The experience continues until you stop experiencing it

1967

Born in Kyiv, Ukraine (then Ukrainian SSR) as Oleksandr Mykhailo Popov. His father, Dr. Mikhail Popov, was a respected computer scientist at the V.M. Glushkov Institute of Cybernetics of the National Academy of Sciences (NAS) of Ukraine, working on early artificial intelligence systems and cybernetic theory. His mother, Lyudmila Popova (née Kovalenko), was a prominent actress with the Lesya Ukrainka National Academic Theater. This dual heritage of cutting-edge technology and theatrical performance would profoundly shape his artistic vision.

1970-1975

As a child, frequently accompanies his father to the Glushkov Institute, where he is exposed to the MESM (Small Electronic Calculating Machine) and other early Soviet computers. Institute colleagues recall a precocious boy who would ask sophisticated questions about machine logic and human-computer interaction. At home, his mother trains him in voice, movement, and dramatic presentation, treating their apartment as an informal theater studio.

1975-1983

Attends the specialized School No. 145 for mathematics and computer science in Kyiv, showing remarkable aptitude for both programming and electronics. Creates his first rudimentary interactive experience at age 14, combining a reprogrammed calculator, tape recorder, and homemade electronic circuits to create a “fortune-telling machine” that responded differently based on how users interacted with it. His teachers note his unusual interest in the psychological effects of human-computer interaction.

1982

While still in school, publishes a paper in a youth science journal detailing an algorithm for generating “conversational responses that create the illusion of understanding,” essentially an early chatbot concept. The paper includes philosophical questions about the nature of consciousness and reality that seem advanced for his age

1983

Following his father’s connections and recommendations, moves to Minsk to attend the prestigious Belarusian Polytechnic Institute (now Belarusian National Technical University) to study computer engineering. His professors initially have high expectations due to his father’s reputation in Soviet computing circles.

1984

Becomes increasingly disenchanted with the rigid technical curriculum. Finds an intellectual home in the underground “Elektronika” collective, a secret group of students and young engineers creating unofficial games and programs for Soviet computers like the Elektronika BK-0010 and MK-61 programmable calculators. The group eventually acquires smuggled Commodore 64 systems through Polish connections, opening Alexander’s eyes to Western game design.

1985

While maintaining adequate academic performance, devotes increasing time to the Elektronika collective. Develops a reputation for creating programs that blur the line between games and psychological experiments. Creates “Dialog s Neznakomtsem” (Dialogue with a Stranger), a text-based program that asks increasingly personal questions and responds in ways designed to create emotional attachment to the computer.

1986

Has philosophical falling out with the Elektronika collective over the purpose of computing. While most members are interested in replicating Western gaming experiences, Popov argues for creating “new realities that question the nature of consciousness.” Leaves the group and establishes “PopovSoft Ltd,” an ironically named one-person “company” that becomes his publishing identity for increasingly experimental software.

1986-1987

Under the PopovSoft Ltd label, develops several boundary-pushing programs including “Kosmos-3” (a space simulation with philosophical elements) and his most significant early work, “Labirint Razuma” (Labyrinth of the Mind). This latter program combines mathematical puzzles with existential questions and was distributed on magnetic tapes throughout the Soviet computing underground. Users reported strange psychological effects after prolonged interaction with the program, establishing Popov’s early interest in altered states of consciousness through technology.

1987

Creates the controversial “Ispytaniye” (The Test), his most technically sophisticated program for the Elektronika BK-0010. Designed to run for exactly 24 hours, it requires participants to interact with it at specific intervals, tracking whether they are following instructions even when not at the computer. The few who completed the full cycle reported experiencing “a profound shift in perception.” Computer historians later note similarities between this work and his later physical installations.

1988

Abandons his studies at the Polytechnic Institute after becoming disillusioned with the rigid Soviet educational system. Begins experimenting with performance art, staging small happenings that combine technology and audience participation. The final PopovSoft Ltd release is “Konets Programmy” (End of Program), which deletes itself after one use, leaving behind only a cryptic poem on the screen.

1989

Creates “Terminal,” an interactive installation using repurposed computer equipment that requires participants to solve increasingly cryptic puzzles to proceed through a physical space. This marks his transition from pure software to environmental experiences.

1991

After the dissolution of the Soviet Union in December, makes a symbolic personal transformation, adopting the more internationally-recognized “Alexander” instead of the Ukrainian “Oleksandr.” In rare interviews from this period, he describes this as “a shedding of old identities” and “the first performance piece without an audience.” Friends note that the change coincides with a shift in his artistic approach, moving from technology-focused works to more psychologically immersive experiences. In private journals later acquired by the Museum of Digital Art, he writes: “The collapse of the USSR has demonstrated that entire realities can dissolve. The self can do the same.” He relocates to Odessa, attracted by its rich cultural history and extensive network of underground catacombs.

1992-1994

Now working as Alexander Popov, he takes odd jobs while exploring Odessa’s catacombs, mapping sections and studying their history. Begins conceptualizing his first major work under his new identity. During this period, he also begins collecting international art magazines and corresponding with curators and artists outside the former Soviet bloc, methodically building a network of contacts that would later facilitate his move to the United States.

1995

Launches “Descent,” his first large-scale immersive experience in the Odessa catacombs. Participants navigate a series of chambers containing puzzles, philosophical challenges, and theatrical elements. The experience gains notoriety when a participant becomes separated from the group and is lost in the catacombs for 36 hours before being found (contrary to persistent rumors, no deaths occurred).

1996

Despite controversy, “Descent” attracts attention from international art circles. Popov publishes “The Architecture of Experience,” a manifesto on immersive art.

1997-1999

Travels through Eastern Europe creating site-specific installations that blend technology, theater, and puzzle-solving. Develops reputation as the “Houdini of Digital Art.”

2000

Emigrates to the United States after receiving a grant from the New Media Arts Foundation. Settles initially in the Brighton Beach neighborhood of Brooklyn.

2001-2003

Creates small-scale experiences in abandoned spaces throughout New York, operating without permits and gaining an underground following. His work “Vessel” (2002), set in the abandoned ghost stations of New York City’s subway system, becomes particularly notorious for its intense psychological effects on participants.

2003

A pivotal moment occurs during “Vessel” when a participant named Katherine Reeves experiences a psychological break during the performance. In the aftermath, she discloses to Popov a detailed history of what she believes to be repeated alien abduction experiences stretching back to her childhood in rural Montana. The specificity and consistency of her account deeply affects Popov, who begins extensive research into UFOlogy, abduction phenomena, and consciousness manipulation.

2004

Establishes “Void Enterprises,” his first legitimate business entity for creating immersive experiences. Opens “Mindshift,” his first official installation in a converted warehouse in Brooklyn. The experience subtly incorporates elements of abduction narratives, including lost time, unusual lighting, and inexplicable sensory experiences.

2005

Begins corresponding with fringe researchers in consciousness studies and parapsychology. Acquires a substantial collection of rare texts on the occult, UFO phenomena, and government research into altered states. His apartment in Brooklyn becomes known among a select circle as a repository of unusual information and artifacts.

2006

Relocates to the American Southwest after becoming fascinated with desert landscapes and their psychological effects. According to associates, his decision was directly influenced by mapping UFO sighting clusters and abduction reports across the United States. Purchases property near Joshua Tree, California, an area known for both its isolation and high concentration of unusual aerial phenomena reports.

2007-2009

Develops “Threshold,” a desert-based experience combining navigational challenges, psychological manipulation, and elaborate set pieces. Limited to 20 participants per month, it becomes legendary in art and gaming circles. Though publicly framed as art, those close to Popov reveal that “Threshold” was designed as an experiment to induce experiences similar to reported alien contact.

2009

Receives a substantial fine from the Federal Communications Commission (FCC) for operating an unlicensed low-power AM radio station (operating at 1550 kHz) that broadcast cryptic messages, unusual sound patterns, and what Popov described as “consciousness-altering frequency combinations.” The broadcasts were an integral part of the “Threshold” experience, with participants receiving modified radio receivers that would activate at specific geographical coordinates in the desert. Despite the fine, recordings of these broadcasts become collector’s items among experimental art enthusiasts and electronic music producers.

2010

Publishes “Blank Space,” a cryptic book combining photography, philosophy, and coded messages. Careful analysis by devotees reveals embedded coordinates corresponding to reported UFO crash sites and military installations across the Southwest.

2011-2013

Expands operations to include multiple locations across the Southwest. His experiences now require participants to travel between sites, solving interconnected puzzles. Former participants report receiving mysterious transmissions on specific radio frequencies even years after completing Popov’s experiences.

2014

Creates “Portal,” his most technologically advanced work to date, incorporating custom software, biometric monitoring, and responsive environments. The experience includes extended periods in sensory deprivation chambers that Popov claims “thin the veil between conscious realities.”

2015

Featured in ArtForum’s “50 Most Influential Artists Working Today.” Refuses to be interviewed or photographed, instead sending cryptic messages that must be decoded. Establishes the “Liminal Research Foundation,” ostensibly a scientific organization studying consciousness, though no peer-reviewed papers are ever published.

2016

Launches “Safe Space,” his most psychologically complex experience, designed to explore the boundaries between reality, fiction, and memory. Participants must sign extensive waivers and undergo psychological screening. Internal documents later leaked online reveal that the experience incorporated subliminal messaging techniques and environmental factors designed to simulate reported alien contact scenarios.

2017

A minor controversy erupts when several participants claim “Safe Space” caused lasting psychological effects. Popov responds with a statement that reads only: “The experience continues until you stop experiencing it.” Anonymous whistleblower alleges that Popov has been collecting detailed psychological profiles of all participants for an unknown purpose.

2018

Retreats from public view after a fire destroys part of his Joshua Tree compound. Rumors circulate that the fire was part of a new work. Local amateur radio enthusiasts report intermittent broadcasts of unknown origin emanating from the vicinity of his property.

2019

Resurfaces with “Terminal State,” an invitation-only experience that reportedly runs continuously for seven days with participants living within the installation. Former participants refuse to discuss details but many display a small geometric tattoo afterward that they decline to explain.

2020

During the pandemic, launches “Remote Process,” his first digital-only experience, though participants report receiving mysterious packages and phone calls as part of the work. A dedicated community of Popov scholars informally calling themselves “Popovniks” emerges, attempting to map connections between his various works and documenting unexplained phenomena associated with his installations.

2021

During the pandemic isolation, rumors circulate that Popov is planning his most ambitious work yet, described by insiders as “the dissolution of the boundary between art and reality.” Limited documentation emerges of small, invitation-only gatherings in the desert, with participants reporting experiences that “continue to unfold” even after returning home.

2022

Filmmaker Stefan Kubicki, a participant in Popov’s 2016 “Safe Space” experience, announces production of a thriller film also titled “Safe Space.” In interviews, he describes the film as “neither fiction nor documentary, but a continuation of the experience itself.” Popov remains silent on the project, though anonymous sources claim he provided Kubicki with previously unreleased materials from the original installation.

2023

The film “Safe Space” premieres to polarized reactions. Utilizing the core structure of Popov’s 2016 installation, the story follows a group of friends who visit an isolated escape room in the desert that gradually reveals itself as something more sinister. Critics and audiences are sharply divided: former participants in Popov’s original experience largely criticize the film for “domesticating” what was a raw and boundary-dissolving event, with one writing, “What was once a descent into the core questions of consciousness and identity has become merely another low-budget thriller with art-house pretensions.”

Several former “Safe Space” participants organize a public protest at the film’s Los Angeles premiere, distributing pamphlets that read: “You Are Not Experiencing Safe Space. You Are Watching Its Corpse.” The protest gains media attention when attendees report that the pamphlets contain QR codes leading to disturbing audio files that some speculate may have been provided by Popov himself, though he neither confirms nor denies involvement.

2024

Popov emerges from his characteristic silence to initiate legal proceedings against Strange Machine, the distribution company behind “Safe Space.” The lawsuit presents a complex paradox: while claiming copyright infringement on the title and concept, Popov simultaneously argues that the film is “an unauthorized extension of an ongoing artistic work” rather than a separate creative product. In a rare public statement, Popov writes: “The boundaries of an experience are defined by its creator. To claim continuation without permission is to misunderstand the nature of the work.”

The legal dispute intensifies when Strange Machine counters that, according to Popov’s own artistic philosophy as outlined in “The Architecture of Experience,” the participant becomes co-creator of the experience. They cite Popov’s 2017 statement that “The experience continues until you stop experiencing it” as evidence that Kubicki’s film is a legitimate outgrowth of his participation. They further allege that mysterious packages and communications received by Kubicki between 2016-2021 constitute Popov’s tacit authorization of the project.

The case attracts significant attention in both legal and artistic circles, raising unprecedented questions about the ownership of experiential art, the boundaries of intellectual property, and the nature of consent in immersive experiences. Several former participants in Popov’s works come forward with claims that they too have been “continuing the experience” through various means, suggesting a larger pattern of designed aftermath.

2025-

Despite the ongoing legal battle, Popov continues to develop new works from his desert compound. Recent satellite imagery reveals unusual geometric patterns being constructed across several remote properties linked to him through shell companies. Amateur radio enthusiasts report intermittent broadcasts containing what appear to be instructions or coordinates, leading to speculation about a new large-scale experience potentially designed to encompass the legal dispute itself as a component of the work.

The material presented here has been compiled from academic journals, art criticism, interviews, exhibition catalogs, and documented firsthand accounts. While we have made every effort to ensure accuracy, the nature of Popov’s work presents unique challenges for biographers and researchers.

We acknowledge that Popov has historically resisted definitive documentation of his work, stating in his 1996 manifesto that “cataloging experience is taxidermy of the soul.” Our presentation of this timeline is not intended to definitively capture or define experiences that were designed to resist fixed interpretation.

This resource is intended for educational and research purposes only. Void Enterprises maintains exclusive rights to all of Alexander Popov’s artistic works and intellectual property. Any attempt to recreate, modify, or extend Popov’s installations without explicit authorization is strongly discouraged and may result in legal action.

Participants in any unofficial “continuations” or “extensions” of Popov’s work should be aware that such experiences have not been designed or sanctioned by the artist and may not incorporate the psychological safeguards present in official installations.

For inquiries regarding official Alexander Popov experiences, please contact Void Enterprises directly. Safe Space Film LLC has no relationship to Alexander Popov and cannot facilitate access to Popov installations or verify the authenticity of purported “invitations” or “coordinates” circulating online.