Whether it is in its multidisciplinary aspect or the fight the movement was struggling with, we all feel very close to their manifesto(s) and feel like it has not aged and is still very relevant. We know repressive politics in Ukraine, in Armenia, in Russia, and the United-States. We want to be a voice from the people, to the people, about the people. We want to produce work with layers and speak about social issues, use art(s) to trigger discussion. That being said, Dada, the Surrealism or Fluxus were known for their capacity to mock everything, themselves especially. We are very attached to this angle and want to keep a playful tone in our work. These movements made us realize how much sense it would make to gather forces and thoughts, and we created our platform as an exquisite corpse, which is the ultimate art form used by the surrealists. It was a really trendy form of collaborative work, for us it makes even more sense as we are not located in the same countries. We allow a lot of space for experimentation in our works and are not looking for perfect, academic works, we want to be found where we’re not expected, and this type of goals relates very much to the Dada movement, I think. But our references are rather varied and obviously come from very different backgrounds. Magritte, Sergueï Paradjanov, Andreï Tarkovski, Joseph Beuys, Henri Rousseau, Niko Pirosmani, Pier Paolo Pasolini, Toiletpaper, Tristan Tzara, Pierre et Gilles, Martin Parr, Yves Tanguy, Man Ray, Joseph Cornell, Takeshi Kitano, Sophie Calle, Ai Weiwei are (among others) solid influences, the kind that are shaping your work forever. These are the corner stones of our inspiration. But we’re very excited about a lot of young contemporary artists too and find the new scene very stimulating and inspiring.