CYFEST Video Program Project

A paradisiacal spring. A magical, constantly distorting fountain with shimmering water. Drops shine with bright colors. A closed system. A sign of eternity. Loneliness and isolation…

The project is dedicated to one of the most expressive natural phenomena, “visual noise” – a cloud, and also its double from the field of computer technology. “Clouds” is gif animation created on the basis of a artishotograph of a real object. It is a visual metaphor of a digital cloud, a rich and fragile space woven from microparticles of collective memory.

Particles party is the animated part of the project by Alexander Borisov, “Upper World”, dedicated to the architectural sculpture of Petersburg, Classical gods, heroes, historical and legendary characters, mythical beasts and even plants are seen by the author not only as an aesthetically attractive object, but also as a local semiotic system, a memory card and a cultural code.

IAMAHOLOGRAM is a mocumentary video about people who have become holograms. To be a hologram means ceasing to have corporeal form, becoming completely digital in the physical sense, and not having a body. The work refers to the idea of Konstantin Tsiolkovsky about the final transition of the human being from a material state to an energy state. He saw “radial humanity” as the last stage of evolution. Are holograms a new technology which changes the existence of human beings, evolution or another form of escape from the real world?

This a supercut of touch-based human-computer interactions from the popular Netflix show “House of Cards”. The result illustrates not only how the show’s actors perform the manipulation of software, but also how software performs through the actors in return.

An ironic statement by the authors about the main motivation of artistic work. Only this prospect attracts the modern artist, everything else is just the invention of a devious mind.

2017

The appearance of the first personal computers in the 1990s was just as important as political changes. The update of an operating systems and the update of the state system – people could follow these two processes with equally strong feelings. But social reality malfunctioned just as often as virtual reality. 1993 was the year of the “blue screen of death” and the storming of the House of Government.

three paths uses the motion of three points as the basis for generating sound and video. Three virtual microphones feed back in software, with this feedback creating an emergent relationship between the motion of each mic and the resulting sound. The microphone paths are also used to move pixels in a video feedback system, building a loose but intuitive audiovisual relationship between the audio and the visuals.

The clip “Seems” (part of a trilogy of music videos) for a song by Ilya Lagutenko / Mumiy Troll is the work from the Russian artist and illustrator Andrey Kasay, the creator of the Flakonkishochi animation brand. His works can be seen on MTV, Red Bull, CNN, Washington Post, New Yorker, Google.

Air Kiss is a film and web based project portraying a scenario where citizenship is a digital membership – and ownership – to a collectivized system in which governance is done by AI. The project explores the social, political and aesthetic repercussions of algorithmic decision-making executed based on citizens’ location and behavior. It takes a critical standpoint towards a future society –neither a dystopia nor a utopia – where state and corporate governance is rendered obsolete through collectively owned and globally distributed neural networks which provide state functions as virtual services.

This work is part of a research project created at the invitation of Medienwerkstatt for Kraftwerk Mitte. It is an experiment about concepts of control and dominance, the possibility of casting doubt on the role of the subordinate who carries out orders. In this project the artist plays all roles at once: actor, camera operator and director. Ariana Loze invites viewers to play at being a researcher of hypertext.

2016

The artist programs a situation where the viewer is an observer inside an abstract visualized grid of news stories on lethal US military drone strikes collected via Google Alerts. Nine news stories have been coded and translated into hexidecimal color grids which are then assembled and extruded into 3D landscape or cityscape-like forms. The abstraction emphasizes the data disconnect. The video imitates a flight in a drone, a survey of terrain from the position of witness, voyeur, or predator.

2017

A pseudo instructional animated video about how to turn a bed into an office. An ironic statement about our modern way of life.

2017

Biogram is a net-art work that generates real-time topological visual and aural models based on the sentiment analysis of tweets that reference ‘experience’. The art-work contends that rather than being a singular subjective event, the space of experience is entangled with multiple networks of human and nonhuman objects that help us perform what we might express as ‘experience’. In Brian Massumi’s words these tweets are Biograms, event-perceptions irretrievably entangled with combinations of senses, times, networks and software; in constant flux. Likewise in the artwork, the generated images, animations and sounds are intimate signatures of this networked and partially ephemeral activity.

Sound and visual effects are mutually dependent. An algorithmic composition creates a figure with different frequency ratios and phase modulation. The curve generates the step, harmony and volume of the sound. The points of inflection on the curve create rhythmical structures. The work was created using a visual language of programming with pure data.

This work is an elegiac meditation on the grandiose architecture of Dubai, the laborers who built the city in “half a generation”, and its pending environmental decline — a visual iteration of the manifest destiny of global capital. Emerging as a dystopic, soulless vision of the future, notions of civil society, individual rights, and identity are subsumed in the logic of capital.

2016

A prayer to new gods about the endless telephone coverage zone. The video criticizes our dependence on gadgets and our loss of real feelings.

The artist creates a zone inhabited by fictional characters based on the world of S.T.A.L.K.E.R.: Shadow of Chernobyl video game. He materializes his phantasms in the digital space of a derelict landscape. He settles this post-apocalyptic world with his hand-painted flat relief plywood silhouettes. He transforms the potential of digital technologies, turning them into a work of art.

“Spatial Bodies” depicts the urban landscape and architectural bodies as an autonomous living and self-replicating organism. Domesticated and cultivated only by its own nature. A vast concrete vegetation, oscillating between order and chaos.

With a 4D cinema computer program the artist creates imaginary kinetic sculptural compositions and puts them into an urban environment. In this work the artist counterposes the world with its plastics of live nature and stressful rhythms of megapolis. The artist sees it as a reflection of a possibility of saving a «living» element inside technological computerized environment.

Sci-Fi video art where Leonard Cohen’s “The Partisan” lyrics are spoken by a machine. The words “Germans” and “France” are changed to “Humans” and “Internet”, turning this war song into an unlikely computer resistance complaint where trouble and humour come together for better or for worse.