In Linz, Austria, a feminist art exhibition featuring “sex dolls” has ignited a heated debate. The exhibition was created by Nadya Tolokonnikova, co-founder of the Russian feminist punk group Pussy Riot, renowned in the Western world for her bold and provocative artistic expressions. As part of Austria’s “OK Linz” series of art exhibitions, Tolokonnikova placed three “sex doll” sculptures in a former church, naming the works Rage. The unique style and profound social commentary of these pieces have drawn widespread public attention.
Inside the once solemn and sacred small church, three life-sized sex dolls, dressed in pink and black punk attire, stand in formation, creating a powerful visual impact. These sculptures are not merely artistic displays but also a deep exploration of themes such as gender, religion, and power structures.
However, the exhibition has faced significant challenges. On December 7, protestors smashed the glass doors of the church gallery. Tolokonnikova interpreted the act of vandalism as an attack by Christian “fundamentalists,” noting that it occurred on the eve of the Catholic Feast of the Immaculate Conception, a day celebrating the purity of the Virgin Mary.
In a statement, Tolokonnikova described the “sex dolls” as sacred in their own right: “I placed the sex dolls in the Church of the Virgin Mary because I believe feminists are sacred, and I also believe the Virgin Mary was a feminist.” She characterized the sculptures as an act of care and a celebration of sisterhood, calling them “loving children.”
The organizers of the “OK Linz” exhibition confirmed that police are investigating the incident. Despite the attack, Tolokonnikova and the museum decided to continue displaying the dolls, repairing the glass doors but leaving evidence of the break-in as a poignant reminder of art’s vulnerability, resilience, and its representation of freedom.
The sex dolls are part of Tolokonnikova’s first institutional exhibition, RAGE, at the Linz Museum of Contemporary Art. The show primarily features new works reflecting her interest in Orthodox Christianity and her belief that “a good artist creates their own religion.”
In the exhibition’s first room, titled “The Church of Rage,” gold-leaf icons honoring Russian activists are displayed alongside slogans like “Illuminate the Darkness.” A glowing “Riot Symbol” resembling a Christian cross bathes the space in warm red light, setting a striking tone.
The three sex dolls were purchased secondhand from a sex toy store: ES Doll. “I sympathized with these dolls and wanted to give them a second life,” Tolokonnikova explained in a video released by the organizers. She described the dolls as “an extreme representation of the objectification of women’s bodies as sexual playthings.”
To give the dolls “power, strength, and dignity,” Tolokonnikova collaborated with her creative partner, Chinese drag artist Niohuru X, transforming them into sculptures representing her “Riot Pussy” companions. Armed with weapons, the dolls stand as defenders of themselves and other women. Due to their inability to stand on their own, internal skeletal structures were inserted to support them.
A museum spokesperson remarked, “Artworks sparking controversial discussions are not uncommon, but when such debates escalate into violence, they must be condemned.” They added, “Perhaps the vandals viewed the displayed works as blasphemous.” Despite the incident, the exhibition continued, sending a clear message: destroying the sex doll sculptures would not erase their presence or significance within the church.
The sex dolls’ silicone bodies, adorned with chains and jeweled crosses, bear glass shards from the break-in—a visceral testament to the attack and a symbol of art’s unyielding spirit.
For over a decade, Nadya Tolokonnikova has challenged conservative religious power structures. In 2011, she and two other Pussy Riot members were arrested and charged with “hooliganism” for performing a punk prayer at Moscow’s Cathedral of Christ the Savior. The performance protested Orthodox Church leaders’ support of President Putin. Tolokonnikova and another member, Maria Alyokhina, served nearly two years in prison.
In her statement, Tolokonnikova also linked the attack on the sex dolls to an earlier incident in Linz. In that case, vandals decapitated Coronation, a sculpture by Esther Strauss depicting the Virgin Mary giving birth to Jesus. The piece, part of a broader exhibition on women’s roles and gender equality, was described by the attackers as a “blasphemous caricature.”
In response to the vandalism, the OK Linz spokesperson stated, “It seems that feminist artworks and messages, in particular, provoke this kind of hatred, which is deeply concerning.”
Originally scheduled to end on October 20, Tolokonnikova’s sex doll exhibition has been extended to January 6, 2025, due to public demand. This provocative exhibition is more than an artistic showcase—it is a profound reflection on and challenge to societal norms. It has sparked public debate and demonstrated the transformative power and influence of art.
