Interpretation of Japanese tradition in the contemporary art practices of Tatiana Badanina and Vladimir Nasedkin

Abstract

The article examines the oeuvre of contemporary Russian artists Tatiana Badanina and Vladimir Nasedkin, focusing on their long-term collaboration with Japanese art projects such as the Echigo-Tsumari Art Triennale and the Ichihara Art x Mix festivals. Despite their international recognition and frequent participation in major forums, there has been a lack of comprehensive research connecting their individual artistic styles to Far Eastern aesthetics. This paper aims to fill this lacuna by examining the intercultural dialogue between Russia and Japan within the field of contemporary non-objective art. The research seeks to organize and analyse the projects that Badanina and Nasedkin have undertaken in Japan between 2015 and 2024, exploring their philosophical and artistic connections to Japanese tradition and investigating the reasons for the strong resonance of their work within the local cultural context. The research material comprises 14 creative projects developed specifically for Niigata Prefecture (Honshu Island) and Tokyo, including notable installations. The methodological framework combines an art-historical analysis of the structure of the works with a comparative typological approach, allowing for a comparison of Russian minimalist aesthetics with the Japanese concept of ‘emptiness’ (Ma). The research draws on interviews and analysis of the artists' original concepts, including unpublished annotations, to reveal the underlying logic of their projects. As a result, this paper presents the first formal art-historical description of Badanina and Nasedkin's ‘Japanese cycle’, demonstrating that the affinity of their work with the Japanese mentality is not a result of external imitation, but rather a deep alignment of ethical and philosophical principles. These include the pursuit of the sublime in the ordinary and the sacralisation of everyday existence. The artists' work is rooted in principles shared with Japanese culture, such as minimalism as a means of expressing universal rhythm, a sacred attitude towards materials (such as paper and wood), and the importance of pauses. Additionally, the involvement of local communities and the use of indigenous materials (such as soil and traditional naragi clothing) transform these projects into an integral part of the region's cultural memory.