Irene Caesar (Russian: Ирина Цезарь) (born September 10, 1963) is a Russian-American philosopher and conceptual artist, Colonel of the International Irkutsk Cossask (Kazak) Military, Ataman of the Cossack / Kazak Embassy in the US, awarded the Medal “For Faith and Service to Russia”, President at Wave Genome (from 2010), co-founder of the Kazak-TV () Information Agency (2015. Caesar was born in St. Petersburg, Russia in 1963. Her parents were a psychology professor and a history teacher, and she grew up amongst Russian intellectuals. In 1985, Caesar received a Bachelor degree in philosophy from St. Petersburg University.
She also attended the Peterhof Art School, and was influenced by the teaching of Mark Tumin on Constructivism and Suprematism. By the end of the 1980s, Caesar was well known as a philosopher and an artist in Russia and in 1994 she immigrated to the United States at the invitation of the Chuck Levitan Gallery in New York City with the status of extraordinary ability.
In 2009, Caesar graduated with a doctorate in philosophy from the CUNY Graduate Center.
She lives in New York City and Moscow. In her interview to Kristina Kusmina “Irene Caesar: Art as Shock Therapy” for the London based “Russian Mind”, Caesar said: “I am like a bird flying here and there. But I fly in reverse to normal birds; when it is cold, i am going to the north, and when it is warm – to the south – I am a fighter.”
In 2010 Caesar started her project “Wave Genome”, defined by her as the Social Leap via the Quantum Leap. In 2012 Caesar became a co-founder of the Consortium “Matrix City” with the Institute for National Security in Moscow for building cities as integrated information-wave matrices with the application of Russian break-through technologies of the Quantum Leap, which she made public at her public lecture “Matrix City” at the Harriman Institute of the Columbia University in September 2012.
In May 2013 Caesar co-founded with Dr. Yakovleva the project of the Quantum Bio-Internet for the remote control over bio-systems, which she made public during her visit to London in May 2013 on the invitation of Andrew Charalambous, the Prior of the Byzantine Templars in London.
Caesar became a professional artist in 1988, and came to prominence in the early 1990s in Russia, with exhibitions in major Russian Museums, such as Russian Museum (Marble Palace, second in significance museum in the country), the Museum of the History of St. Petersburg, the Museum of the History of the St. Petersburg University, and with articles about her art in major Russian newspapers of that time, such as “Smena,” “Vecherniy Leningrad,” “Neva News,” “University”, etc.
Russian Television has produced two documentary movies on Caesar. The first documentary was made by the “Parallels” Program for the All-Russia Television, in 1991, which was such a success that it was repeated on the show “The Fifth Wheel” on St. Petersburg TV. The second documentary was produced by the “Autograph of the Day” for the St. Petersburg TV in 1992. In this film, Oleg Pokrovsky, the follower and scholar of Pavel Filonov, the famed Russian artist, said that Caesar is the heir of Pavel Filonov in Russian Art, and that he “gave her the honour to continue Filonov’s traditions in art”.
Caesar made numerous appearances on Russian Television as early as 1990s — in such popular TV shows as 600 Seconds with Alexander Nevzorov, “The Fifth Wheel”, and Tele-Courier and on Radio shows, such as “Day After Day”, ‘Publicist”, and “Radio Russia”. Ivan Fyodorov Publishing House, the biggest State Publishing House in St. Petersburg of that time, published and distributed Caesar’s book “Art of Spirits”.
Oleg Sulkin, The Voice of America (Voice of America is the official external broadcast of the United States Federal Government. fully funded by the US Government) Journalist, wrote about Caesar: “Caesar’s main tool of aesthetics is the artistic provocation via performance with role-games.” Caesar produced a series of performances documented in photographs in the style of absurdism, close to the theatre of the absurd of Samuel Beckett and Eugène Ionesco.
Ekaterina Dais wrote on Caesar in her article “Caesar, Shpuk and Vagabonds” for the “Independent Newspaper”, one of the major Russian newspapers that Caesar likes to depict a hero who “breaks all the taboos and rules, because he sets his own”, so that “Irene Caesar, being a conceptual artist, is inserting a philosophical lining between reality and its perception, saying that her inspirations are “Hellenistic cynics who deliberately refused property and denied any hierarchy, in order to gain freedom.” Dais continues: “No wonder Irene Caesar writes in his essay on her series ‘People of art as objects of art,’ that monks were deliberately choosing poverty and homelessness.” Ekaterina Dais concludes that Caesar is looking for an alternative to the bourgeois religion, reaching down to its origins, when the difference between Christians and Gnostics did not practically exist.”
Caesar’s performances were staged as role-games, which expressed some concepts in a symbolic interaction|symbolic way by making participants interact with some object or prop, with themselves, or between each other in some absurd situations. These performances were staged not as static tableaux vivants, since they were characterized by a high degree of dynamism and interaction between Caesar and the participants.
As a way of questioning modern art, Caesar created a series of photographic portraits of some well-known critics, film directors, and artists, including Arthur Danto, Vitaly Komar, Alexander Melamid, Slava Tsukerman, Vadim Perelman, which she produced as absurd role-games.
Caesar participated in the dissident movement in Russia, was invited by Marina Salye to make a speech at the Founding Conference of the Free Democratic Party of Russia during the 1991 Putsch, and produced the series of portraits of important dissidents, including portraits of Elena Bonner, Alexander Esenin-Volpin, Pavel Litvinov, and others, which showed these nonconformists in some nonconformist controversial situations.
These portraits and other role games by Caesar were widely exhibited, including Chelsea Art Museum in New York, State Tretyakov Gallery of Russia in Moscow, the major art museum in Russia, The Harriman Institute of Columbia University in New York, in the Museum of Russian Art in Jersey City, in the Museum of Russian Art in Minneapolis, the Dennys Lascelles Exhibition Gallery, Deakin University, Australia, at the International Arts Festival “Human Rights?” in Rovereto, Italy, organised by the Spazio Tempo Arte and the Peace Bell Foundation – “Opera Campana dei caduti Maria Dolens and sponsored by the Council of Europe, Amnesty International and the Government of Italy, in the Neuberger Museum of Art, etc.
Caesar’s artworks are included in such collections as the The Fralin Museum of Art, University of Virginia, Nasher Art Museum of the Duke University, Zimmerli Museum of Rutgers University, The Museum of Modern Art in Moscow, Mashkov Museum of Fine Arts in Volgograd, Museum “The Other Art” in Moscow, the Kolodzei Art Foundation, the art collection of the Universidad Miguel Hernández, etc. Caesar spoke on her art and aesthetics at the Harriman Institute of the Columbia University in the United States,Moscow State University in Russia, Museum of Modern Art in Moscow, and University of Miguel Hernandes in Spain, among other prestigious institutions.
Critics emphasized that «the uniqueness of Caesar’s creativity consists in the fact that, for the first time in the history of art, a woman-philosopher – from a woman’s point of view» — gives an assessment of such a wide scope of human ideas. Caesar created, for example, the series of the roles games under the name of “A New History of Ideas in Pictures”, which consists of performances devoted to the major ideas of the human civilisation via her art.
Prof. Arthur Danto of the Columbia University, the patriarch of the Anglo-American art criticism and the most famous American philosopher, in his essay “Trickster’s Commentary” (2010) about Irene Caesar, published in the art magazine “Dialogue of Arts” (the official art magazine of the Museum of Modern Art, Moscow), noted that Caesar’s role games «created a new paradigm of conceptual art via the intense interaction between a portraitist and a model.»
Caesar produced discussions and role games with Arthur Danto himself, resulting in her documentary about her dialogues with Danto on the End of Art. She produced three performances with Danto. In the first, Danto trows the coloured eggs into the air to help Damien Hirst with his Spot Paintings. In the second, Caesar depicted Danto with Wise Puffy Cheese Doodles, as a patriarch of pop-art. And in the third, she takes Arthur Danto’s fingerprints in red paint, resembling blood, as if he is a criminal, with the crying and sobbing people in the background amidst bomb explosions and shootings by automatic guns.
When in 2010, Ellen Yustas Gottlieb, a New York Art Critic, had asked Arthur Danto, in an interview to point to one artist to watch, he pointed to Caesar.
Danto wrote in his essay on Caesar for the “Dialogue of Arts” Journal at the Museum of Modern Art in Moscow: “Irene filled the roasting pan with mirrored spheres in different colors. Again I was required to toss these sphere into the air, and again Irene shouted “Higher, higher !,” clicking away as she knelt on the floor. The spheres broke into hemispheres and before I realized it, they flew out of the pan, covering the floor with shiny hemispheres, This time I really was able to throw myself into my part. Some of the shots showed me sending the spheres flying, with the result that the work resembled a three dimensional array of colored spheres, which alluded to the two dimensional paintings of colored circles in Damien Hirst’s pharmaceutical representations of snake venom. I look serious. Irene knelt on the floor, amidst the flying hemispheres. The result, I felt, brought the art figure into a true relationship with the art work. The photographs looked like me as an alchemist.”
It is not for nothing that Ekaterina Bychkova, the “Russian Reporter” journalist in New York, wrote about Caesar: “She is called “the great goddess” and provocateur, agent of the ideological subversion, the preacher on posthumanism and mystic.” Some of Caesar’s role games were quite radical, for example, her staging of the American torture by water—waterboarding—of one of Russian opposition leaders Matvei Krylov in the days of the most intense protests of Russian opposition in Moscow in the winter of 2012.
According to the Art Foundation “Artproject” of the Museum of Modern Art in Moscow, which commissioned the perfomance: “Caesar’s performance “Last Breath” revealed the deeper layers of understanding the concept of individual confrontation. And, at the same time, this performance pointed to the new conceptual point of reference for the assessment of the political situation in Russia.”
Matvei Krylov wrote on his experience of participating in Caesar’s role game of water boarding “Last Breath”: “We want them to understand us, but instead we are forced to listen to them again and again. We are told that we should not open our mouth, since when your opened your mouth, you can lose your life or freedom, choking with anger and violence of power … But today, it is necessary to think and change our tactics, so not bloodshed would not happen tomorrow. Peaceful protest – this is the last warning by those who would never kill.”
Dmitry Grazhevich, the director of the Art Foundation “Artproject” of the Museum of Modern Art in Moscow, which commissioned the performance “Last Breath” wrote on Caesar: “On the one hand, the role-games, staged by Irene Caesar, are deprived of theatrics – the hero does not have time for rehearsals … and on the other hand, they are deeply absurd, as it is well demonstrated by her photo projects with well-known characters of modern culture, like art critic Arthur Danto, Hollywood director Vadim Perelman, Tim Hunt, Director of the Andy Warhol Foundation in New York, Kyrill Svetlyakov, the Head of the newest trends at the State Tretyakov Gallery, the major Russian Museum, and Yuri Samodurov, a famed Russian art curator… so that Caesar is always a success in disturbing those in power».
In her role games, Irene Caesar created conceptual responses to major trends in Western art, for example she produced a performance “Three Hundred Balls for Damien Hirst” at her solo show “The Artworld: Arthur Danto’s Conceptual History in the role games by an absurdist Irene Caesar” for Moscow State University, which was her response to Damien Hirst’s Spot Paintings in the year, when Damien Hirst showed them all around the world. A large crowd of the Moscow University students were throwing together the coloured balls into the air.
In parallel to this performance, the Moscow University has also exhibited Caesar’s video dialogue with Arthur Danto, discussing the death of art. Also the exhibit showed the photograph Caesar did at her joint performance with Arthur Danto at his residence in 2010, when Danto helped Damien Hirst with his Spot Paintings by throwing the coloured eggs into the air. In her speech at the opening of the show, Caesar said that both performances revealed the absurdity of Hirst’s art indifferent to human suffering.
Russian Television company “Tainam Net” has made a film on Caesar’s performance ‘Three Hundred Balls for Damien Hirst”, which continued the comparison between social problems and the indifference of modern art to human suffering. Caesar used various genre for her absurdist conceptual art, including poetry, and her graphic description of the Stalingrad battle in a poem was published in the New Yorker Magazine.
In the Birch Journal of the Columbia University, Georgia Lipkin wrote on Caesar’s staged portraits as Role Games: “These staged photographs — with their evocative images and ironic titles — encourage the viewer to both laugh out loud and cringe in disgust, blush at the overtly explicit and feel nagged by the quiet latency,” so that Caesar’s artworks “provoke a dialogue with the viewer – whether it be a remark on the state of contemporary conceptual art, or an evocative and uncomfortable confrontation,” and are “conceptual commentary upon a paradoxical and satirical world…
There is a nonsensical and refreshing bluntness to her work, which seamlessly weds art to philosophy and pursues questions that at once span time and culture and yet feel pressingly contemporary.” Caesar’s art “is a bag of analytic tools that Caesar uses to both examine and toy with our modern condition,” concludes Lipkin.
Caesar used psychotronics for producing artworks for the first time in the history of art, presenting to the public her psychotronic art at her Jubilee Lecture “Man-Sun” at the Museum of Modern Art in Moscow in March 2013.
The presentation consisted of video installations, all encoded with the text of her Manifesto “Man-Sun” and her childhood matrix, among which was her “Self-portrait as Joan of Ark” and “Self-Portrait as Text” as a derivative from this artwork. The encoding was done by the lasers of the Institute for National Security in Moscow.
In the monograph “The Intersection of Art and Psychology”, Russell J Chartier gave a high assessment of Caesar’s use of psychotronics in art for the first time in the history of art: “I have been given the great privilege of a contribution by Dr. Irene Caesar discussing her work with Psyotronics used to create an encoded Self-portrait “MAN-SUN.” Prof. Pilar Viviente of the University of Miguel Hernandez in Spain wrote on Irene Caesar’s project “Man-Sun” and Caesar’s lectures at UMH presenting psychotronics in art in the Miguel Hernandez Univeristy Art Journal «Sapiens», that Caesar’s use of psychotronices reveals a completely new approach to art, emphasising the role of human compassion. Miguel Hernadez Univeristy Radiostation devoted a 30 minutes program to the interview with Caesar about her use of psychotronics in art.
In her monograph “The Philosophy of Art: The Question of Definition From Hegel to Post-Dantian Theories”, Prof. Tiziana Andina of the University of Turin, Italy, wrote on Caesar: “She is not an ordinary photographer: she considers herself a provoking artist. In fact, she loves to provoke us in order to test the validity of our ideas; that is, the conceptual structures that allow us to interact with the world… Caesar quotes tradition and, by doing so, indicates its weaknesses and shatters them, demonstrating how one of art’s tasks is to call consolidated visions into question.” In its review on Andina’s book, the Brooklyn Rail Art Magazine emphasised that ” [Caesar] requires something very simple of her subjects: that they incarnate a particular idea before the lens, experiencing it and representing it. “Madonna Liberated” (2009), for instance, encompasses all of these dimensions. First and foremost, it cites the grand art of the Cinquecento, along with the countless iconographic representations of the maternity scene. Caesar places a woman before her lens, a mother with her child, who is loved but is also displayed as a symbol. Only, in Caesar’s depiction, such a familiar scene is transformed, as the symbol is female.”
In her article on Caesar “Irene Caesar: The Return of the Great Goddess”, Ekaterina Dais wrote: “At what time does Caesar work? First of all, our time can be described as the era of breaking the cultural code of the Euro-Atlantic civilization. Throughout the twentieth century, diverse cultural revolutions were occurring, all associated with the change of the sacred male dominant to the sacred feminine dominant… Irene Caesar’s creativity lies in the so-called “return of the goddess Gaia” – that is, the actualization of the divine feminine, which restores its balance with the divine masculine.”
in her monograph “Text and interpretation: Gender and violence in the Book of Judith Scholarly Commentary and the Visual Arts from the Renaissance Onward» for the «Old Testament Essays» Journal, Prof. Helen Efthimiadis-Keith of the University of the North, South Africa, gave similar assessment of Caesar’s art. Prof. Efthimiadis-Keith compared Caesar’s interpretation of Judith to the interpretation by Botticelli, Donatello, Giorgione, Cranach the Elder, Caravaggio, Andrea Mantegna, and Gustav Climpt, and concluded: “No other image of Judith expresses the fear of the woman’s castrating sexual potential quite as well as Irene Caesar’s 1996 ink drawing (Plate 2),3 Judith with the Head of Holofernes.” She continued: “Judith ‘usurps’ the male role (Dundes 1975:29) and so the male authority and prescription of what woman should be that she is both saint and murdering seductress, chaste, spiritual and carnal. It is also for this reason that she poses such a great threat to the male psyche, which baulks at the thought of a woman so powerful that she can easily beguile a powerful general and cut off his head. The head, being symbolic of the penal head, then conjures up images of the dreaded castration and concomitant loss of power, life and vitality. This element is clearly depicted in Irene Caesar’s drawing…. The woman kills the man with her overpowering sexuality – note how the woman’s legs and hair surround the man in vulva formation – thus castrating him and subverting his authority, for it is she who is in control, not he.”
Caesar identifies herself as a philosopher-artist, and creates conceptual art as a way of testing her philosophy while also practicing philosophy as art, that is, as a practical guide for better living.
Caesar claims that Sumer culture is the Russian-Aryan Samara culture (Samarra culture) from the Russian rivers Ra (Volga), Sura (here is the origin for the country name Suria / Syria, she says), Euphrates (in Siberia) and Samara.
In her philosophy of art, Caesar criticises Postmondernism Caesar created “Manifesto: Death of Postmodernism”, presented by her at her Public lecture at the Moscow State University in Russia, The Manifesto formulates a bitter critique of postmodernism for its indifference to human suffering, and is partially based upon Caesar’s analysis of her dialogues with Arthur Danto about the End of Art in 2011 and 2012, produced as a video film in two parts.
Caesar created an alternative model of human settlements — Matrix Cities using the information-wave technologies of the Quantum Leap, which she presented in her public lecture “The Matrix” at the Harriman Institute of the Columbia University, based on her holographic principle for globalization as the application of the major principle of quantum physics to social sciences.
Caesar’s “Matrix City” is an integrated information-wave matrix with fossil-fuel free energy, and the remote control over biosystem, so that all the aspects of life are controlled by the information-resonance technology. Caesar’s “Matrix City” was a critique of Charter city, offered by Paul Romer, and Ocean Cities or Seasteading by Peter Thiel as suicidal for mankind.
In July 2012, Caesar became a co-founder of the Consortium “The Matrix City” with the Institute for National Security in Moscow for the purpose of building self-sufficient cities with the application of information-wave technologies of the Quantum Leap, which provide humans the unlimited access to energy, resources and food via the process of transmutation from the Quantum Vacuum.
Irene Caesar co-authored with Inna Yakovleva, MD. and Ph.D., the theory and project of “Quantum internet” for the remote control over biosystems. She spoke about the remote control over biosystems all over the globe, including in her series of lectures and a Public lecture “Man-Sun: Wave Matrix in Art” at the Faculty of Fine Arts at at the Miguel Hernández University, Altea, Spain, in which she formulated a new concept of human culture, based on the information-wave technologies of the Quantum Leap in opposition to the plans of American technocrats to build the Internet of Things as the Global Electronic Government, managed by the Global Artificial Intelligence through Brain-computer interface|BCI (brain computer interface, i.e., brain chips), so that people are downgraded to the subhuman biorobots, remotely controlled. Caesar opposed her paradigm of Man-Sun to Nick Bostrom’s paradigm of a cyborg.
During her lectures and a joint exhibit “Man-Sun: Wave Matrix in Art. Phychotronics in art for the first time in the history of art. Tribute to Arthur Danto” with Prof. Pilar Viviente of the Universidad Miguel Hernández, Caesar introduced her art made with phychotronics for the first time in the history of art, i.e., studio photographs, each one of which was coded with text and other image via lasers of the Institute for National Security in Moscow.
Alexander Gottwald wrote in his article on Caesar “Warum ein Interview mit der russischen Philosophin Irene Caesar?” for the Bürgerstimme Magazine: “Irene Caesar assumes that the NWO representing the plan of a unipolar world… She says that this geopolitical paradigm is contrary to the laws of quantum physics. Each of us is completely unique. The universe is multipolar, according to this view, and it should be. So we must understand that we have been enslaved on this planet, we must wake up and stand up for our uniqueness, the uniqueness of the country in which we live and the unique heritage of our own people.”
Bartolomeu Capita, Chairman of the Cabindan National Movement wrote about Caesar’s research on the origin of the crisis Ukraine in his letter “Africa Should Stand Out Against World War”, which he sent to the UN Secretary General Ban Ki-Moon and to Permanent Representatives of African States to the United Nations and other International Organizations in Geneva, and his essay”: “Caesar’s dramatic paper [on Ukraine] gives readers not only gooseflesh but also a valuable clue as to what is at stake in the «Ukrainian Crisis». We can admittedly consider the paper to be a mere propaganda but Africans should think it over very carefully, give ourselves the most appropriate answers, and ultimately act accordingly. If you stop and genuinely think about all the suggestions the paper claims as facts, you immediately realize that «Mother Africa» is for some reason at the heart of the «Ukrainian Crisis». Hence Ms. Caesar’s essay is a warning to Africans that in the event of a WWIII Africa is the primary target of the parts in conflict.”
TV, Radio and Film Coverage
— Alexander Nevzorov with Irene Caesar, 600 Seconds, Leningrad TV, 1990
— “Irene Caesar”, Documentary Film, “Parallels,” Russian Television, 1991 (repeated on Russian Television show “The Fifth Wheel” and on St. Petersburg TV)
— Episode in Tele-Courier, Leningrad TV, 1991
— “Oleg Pokrovsky, the Disciple of Pavel Filonov about Irene Caesar,” Documentary Film, “Autograph of the Day”, St. Petersburg TV, 1992
— The Fifth Wheel Episode, Leningrad TV, 1992
— Interview for “Day After Day”, St. Petersburg Radio, 1992
— Interview for “Publicist,” St. Petersburg Radio, 1993
— Interview for Radio Russia, 1993
— NTV-AMERICA: Mikhail Gusev interviews Irene Caesar for the Program Persona Grata, August 2010
— TV3 Medford, “Meeting Interesting People: Lena Neva interviews Irene Caesar”, December 2010
— Oleg Sulkin, “Irene Caesar: I do not have a right to hide behind the camera,” Voice of America, September 26, 2011 http://www.voanews.com/ru
— Dmitry Volchek “Non-conformism is Alive”, Radio Svoboda / Radio Liberty, Program “Above Barriers”, August 17, 2011 http://www.svobodanews.ru
— Voice of America film on the “Concerning the Spiritual Tradition in Russian Art” Exhibition by the Kolodzej Art Foundation at the Chelsea Art Museum with Irene Caesar’s participation https://www.yout
— Interview for the Abkhazian TV, May 2012
— NTV-AMERICA: Mikhail Gusev interviews Irene Caesar for the Program Persona Grata, September 2012
— RTV-America: Boris Tenzer Interviews Irene Caesar for the one-hour Program “Contact”, January 15, 2013
— Radio UMH (Miguel Hernandez University Radio Station. Spain), December 2013
*Profile of Irene Caesar at Amsterdam’s Eduard Planting Gallery
*Alexandre Gertsman Gallery (NYC) past exhibitions
*Voice of America News on “Concerning the Spiritual Tradition in Russian Art: Selections from the [[Kolodzei Art Foundation]]” in the [[Chelsea Art Museum]], Apr-May 2011, NY
 Irene Caesar”, Documentary Film, “Parallels,” Russian Television, 1991 (repeated on Russian Television show “The Fifth Wheel” and on St. Petersburg TV
 Interview for “Publicist,” St. Petersburg Radio, 1993
 Oleg Pokrovsky, the Disciple of Pavel Filonov about Irene Caesar,” Documentary Film, “Autograph of the Day”, St. Petersburg TV, 1992
 Irene Caesar, “Why we should not be unhappy about happiness via Aristotle” (The functionalist account of Aristotle’s notion of eudaimonia), Lambert Academic Publishing, Germany, 2010
 St. Petersburg 93”, “Manege”/Central Exhibition Hall, Coordinating Council for the Creation of the Museum of Contemporary Art, St. Petersburg, 1993
 Newspaper “Smena,” 1991; Newspaper “Vecherniy Leningrad,” 1992; Newspaper “Neva News,” Saint Petersburg’s first English Language newspaper; “University” (official Newspaper of St. Petersburg University)
 “Irene Caesar”, Documentary Film, “Parallels,” Russian Television, 1991 (repeated on Russian Television show “The Fifth Wheel” and on St. Petersburg TV)
 “Oleg Pokrovsky, the Disciple of Pavel Filonov, about Irene Caesar,” Documentary Film, “Autograph of the Day”, St. Petersburg TV, 1992
 Alexander Nevzorov with Irene Caesar, 600 Seconds, Leningrad TV, 1990
 Film on Irene Caesar at The Fifth Wheel, Leningrad TV, 1992
 Episode with Irene Caesar at the “Tele-Courier” Program, Leningrad TV, 1991
 Interview with Irene Caesar for “Day After Day”, St. Petersburg Radio, 1992
 Interview for “Publicist,” St. Petersburg Radio, 1993
 Irene Caesar’s Interview for Radio Russia, 1993
 Irene Caesar, “Art of Spirits,” published and distributed by Ivan Fyodorov Publishing House, St.Petersburg, Russia, 1993, the biggest Publishing House in St. Petersburg of that time
 Oleg Sulkin, “Irene Caesar: I do not have a right to hide behind the camera,” Voice of America, September 26, 2011 http://www.voanews.com/ru
 Irene Caesar, “Leonardo the Trickster”, Essay, Aurora, Journal on Philosophy, CUNY Graduate Center, Jan. 2000
 NTV (Russia) / NTV-AMERICA: Mikhail Gusev interviews Irene Caesar for the Program Persona Grata, August 2010
 TV3 Medford, “Meeting Interesting People: Lena Neva interviews Irene Caesar”, December 2010
 Kate Bychkova: “Irene Caesar: My Ideological Struggle”, RUNY Web, 2010 http://www.runyweb.com/ar
 Dmitry Volchek “Non-conformism is Alive”, Radio Svoboda / Radio Liberty, Program “Above Barriers”, August 17, 2011. Radio Free Europe/Radio Liberty (RFE/RL) is a broadcasting organization that provides news, information, and analysis to countries in Eastern Europe, Central Asia, and the Middle East “where the free flow of information is either banned by government authorities or not fully developed”. RFE/RL is supervised by the Broadcasting Board of Governors, a bi-partisan federal agency overseeing all U.S. international broadcasting services. http://www.svobodane
 Irene Caesar in Shadow Lands, the Dennys Lascelles Exhibition Gallery, Deakin University, Australia
 Irene Caesar at the International Arts Festival “Human Rights?” in Rovereto, Italy, organised by the Spazio Tempo Arte and the Peace Bell Foundation – “Opera Campana dei caduti Maria Dolens and sponsored by the Council of Europe, Amnesty International and the Government of Italy, 2011
 Музей РГГУ Irene Caesar in the collection of the Art Museum «Другое искусство»|Museum The Other Art
 >[ http://harriman.columb
 Ekaterina Dais, “The Return of The Great Goddess” (in Russian), Magazine Lady Boss, #14, July 2010, p. 44
 Episode in Tele-Courier, Leningrad TV, 1991
 Helen Efthimiadis-Keith (Univ of the North), Text and interpretation: Gender and violence in the Book of Judith, Scholarly Commentary and the Visual Arts from the Renaissance Onward, Journal «Old Testament Essays» 15:1, 64-84, 2002 http://ukzn.academia.edu/
 Ellen Yustas Gottlieb interviews Arthur Danto, Chelsea, New York, 2010