naturally, there must have been a dishwashing area. I thought it would make for a beautiful metaphor: a typical pile of dirty dishes that seems to wash itself. That’s when the idea came to me — to create a fountain in the shape of a structure that narrows from bottom to top, like a self-cleaning fountain or a playful water feature. Plus, it’s a small architectural form that resembles the typical Soviet courtyard fountains.
In the installation "Fountain", Andrey Saylev also reflects on the idea of transformation. Created from old bathtubs and kitchen utensils, the artwork serves as a vivid example of how everyday objects can undergo change — taking on new functions while remaining emotionally familiar artifacts.
At its core are worn-out household items that have "migrated" from the home to a transitional space between the city and the countryside — the dacha — where they are repurposed for secondary use. The artist offers an unexpected perspective on these utilitarian objects, turning domestic tools into a work of art.
"Fountain" also serves a practical purpose: volunteers working in the "Neighbourhood Garden" — a community engagement project run by the Tretyakov Gallery — can use the water from the installation to water the plants. This echoes a tradition dating back to the early days of the Factory-Kitchen, when workers grew their own vegetables and tended fruit trees.
At its core are worn-out household items that have "migrated" from the home to a transitional space between the city and the countryside — the dacha — where they are repurposed for secondary use. The artist offers an unexpected perspective on these utilitarian objects, turning domestic tools into a work of art.
"Fountain" also serves a practical purpose: volunteers working in the "Neighbourhood Garden" — a community engagement project run by the Tretyakov Gallery — can use the water from the installation to water the plants. This echoes a tradition dating back to the early days of the Factory-Kitchen, when workers grew their own vegetables and tended fruit trees.
At the opening of the installation, Andrey Saylev held an artist talk, where he spoke about his artistic practice and presented some of his completed projects. After the talk, he staged a performance-happening titled the "Choice" at the "Fountain".
Artist talk by Andrey Saylev. Photo: Andrey Savelyev
Near the installation, a bowl filled with brass coins was placed. Each participant in the performance was offered a choice: to take a coin and leave the "Neighbourhood Garden", or to throw it into the "Fountain", symbolically affirming their intention to return to the space.
- Maria UshakovaCreative Producer of the projectThe ritual of tossing coins into a fountain has ancient roots. In modern cities, fountains often become popular tourist attractions, and many people continue to take part in this tradition. The coin ritual is a simple way to return to a moment of happiness and express love for a place, as well as an engaging method of drawing viewers into the experience through physical interaction and emotional participation. The viewer may make a wish or perform a small ritual before the toss, which adds a sense of sacred meaning to the act.
For the performance, 1,000 coins were specially minted. One side of the coin features an image referencing the Voyager Golden Record — a gold-plated audiovisual disc launched into space in 1977, carrying sounds and images from Earth. The other side bears the precise coordinates of the installation’s location.
The building that now houses the Samara branch of the Tretyakov Gallery has a remarkable history of transformation. It is a unique architectural monument, built in 1932 and designed by Yekaterina Maksimova — one of the first female architects in Russia.
Portrait of Yekaterina Maksimova
The structure is shaped like a hammer and sickle, but the choice of this configuration was not driven by ideology. In this form, Yekaterina Maksimova saw the principles of Henry Ford’s conveyor system and adapted them to the realities of the Soviet Union. The "hammer" housed the kitchen, while the arc of the "sickle" contained the cloakroom, a children’s dining room, and canteens for adults. Meals were delivered from the kitchen to the dining areas through three conveyor-style corridors, ensuring fast and efficient service for the workers.
Over the course of its existence, the Factory-Kitchen building underwent numerous transformations. In 1944, it was reconstructed: to reduce heat loss, much of the original glazing was replaced with solid walls and smaller window openings, and the central entrance was removed. The building remained in this altered state until the late 1990s, when the roof was painted blue and the façades were covered with white siding. Inside, the space was home to a sauna, nightclubs, shops, and offices. In 1999, these were replaced by a shopping mall called Passazh.
In 2008, there were plans to demolish the building and replace it with a 30-story residential tower. However, this proposal sparked a wave of civic activism. Numerous campaigns and public actions helped draw media and public attention to the threat facing this architectural monument. As a result, the building was saved from demolition. In 2019, a restoration process was launched, and in May 2024, the Samara branch of the Tretyakov Gallery officially opened its doors to visitors.
In 2008, there were plans to demolish the building and replace it with a 30-story residential tower. However, this proposal sparked a wave of civic activism. Numerous campaigns and public actions helped draw media and public attention to the threat facing this architectural monument. As a result, the building was saved from demolition. In 2019, a restoration process was launched, and in May 2024, the Samara branch of the Tretyakov Gallery officially opened its doors to visitors.
- Andrey SaylevArtistAfter all, the Factory-Kitchen was a place where food was produced, and where many generations, well… consumed it. Naturally, there must have been a dishwashing area. I thought it would make for a beautiful metaphor: a typical pile of dirty dishes that seems to wash itself. That’s when the idea came to me — to create a fountain in the shape of a structure that narrows from bottom to top, like a self-cleaning fountain or a playful water feature. Plus, it’s a small architectural form that resembles the typical Soviet courtyard fountains.
In the installation "Fountain", Andrey Saylev also reflects on the idea of transformation. Created from old bathtubs and kitchen utensils, the artwork serves as a vivid example of how everyday objects can undergo change — taking on new functions while remaining emotionally familiar artifacts.
At its core are worn-out household items that have "migrated" from the home to a transitional space between the city and the countryside — the dacha — where they are repurposed for secondary use. The artist offers an unexpected perspective on these utilitarian objects, turning domestic tools into a work of art.
"Fountain" also serves a practical purpose: volunteers working in the "Neighbourhood Garden" — a community engagement project run by the Tretyakov Gallery — can use the water from the installation to water the plants. This echoes a tradition dating back to the early days of the Factory-Kitchen, when workers grew their own vegetables and tended fruit trees.
At its core are worn-out household items that have "migrated" from the home to a transitional space between the city and the countryside — the dacha — where they are repurposed for secondary use. The artist offers an unexpected perspective on these utilitarian objects, turning domestic tools into a work of art.
"Fountain" also serves a practical purpose: volunteers working in the "Neighbourhood Garden" — a community engagement project run by the Tretyakov Gallery — can use the water from the installation to water the plants. This echoes a tradition dating back to the early days of the Factory-Kitchen, when workers grew their own vegetables and tended fruit trees.
At the opening of the installation, Andrey Saylev held an artist talk, where he spoke about his artistic practice and presented some of his completed projects. After the talk, he staged a performance-happening titled the "Choice" at the "Fountain".
Artist talk by Andrey Saylev. Photo: Andrey Savelyev
Near the installation, a bowl filled with brass coins was placed. Each participant in the performance was offered a choice: to take a coin and leave the "Neighbourhood Garden", or to throw it into the "Fountain", symbolically affirming their intention to return to the space.
- Maria UshakovaCreative Producer of the projectThe ritual of tossing coins into a fountain has ancient roots. In modern cities, fountains often become popular tourist attractions, and many people continue to take part in this tradition. The coin ritual is a simple way to return to a moment of happiness and express love for a place, as well as an engaging method of drawing viewers into the experience through physical interaction and emotional participation. The viewer may make a wish or perform a small ritual before the toss, which adds a sense of sacred meaning to the act.
For the performance, 1,000 coins were specially minted. One side of the coin features an image referencing the Voyager Golden Record — a gold-plated audiovisual disc launched into space in 1977, carrying sounds and images from Earth. The other side bears the precise coordinates of the installation’s location.
Process
Art form: installation
Material: ready-made objects
Material: ready-made objects
- Andrey SaylevArtistMy main artistic practice, the one I constantly refer to, is social sculpture. When I was collecting dishes through public announcements, I would call and meet with people to tell them about my idea. It was important for me to explain why this art object was needed. There’s a strong element of interaction through play here, and a clear reference to the ideas of Joseph Beuys and Marcel Duchamp. Beuys said that every person is an artist. And for me, it’s essential to experience a creative moment in collaboration with others — to plant a seed of thought: "I can do that too — I’m an artist as well". And if the main criticism is something like "my grandmother could do better", that’s actually a good thing. It means the work might inspire people to take part in creative transformation of the world around them.
Once most of the elements for the installation had been collected, the artist faced the challenge of finding an object that would create a smooth visual transition from the small tableware to the large bathtub.
- Andrey SaylevArtistWe miraculously found a children’s bathtub from the 1950s, or maybe the 1970s, in Syzran. It was specially ordered and brought from there. It was quite an operation to deliver it, but nevertheless, we managed to get this fifth piece, which allows the structure to flow organically from larger to smaller.
- Andrey SaylevArtistMy main artistic practice, the one I constantly refer to, is social sculpture. When I was collecting dishes through public announcements, I would call and meet with people to tell them about my idea. It was important for me to explain why this art object was needed. There’s a strong element of interaction through play here, and a clear reference to the ideas of Joseph Beuys and Marcel Duchamp. Beuys said that every person is an artist. And for me, it’s essential to experience a creative moment in collaboration with others — to plant a seed of thought: "I can do that too — I’m an artist as well". And if the main criticism is something like "my grandmother could do better", that’s actually a good thing. It means the work might inspire people to take part in creative transformation of the world around them.
Once most of the elements for the installation had been collected, the artist faced the challenge of finding an object that would create a smooth visual transition from the small tableware to the large bathtub.
- Andrey SaylevArtistWe miraculously found a children’s bathtub from the 1950s, or maybe the 1970s, in Syzran. It was specially ordered and brought from there. It was quite an operation to deliver it, but nevertheless, we managed to get this fifth piece, which allows the structure to flow organically from larger to smaller.
Assembly and installation of "Fountain" took about two weeks. During the process, some elements were painted with white acrylic and coated with varnish, while certain parts were welded together to increase strength and resistance to wind loads. The liquid circulates through a closed loop: a pump pushes water through a hose running inside the central part of the fountain. The pump itself is hidden in a technical cavity in the courtyard.
Assembly and installation of "Fountain" took about two weeks. During the process, some elements were painted with white acrylic and coated with varnish, while certain parts were welded together to increase strength and resistance to wind loads. The liquid circulates through a closed loop: a pump pushes water through a hose running inside the central part of the fountain. The pump itself is hidden in a technical cavity in the courtyard.
Author
- Andrey Saylev (Samara)ArtistAndrey Saylev is a contemporary artist, sculptor, curator, and designer. All of his works incorporate elements of active participation and social interaction with local residents and the context of the place. Andrey’s works are included in major public and private collections, including the Tretyakov Gallery.
Andrey Saylev is a contemporary artist, sculptor, curator, and designer. All of his works incorporate elements of active participation and social interaction with local residents and the context of the place. Andrey’s works are included in major public and private collections, including the Tretyakov Gallery.
Krasnoyarsk Poles, Krasnoyarsk, 2019
Bird Quarter, Samara, 2020-2023
Overall Concept, Samara, 2021
The installation was created by
Andrey Saylev
Artist
Anna Oleneva
Executive Producer
Maria Kochneva
Executive producer of the project
Maria Ushakova
Creative producer of the project
Polina Ej
Project Manager
Yulia Bulygina
Communications Manager
Ivan Fiev
Development Director
Yulianna Kulugur
Photographer
Ivan Bely
Videographer