The author analyzes the project “The Garden named after” created by artists Artem Filatov and Alexey Korsi in the Crematori­um in Nizhni Novgorod as a space of heterotopia. The project is con­sidered to be a memorial complex. The article demonstrates how this memorial garden was rooted in the practices of street art and partici­patory art in Nizhny Novgorod. If art projects in situ usually actual­ize the collective memory of a place, “The Garden named after” has been working with personal memory and collective digital archive. The new practice offered by artists Artem Filatov and Alexey Korsi gives a chance of a personal touch for a commemorative practice and for sharing personal memory with other people. The author draws an analogy between the project “The Garden named after” and the ex­periments made by Russian avantgarde architects such as Nikolay Ladovsky. Ladovsky considered architecture as a programme that defines how people could feel and perceive space. That understanding of architecture is close to the experience of time-based art. In other words, we could speak about some kind of a zone of transition be­tween architecture and performative and social practices. The project “The Garden named after” exists in this zone of transition.