Born 1965 in Saint-Petersburg, she lives and works in Paris and Russia. After her graduation from the Vera Mukhina Institute of Industrial Art in 1988, she continued her studies at the Ph.D at the Hermitage Museum and also studied physics at the Leningrad State University.  In the early 1990s she studied at the University of California and Columbia University in New York, focusing on video art and multi-media, defending her Ph.D. dissertation on the topic of video and computer art.  After receiving a Fulbright grant in 2000, she became a part of a team of creators working on the development of numerical technologies in the United States.  In 1998, Kisseleva’s book on video and computer art was published in France and other counties and she was invited to teach at Sorbonne. Since 2007 Kisseleva is Head of Art and Science Department and a member of the High Scientific Committee of Sorbonne. She is also an editor of Plastic Art& Science Magazine at Editions de la Sorbonne.  The artist works mainly in installation, science and media art. Her work employs various media, including video, immersive virtual reality, the Web, wireless technology, performance, large-scale art installations and interactive exhibitions. The approach to her work is much the same as a scientist’s. A discrepancy detected during a procedure or within the workings of a structure oblige her to formulate a hypothesis, in order to explain the complication in question, and wherever possible, to propose a solution to the problem.  She then determines the skills necessary to pursue the relative study, and commissions the research. The artist calls upon exact sciences, on genetic biology, geophysics, and also on political and social sciences. She proceeds with her experiments, calculations and analyses, while strictly respecting the methods of the scientific domain in question.  Her artistic hypothesis is thus verified and approved by a strictly scientific method. In each of Olga Kisseleva’s projects, at each stage of its development, from the initial draft (when the context is taken into consideration), until the moment when the indications allowing the esthetic propositions to come to light are gathered together, a line is traced upon which the different elements convened are inscribed.  This way of addressing places and people allows the artist to take on an unusual position, a kind of involvement consisting of questioning, affronting or testing the elements constituting the reality of a situation in which she can borrow from numerous mediations, supports and modes of representation as diverse as the situations themselves.  Yet it still implies, for the viewer as well as the artist, a certain faithfulness to a watchword – vigilance – returning to a principle of responsibility, and implying the establishment of open relationships between the different elements brought into play by esthetic propositions. Olga Kisseleva realised numerous art projects in the Modern Art Museum (Paris, France), the State Russian Museum, (Saint-Petersburg, Russia), KIASMA (Helsinki, Finland), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), Fondation Cartier for сontemporary art (Paris, France), Centre Georges Pompidou (Paris, France), Guggenheim Museum (Bilbao, Spain), MOMA  (New York, USA), the National Centre for Contemporary Art (Moscow, Russia).