​Historical architectural legacy in many Russian cities is now under a strong commercial “pressure”.The intention of adjusting historical buildings to modern needs may lead to their complete loss. When renovation and construction works are executed, the facades of buildings are being often veiled with banners and building grids featuring the future view of the building under reconstruction.In this project we purposefully proceeded from this fact to create an artistic metaphor and to accommodatethe building to a modern urban environment. The Narva Gates is one of the most important monuments glorifying the victory of the Russian arms in the war with Napoleon. The installation imitating a French bakery built into the gates, tones down the relevance of this important symbol of a military victory. Consideringthe technical feasibility of the project, the artists accounted for the status of the monument and developedan autonomous construction from scaffolds that held the banner.  

​A white neon and mirror installation in the archway reproduces a reversed poem by A. Ahmatova from a stele in the Sheremetyev Garden. The 3,5 m text made of neon tubes attached to the wall reflects in the ceiling mirror  and gives a viewer an opportunity to read the text in the form of a real image. But you can not see the whole text at once, but piece by piece while moving under the mirror. Use of modern advertising technologies makes classical poetry closer to slogan aesthetics and façade signs. Neon leads poems out of intimate poetical space; it draws public attention, as a usual street advertisement does. White, reserved and cold, metaphorically shows a place of poetry in the contemporary world. 

​The group’s strategic aim is to brand a space. Forced fusion of two ideologically separated messages gives birth to an effect of «double message» and hidden meanings. The direct verbal meaning is whole, but the evident context of one message transfigures the meaning into a completely adverse one.  «Life has become better, life has become more fun!» is a widely-spread variant of a phrase that was said by I.V.Stalin on the 17th of November 1935. But the evil irony of the phrase lies in the fact that it was said right before the rise of Stalin’s mass repressions of the late 1930-s. In this sense the phrase is often used nowadays, and it thus denotes false optimism and the adverse nature of what is being presented as a positive development. The typical work of that time by A.A.Plastov «A kolkhoz feast (Feast of harvest)» (1938) which depicts all as «is in real life» comes to illustrate this meaning. 

​Luke, first icon-painter and patron of artists, would have turned over in his grave many times for 125 years art community in Ahrenshoop exists, if he knew that various modernists, avant-gardists and new artists visited “cultural seaside” for different reasons and in some way left their artistic traces. During their residence, members of San Donato group started a research and discovered numerous works by such artists as Malevich, Kandinsky, Rothko, Warhol, Beuys, Lichtenshtein and also Kabakov, Kiefer, Baselitz and many others. Most probably, in the process of future research some new names will be uncovered to fill in the blank spots on artistic map of Ahrenshoop/Google. 

​The artists employ the white exterior wall of the Klaipeda Exhibition hall to assemble a metal object in the form of a QR code. The viewers can use their mobile phones to read this abstract geometric pattern as text " Here could be your graffiti". Imitating the style of slogans on the billboards, San Donato plays around the situation when riders tag the walls with graffities of low artistic quality. They prefer the new ones. Ambiguity evolves between esthetic outlook and underlying ideas, between the instituionalized artwork as the monumental art and a call adressed to street graffiters. The artists do not have an illusion that after their project, the unauthorized graffiti interventions in the city will decrease in numbers, but hope that their playful solution can have a positive impact on the problem. 

​Armistice Tower symbolically interpretes a historical artifact involved in the two world wars of the 20th century, namely the Compiègne Wagon, or Wagon de l'Armistice. In the centenary of the end of World War I, artists of San Donato propose an image of the utopian monument for the World War III. Three proto-Compiègne railcars connected through wheels to each other and placed vertically on the pedestal like columns, form together a tower without any practical use, just a memorial. A mural painted on the wall depicts half revealed or, on the contrary, half erased natural sized door of the marshal's wagon, which by the artists' intention symbolizes an entrance into the "armistice". It is not a finished work, but a signmethaphor for the people of this century, who are asking themselves, do we want this or any other monuments for the future wars? 

​Star of David installation is dedicated to genocide of Jewish population in Kėdainiai (Lithuania). On August 28, 1941, Nazi allies in Lithuania executed more than two thousand people, two thirds of whom were women and children. In a few days, ethnic structure of the town changed completely, and since that, Jews don’t live there anymore. Monument is erected on historical Market Square near the survived synagogues, where nobody prays, thus they are used as children art school and multicultural centre. Star of David is a spatial object made from railway sleepers, slanted but looking stable, thus producing a contradictory image differing from canonic one, which addresses precarious condition of contemporary world and extreme inconsistency of its meanings. The installation stands for eternal displacement of the chosen people, doomed to constant wandering, and refers not only to the local, but also to the total tragedy of Eastern European Jews.