The “General Condition” group was created by young artists Bondero (Vadym Bondarenko), Igor Gusev and Yulia Depeshmod in the early nineties. The association existed for only a few years, but managed to enter the history of Odesa modern art with its actions. Soon Igor Gusev and Vadym Bondarenko became known not only for their activities as part of the group, but also for their individual projects. In addition, Igor Gusev engaged in curatorial activities, organizing an underground gallery Norma and the Art-Raiders movement, and is now one of the most well-known Ukrainian artists.

The action “Descendants – to the Potemkin crew” took place in the 1993. The content of the action is based on the interpretation of footage from the film by Sergei Eisenstein: where a stroller with a baby rolls down the stairs during the shooting of Odesa citizens who greeted the sailors from the battleship “Potemkin”. For many years, this shooting was a symbol of the fight against ruthless tsarism for the national freedom. But no one mentioned that the shooting was invented by the film director for ideological reasons and for the creation of picturesque tragic scene. Vadym and Igor, for a while, identify themselves as descendants of the killed. In dark official suits, pushing strollers, they solemnly descend the Potemkin stairs from the Duke de Richelieu monument — a symbol of progressive Odesa. On each stroller a photo of the person carrying it is attached, creating the impression that they are at the same time a baby in a stroller. At the foot of the staircase they take off their jackets. After that, they go back up the stairs to Duke, without jackets – becoming modern free people.

This act symbolizes the revision of the ideas and ideological positions, emphasizes an effort to move from the old traditions to the new views. The atmosphere of the action is deliberately pathetic, but at the same time absurd. When the formal jacket that is associated with the older generation is thrown off, the stage of the development of society begins, in which the attempt to turn modern free people into blind believers in ideological myths is absurd. Strollers do not represent a symbol of helplessness, but a comic response to a claim to be heroic. The action provokes reflection on whether we should preserve the heroic narratives of the past, or whether they, like these strollers, become only an element of theatricalized absurdity and the ideologized myth