artist, set-designer, director
She graduated from the Film Studies Faculty of VGIK, the School of Contemporary Art at the RSUH, the School of Contemporary Art under the J. Soros Foundation, the School of Theater Leader at the Theatrical Center named after VS. Meyerhold.
One of the founders and the permanent art director of the street festival of video art “PUSTO” (2002-2009, Moscow), a participant in Russian and international exhibitions. Director, screenwriter and documentary and short film artist, member of the filmmakers guild.
In the theater she works with the directors of the “new drama” - with Dmitry Volkostrelov, Marat Gatsalov, Georg Genot, Ruslan Malikov, Mikhail Ugarov.
Nominee for the Black Square Art Prize (2004) and the Kandinsky Prize (2008), the Golden Mask National Theater Award (2013).
At the “Golden Mask” of 2013, the creative duet of Dmitry Volkostrelov and Ksenia Peretrukhina was awarded a special prize by the jury of the drama theater.
Ksenia Peretrukhina came to the theater as a contemporary artist, a representative of Russian video art, she does not have a special stage design education. In 2002, a team of two people - Ksenia Peretrukhina and curator Irina Saminskaya invented the festival “PUSTO” - the first public art project in Russia, designed to popularize video art, making it accessible not only for a narrow layer of the public visiting the galleries, but for "a casual passer-by". Moscow architecture was turned into the screens for the video art projections. The festival existed until 2009.
The artist began to work in the theater thanks to the “new drama”, which, according to her, sets a completely different task for the person of her profession than the ones that the stage designer usually solves. Modern plays, according to Ksenia, absolutely do not need an artist who would deal with the usual set design: refine the director's vision, work through the details and think out how to designate the scene of the play. And this means that its role should be reconsidered along with the very concept of theatrical space. Ksenia offers the director a solution not as a “stage designer”, but as an “artist” - a full co-author of the performance. Today, she is one of the brightest ideologues of that theater, which emerged on the wave of a “new drama” at the beginning of the 21st century, and perhaps the only one ideologue-artist among them.