Composer, performer, improviser, and theatre director, he studied composition with Chaya Czernowin, Karlheinz Essl, and Clemens Gadenstätter in Vienna. He experiments with building instruments of strictly acoustical and mechanical origin. His interests focus on the performative musical theatre known as Error Theatre. His works have been commissioned by the State Opera in Hamburg, Moscow’s Elektrotheater Stanislavsky, Teatro alle Tese in Venice, Vienna’s Musiktheatertage, and the Steirischer Herbst festival in Graz. He has staged spectacles in Moscow (Modern Moscow Drama Theatre), Wuppertal, Berlin, and Warsaw (Komuna Theatre). His works have been performed by Musikfabrik, Nikel, Nadar, PHACE, and Moscow Contemporary Music Ensemble. The international audience has had the opportunity to hear them at such festivals as Wien Modern, Gaudeamus, Biennale di Venezia Musica, Gergiev Festival (Rotterdam), Bludenzer Tage zeitgemäßer Musik, Tzlil Meudcan (Tel Aviv), Pythian Games (St. Petersburg), Transart Festival (Leuven), and Kunstfest (Weimar).

A Deutsche Bank Foundation Akademie Musiktheater Heute scholarship holder in 2015–17, Chernyshkov also received financial support from NOperas! funding initiative (with Hauen und Stechen collective, 2020), which commissioned his opera Kitesh. With Marina Poleukina he performs in O I O experimental duo. He has appeared at such festivals as Ultima (Oslo), Multiversal (Berlin – Copenhagen), Turn the Corner! (Vienna), Sound and the Fury (Moscow). 

He works and sleeps in Vienna. 

Selected works: Bryzgi, luzhi... for baritone and cello (2008), 3 i/o 8 for alto flute, oboe, and horn (2009), Krummgasse or flute, clarinet, and trombone (2009), Almatiki daechta for voice (2010), Bu for four singing persons (2010), BNMN O I O for wind instrument (2011), preferirei di no for five performers (2011), eheem for electric engines, relays and other live mechanical devices (2012), Rather blue for violin, clarinet, piano, two stepper motors, two relays and prepared tuba (2012), Bright Black for 15 players and electroacoustic devices (2012), avocado for four performers (2013–14), for you for voice (2014–15), yellow for bass clarinet and cone speaker (2015), In the Grove, stage work for female voice and three high-voltage relays (2015), Denkmal des unbekannten Ordnungshütters, stage work to texts by Heiner Müller (2015), when they travel at the speed of light ALONG the light, stage work for two dancers (2015), Trascrizione di un errore, music for nine persons in a theatre (2016), in the spring we eat cucumbers for string quartet (2017), il rosso risvegliato, stage work for two soloists, extended winds and devices (2017), the enlightened state of walruses for Nadar ensemble (2018), FLOSS, stage work (2018), Transkription eines Fehlers, music for seven persons in a theatre (2018), You hear it all the time, miniopera for two singers and live translation (2019), Й, theatre music for four soloists and stage machinery (2019), Keep in Mind, engaging music for five persons and audience (2020), Kitesh, opera for orchestra and soloists (2020), rather all along for accordion, prepared piano, high-voltage relays and stepper motor (2021), AS WE’VE BEEN SEEING IT ALL ALONG, meta-concert (2021), SPOKOYNO, metacomposition for ensemble and soloists (2021), Keep it Simple, musical theatre for five soloists in space (2021), unrealistic realization of the hedgehog for performer and motors (2020–25), the subtle certainty of rabbits for voices and broken instruments (2020), No Distance Left to Sound, musical theatre of vibrations (2022), PLEASE STOP – I’m enjoying this too much, miniopera for two performers and devices (2023), breathing every now and then for performer and extended winds (2024), DER SIMMERRING, musical-theatrical journey to the inside of the composer’s mind (2024), ETERNAL OCTOBER, interactive opera (2024).