At the site of the 1945 Yalta Conference, the artist presented documentation of a performance he had staged elsewhere. His father had been one of the officers assigned to protect the gathering. In the work, the artist reconstructed the tasks of the military telecom operators, who were responsible for maintaining communication—sometimes at the risk of their lives. 1998. Video installation: video, telephones, electrical wires. 5'27" Installation view: exhibition A Day in the Li

2001. Video 3'50’’ Installation view: exhibition "Ukraine", Pinchuk Art Center, Kiev, 2010

2004. Video 9’34” Installation view: exhibition “Ukraine”, Pinchuk Art Centre, Kiev, 2010.

This project, comprising a photographic series and a mockumentary video, was inspired by a popular spa resort in southern Russia. The artist wrote a pseudo-medical text citing fictitious scientists. The film’s editing and finale follow the conventions of the popular science TV genre. Narration was provided by the celebrated Soviet TV news presenter Igor Kirillov, lending the documentary an air of familiarity and credibility. 2006. Video 7'13’’

The video shows military helmets crashing down from above like falling autumn leaves. Wars may seem distant, yet their signs and consequences linger in the air. Installation view: exhibition “Ukraine”, Pinchuk Art Centre, Kiev, 2010. 2007. Video 2’30”

Arguably Bratkov’s most celebrated work, the video installation Balaklava Drive was filmed in one of the bays of Sevastopol in Crimea. Premiered at Regina Gallery in 2009, the work soon brought the artist Russia’s most prestigious contemporary art award – the Innovation Prize. On encountering the installation, the visitor first sees a large screen showing a group of young men enthusiastically diving into a water reservoir, possibly in an attempt to impress nearby girls, as th

The artist’s elder brother, Yury, based in Kharkiv, has been a protagonist or collaborator in a number of video works. (Regina Gallery once featured them in the exhibition BratFest ; brat means “brother” in Russian.) 2009–2019. Series of around 20 videos. Durations variable. the opening of BRATFEST . City Municipal Gallery. Kharkiv, Ukraine, 2019

In Hundred, Bratkov's brother appears sitting at a table on his birthday, where he begins to count, starting at 1. As the numbers get higher and higher on the way to reaching one hundred, a kind of despair is increasingly mixed into the brother's habitus. Is he struggling with the fact that he can no longer bear the years that are yet to come in their imminent suffering? Or is he perhaps despairing because he is counting down to the 100th anniversary of the day the USSR was f

Our Lord. 2016. DVD. 3'12"

The video was filmed in the courtyard of the artist’s brother’s home during the war. It juxtaposes two visual registers: fragments of sky pierced by rocket fire and an apparently ordinary domestic scene where cats wander through a familiar yard. This everyday space carries the physical trace of violence — the scar left by a bomb that struck the courtyard. The animals, adorned with improvised festive decorations, introduce a naïve and almost absurd note that coexists with the