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Expanded Cinema Cat 2011
Expanded Cinema Cat 2011
XII
33-
orum
XII Media F
al Film Festival
of 33 Moscow Internation
Expanded
Cinema
-
Research Catalogue
c
Expanded Cinema
-
Research Catalogue
/ Moscow
2011
EXPANDED CINEMA
Research Catalogue
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ISBN 978-5-905110-07-8
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1.
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2.
112 ..... /
126 ..... /
140 ..... /
156 .....C /
168 .....-
172 .....
3.
188 .....
195 .....
Content
1. Theory
8 ..........Olga Shishko. Expanded Art. Part 1
18........Ursula Frohne. Dissolution of the Frame: Immersion nd Participation in Video Installations
34 .......Lev Manovich. Understanding Hybrid Media
40 .......rthur and Marilouise Kroker. Video Drift
46 .......Trond Lundemo. Th Resistance Of Cinema
50 .......Raymond Bellour. Of An Other Cinema
62 .......Olesya Turkina. The Expanding Universe of the Expanded Cinema
70........rik Bullot. In the Place of Cinema
76........Peter Weibel. Expanded Cinema, Video and Virtual Environments
92 .......Kirill Razlogov: This is Great Art, Part of he Cinematographic Culture
Interviewed by Alina Ignatova
98 .......Olga Shishko. Expanded Art. Part 2
2. Projects
112 .....Spaces of Memory / Symbolic Journeys
126 .....Moving Image / Poetics of Language and Space
140 .....The Third Cinema / Video Art as a Cast from Reality
156 .....Simulated Reality / ther Hero
168 .....Sound Performance
172 .....Video Effect Competition
3. Reference Information
188 .....Catalogue Participants
195 .....Plans
Theory
Olga Shishko
Expanded Art
Part 1
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Video art which isfrequently taken by non-professional audience as cinemas younger brother actually exists in aquite different reference frame. Thereference frame inwhich itworks is infact theunited
territories of1960-1970s performance and tosome
degree ofvisual art.
With Wiener Aktionismus aperformance was always acontinuation ofpainting, blood equaled paint.
Ichanged therules ofthis game, joining actionism with
cinema and new media I was thefirst toproject films
onto my own naked body thestills ofsurgeries. I had
alot ofphysically tortuous actions, but their meaning was not infreeing thebody but infreedom from
thebody through technologies which are anexpansion
ofour bodies. Itwas then I heard theterms Expanded
Art and Expanded Cinema for thefirst time and understood this was what Ive been doing long before
Ilearned these terms.
(ARetired Gengster, Irina Kuliks interview with Peter Weibel,
Art-Chronica, http://www.artchronika.ru / item.asp?id=2240).
Asignificant difference in themorphology ofcinema and video art languages lies intheir understanding of thecategories ofmovement, time and space.
Anaspiration towards narrativity and rhetoric was
thecinemas meaning, aim and all cinematic means
ofexpression. Video artist consciously detaches himself from themethods ofconventional narrative cinema.
He frequently renounces thesynchronization ofsound
and image; he ismore interested in theinconsistencies
ofrhythm, transformations ofcolour, shades, reflexes
and forms. Thescreen isused by anartist alternately
as acanvas or anundercoat, or ascrap ofpaper used
for asketch, ithas no boundaries, taking any shape
and filling thesurrounding space. Inthis space one
can create amoving image that will last aminute or
24hours. Thespace ofvideo isexpanding and its time
isunfolding, creating anew dimension. Aviewer, anignorant viewer, isfrequently uncomfortable inthis video
space where we are overcome by thefeelings ofdiscomfort, insecurity and anxiety from thefirst minute.
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Many things brought and are still bringing experimental film and video art together. Existing indifferent
frames ofreference they both demonstrate apower
ofobservation and imagination. Resisting theHollywood advertisement machine experimental film and
video art provide theaudience with awider range
ofpoints ofview and perception positions. Theauthors treat thevery idea of ascreening as asocial ritual ironically. Acritical attitude towards thefilm industry
appears, creating new emotional and psychological
means ofinfluence ofcinematic and video production.
Cracking Space
Virtual space
Information space
Visual space
Social space
Artists work with thevery meanings destroying
thecinema stereotypes. Two basic strategies emerge:
1) Anelement ofplay, anintellectual action
isbrought into work after Marcel Duchamp;
2)experimental, utopian potential ofmedia
isdeveloped according toSergey Eisensteins theory
ofmontage ofattractions.
Another dimension appears anopportunity
tosee things not usually perceived ineveryday life.
Inhis 24-Hour Psycho video (1993, Alfred Hitchcocks masterpiece slowed down to2 frames asecond) Douglas Gordon switched theviewers attention
over from theplot to thelanguage of theanimated
art. Increasing thefilms duration to24 hours he
allowed theviewer anopportunity tofeel theclassic
inall its details. In thegallery space where thework
was screened Gordon created anew reality, making
thespectator forget thefilms familiar construction.
Thecinema has anticipated video in thefilms ofFrench
and especially German new wave cinema. Wim Wenders
isone of theadvocates oflengthy, long, specially constructed plans, he strived to thelimits together with the
cinema toward its borders, inorder toreflect thecharacteristics of awished-for reality. At thesame time
avideo camera does itcruelly easy in thehands
of ababy or anold man.
(Interview with Boris Yukhananov, theauthor ofslow video
concept in theTV-show From Cinema Avant-Garde toVideo
Art, Lets Kick theBox issue, December 3, 2001).
Ursula Frohne
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Jackson Pollock. Number 32, 1950, Frankfurt am Main: Fischer Verlag, 1996, pp.2936.
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Understanding
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TheInvisible Revolution
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VIDEO DRIFT
Video Drift is theeye of thefuture infast motion accelerating across thedeep space of themedia archive.
Saturated by images, augmented by mobile devices,
with remix for perception and information overload for
abrain, theeye of thefuture blinks open to thespace
travel ofeveryday life that isvideo drift.
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Trond Lundemo
The Resistance
of Cinema
Seemingly, one has always spoken of theend
ofcinema. Even one of themain inventors of theapparatus, Louis Lumire, saw that itwas without afuture, and with theadvent oftelevision, and later VCRs
and computers, theend ofcinema has increasingly
become acommon notion. Thedeath ofcinema
was never as imminent as with thebreakthrough of
themultimedia PC in themid-1990s. Nor is itacoincidence that this was also thetime of theproliferation ofmoving-image installations ingalleries and art
museums.
Yet cinema, irrespective ofhow we define it,
persists. Thenumber oftheaters projecting 35mm film
has risen considerably since thelow mark of themid1990s. Cinema attendance isrising inmost countries,
and thefilm festival boom, which has provided anew
circuit ofexhibition for productions outside wide-scale
theatrical distribution, isstill gaining momentum. Inart
exhibitions, parallel to thecome-and-go-as-youplease mode ofmulti-channel moving-image installations, there has been awidespread return ofprojections in acinematic dispositif.
Held in2007, Documenta 12 was aclear indication ofthis return. Theexhibitions film curation
was assigned to afilm archivist, Alexander Horwath of theVienna Film Museum, who scheduled
afilm program in aKassel cinema for every day of
the100-day event. Thenumber offilm installations
in theexhibition venues, on theother hand, was relatively sparse. Another example of asimilar strategy
was provided by the2009 Istanbul Biennial, where
theIsraeli filmmaker Avi Moghrabis feature-length
Z32 (2008) was shown in aclassroom inone of
thebiennial venues, with fixed screening times and
aclosed door to therest of theart space. Athird
example, which nonetheless ishard todefine as
acinematic dispositif as itconsists ofonly of asuccession ofintertitles and theflash of animage,
isAlfredo Jaars captivating TheSound ofSilence
(2006), which was recently presented in theInternational Festival for Arts and Media Yokohama
2009. Each screening of theinstallation concludes
with ared light turning togreen, after which new
spectators are allowed toenter. This format secures thelinear progression of theinstallation from
beginning toend.
Navigability
Thereception ofmoving images inart exhibitions has over thelast 15 years often been informed
by concepts ofviewer participation and interactivity. These discourses have inpart migrated from
thecomputer to theart field. Just as computer
navigation is atthehand of theuser, thegallery
spectator isoften portrayed as being engaged in
thenavigation between screens and installations, experimenting with positions and movements through
space as well as with theduration of thevisit toeach
single installation. Some art critics have talked about
thespectators cut in thegallery, incontrast to
thedirectors cut ofcinema, todescribe theextent
towhich these choices inreception are subject to
theindividual visitor. If computer discourses tend
todisregard thefact that navigation follows aprogrammed pathway, art criticism inits turn often
forgets that thegallery isdeeply embedded inpower
structures that program thebehavior of thevisitors.
Thespaces ofart institutions are strictly regulated
mastered by some and not by others.
Thefreedom of thespectator, and his or her active role inrelation to theartwork, has always been at
thecore oftraditional art discourses. Yet, when coming toterms with theexperience of themoving-image
installation, this emphasis on thefree participation,
interaction and co-production of thevisitors becomes
problematic. Theidea of theactive visitor isoften contrasted with thepassive viewer ofclassical
cinema. One can find this rhetorical figure also infilm
theory at theend ofWorld War II, when theFrench
film critic Andr Bazin criticized thecinema ofmontage for leading and directing spectators, instead
ofsetting them free infront of theopen and ambiguous image. This phenomenological notion isbased in
animage that deploys depth-of-field and long takes,
which would allow thespectators eyes toroam freely
around thecomposition of theimage. Theimage was
for this reason prescribed tobe modelled on theambiguity ofreality, where theviewers free choices and
individual navigation inspace were identified with
ahigher artistic quality.
Thenew spectator who moves around in
theexhibition space todiscover and explore theimage isfor this reason not atall new, but part of
atraditional dichotomy between what ishigh art
and what isnot. Inspite of thepressing need for
anindexing of theforms ofpresentation of themoving image within theexhibition, any systematic
circumscription ofthis heterotopical practice seems
difficult. Theproblems with defining therole of
thevisitor become evident from therecurrent problems with agreeing upon aname for this position.
This iswhy there isno consensus on theright
term for thegallery visitor, spectator, user, receiver,
experiencer or flneur.
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46 47
Raymond Bellour
Of An Other Cinema
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: Gene Youngblood.
Expanded Cinema. Introduction by R.Buckminster Fuller. R.Dutton&Co., Inc., New York, 1970.
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One cannot but notice thedisplacement ofcinema. Themedium went off its orbit. Itdeserted thecinema halls for thescreens ofTVs, computers, mobile
phones, museums and galleries. This multiplication
ofviewing places deprived cinema theatres oftheir
ownership ofcinema. In theplace of thecinema can
be understood both as asubstitute (instead ofcinema)
and as situation (in thesame environment as cinema
used tobe). Adecent number offilm objects today,
not including commercial production, participates
inthis double movement, one may even say inthis
double pressure. Cinema without aplace tolive,
invarious modes ofpresentation, projected in thecinema halls, displayed or installed inplaces dedicated
to thecontemporary art. Thedispersal ofcategories
and approaches, which isoften accused in thequick
proliferation ofart objects, corresponds to theplasticity
ofmodes ofbroadcasting or exhibition. Thegenre distinction becomes even more indistinct, thedemarcation
ofthis corpus promises tobe colossal. It isdifficult,
even impossible, toimagine thenumber ofpossible
practices in thefuture. Curiously, themotifs ofdesert,
ruins, refugees and illegal immigrants are emphatically
repeated inmany contemporary films: this is thevery
problem ofplace and territory. Witnesses draw plans
tomake thestory heard; refugees map theitinerary
oftheir loss. Is itpossible that observing these efforts
toposition oneself, listening tothese fragile stories,
describing these un-places, films suggest tous aplan
ofground navigation, achance tobetter understand
these movements inartistic categories? Is itsome
allegory oftheir own situation? Frequently thecontemporary place, anobject of adetailed and exhaustive
survey, ischaracterized at thesame time by its full
depletion (feeling ofruins, deserted areas, wastelands)
and its promise (thewaiting horizon, harbingers, visions, even disasters). Can we see anend tothose
experiments beyond these historical trends, can
we explore this territory and its mutations? Actually,
experimental tradition assumes that thecinema sphere
isstructured indichotomies: art vs. industry, narrative
vs. plastic art, commerce vs. avant-garde, amateurs vs.
professionals. When this game ofpolarities gradually
disappears due totransition to themore open and
versatile territory, exposed toconstant metamorphoses,
thecategory isalso transformed. How then can one
follow up thegenealogical thread from theexperimental
tradition to thecontemporary practices?
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1 La Rgion centrale (1969), in Des crits 19582001, M.Snow, trad. J. F.Cornu, Paris, Ensba, 2002, p.
32.
70 71
Peter Weibel
.
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1970-, 1980- . 1990-
Oxford University Press, New York, 1974; Hans Scheugl, Ernst Schmidt jr., Eine Subgeschichte des
Films. Lexikon des Avantgarde-, Experimental- und Undergroundfilms, vols. 1, 2, Suhrkamp, Frankfurt,
1974; Amos Vogel, Film as Subversive Art, Random House, New York, 1974; Stephen Dwoskin, Film
Is The International Free Cinema, Peter Owen, London, 1975; Structural Film Anthology, Peter Gidal
(ed.), BFI Publishing, London, 1976; Film als Film 1910 bis heute, Birgit Hein, Wulf Herzogenrath (eds),
Klnischer Kunstverein, Cologne, 1977; Malcolm Le Grice, Abstract Film and Beyond, The MIT Press,
Cambridge, MA/London, 1977; Deke Dusinberre, A. L.Rees, Film as Film, Formal Experiment in Film
191075, Arts Council of Great Britain/ Hayward Gallery, London, 1979; Peter Gidal, Materialist Film,
Routledge, London, 1989; DavidE.James (ed.), To Free the Cinema. Jonas Mekas & The New York
Underground, Princeton University Press, Princeton, New Jersey, 1992; Kerry Brougher, Art and Film
Since 1945: Hall of Mirrors, Monacelli Press, New York, 1996; Spellbound: Art and Film, Ian Christie,
Philip Dodd (eds), BFI Publishing, London, 1996; Jack Sargeant, Naked Lens: Beat Cinema, Creation
Books, London, 1997; A. L.Rees, A History of Experimental Film and Video. From the Canonical AvantGarde to Contemporary British Practice, BFI Publishing, London, 1999; Garrett Stewart, Between Film
and Screen. Modernisms Photo Synthesis, The University of Chicago Press, Chicago and London, 1999;
Into the Light. The Projected Image in American Art 19641977, Chrissie Iles (ed.), exhib. cat., Whitney
Museum of American Art, New York/HarryN.Abrams, New York, 2001; Malcolm Le Grice, Experimental
Cinema in the Digital Age, BFI Publishing, London, 2001; Hans Scheugl, Erweitertes Kino. Die Wiener
Filme der 60er Jahre, Triton, Wien, 2002; Martin Rieser, Andrea Zapp (eds), New Screen Media. Cinema/
Art/ Narrative, BFI Publishing, London, 2002, book and DVD; Margot Lovejoy, Digital Currents: Art in the
Electronic Age, Routledge, London, 2003.
76 77
of the1970s was that itshowed us only theideology inherent toHollywood films, just as in the1960s
Umberto Eco used semiotics toexplain James Bond
films and today Slavoj Zizek uses Lacan toexplain
Hitchcock. Neither theorist used theapparatus theory
radically inorder todemonstrate that thecinematic
apparatus and theinscribed ideology can be transformed by making different films with different technologies in theway done by avant-garde filmmakers.
They therefore missed avital point, and fell behind
their own theoretical premises. Their theoretical work
insofar paradoxically supported thehegemony ofHollywood and dismissed theavant-garde movement
from film tovideo, from video todigital, as representing atransformation of thecinematic apparatus.
This transformation took place inthree phases.
In the1960s, thecinematic code was extended with
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Olga Shishko
Expanded Art.
Part 2
TheExpanded Cinema exhibition isnot retrospective incharacter, itattempts toanalyze current
situation in themoving images art. All works presented inthis project were created in thelast few years,
and some ofthem especially for this exhibition. We
tried todraw theviewers attention tovisual properties ofvideo art (composition, rhythm, textures and
scale) and toconceptual aspects of thelanguage.
24projects by authors from 12 countries explore various aspects ofmutual overflow ofideas and images.
Have meanings replaced things, or things replaced meanings?
Rhetoric or poetry what awaits us tomorrow?
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Cytters work emphasizes only multiple fragmented moments offeeling. As theman inFour Seasons explains
toStella, I loved you then and I love you. Stella replies
you pushed me. Head hit thefloor so hard and my skull
cracked wide open [] You broke my back. My knees. My
heart. Clearly he wasnt inlove with Stella atthat point.
Cytter flouts her style clashes home-movie Hitchcock,
lo-fi Hollywood glamour, soap-opera Samuel Beckett,
soft-core feminism manipulating these cultural tools
with results that range from thebanal to thesublime,
from theembarrassingly comic to thevulgarly surreal.
Kathy Noble inFrieze Magazine, Issue 123, May 2009
Moving Image /
Poetics ofLanguage and Space
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Gary Hill (USA) during forty-year long experiments with thevisual language ofdigital technology
explores theprocesses connecting language and
moving images. Among all classics ofAmerican
video art he isprobably themost poetic. This artist
doesnt put great value upon technical innovations;
inany case, he doesnt make technological works
for thesake oftechnology itself. Video art for him is
away ofthinking out loud.
Im rather in thein-between spaces than part of
astream something like theresonating membranes
where thetension isextreme. This threshold isnot
connected tophysical suffering as with Chris Burden
or Marina Abramovic. Thebody for me is aconductor
between ideas, language and thematerial world, but
themachinery ofinteraction between them isviolated by
in aninvasion ofdigital media, which intheir very nature
go against physicality.
(Gary Hill)
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Theplace inart for each work isdefined by its interrelationship with other works (Yuri Tynyanov calls this function). So I try todraw thelines right away, and not toput
points inpositions. My recent works are just directional
in theart space and have no value outside it.
(Yuri Albert)
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Theauthors works are meditative and are inessence atransformation oftechnology into apoetic
tool. Theviewer istuned inwith theartwork and reverberates, becoming apart ofit, experiencing sound
and rhythm as his own process ofliving.
Than thesound track passed tofilmmaker Evgeny Ufit and he made a30-minute black-and-white
video. Inthis video thepriority ofcinemas visual nature over theplot and meaning unity dominates. Inthis
case theauthor didnt edit theimage as afilm, there
isno beginning and no end here, no dramatic development traditional tofilms. Articulating thesubject
ofdeath ofcinema he uses theblack comedy devices
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and alow-tech aesthetics offilm production on8millimiter and 16-millimiter film as aspecial device.
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Annunciation (2010) is thelatest work by EijaLiisa Ahtila (Finland). Onthree screens Ahtila plays
out thehistory of awoman staging anamateur play
about theAnnunciation. This work could be anexample of afine auteur cinema, if not for Ahtilas drawing
theviewers attention to thedestruction ofclassic
narrative properties inher work. This polyscreen film
demands adeep viewer concentration on themany
voices and plots overlaying one another. Eija-Liisa
Ahtila explores inher work such human manifestations as love, sexuality, envy, anger, vulnerability and
reconciliation.
Aviewer isoffered alook inside theminds ofpeople caught at themoments ofpsychological instability
(for example, in thefilm Anne, Aki, and God themind
of thementally unstable Aki creates afictitious reality,
gradually theborder between fact and fiction disappears and thefantastic characters go out ofAkis head
into theworld They tell theprotagonist that his future
mission is totake Hollywood under control, because
Hollywood controls all human fantasies).
For something toget started, one must merely begin
and connect with athing that isnt yet as far as one
knows, atleast. And towrite more about it. How does
one know what things are, unless theyre already
familiar? What does one know ofthem atthat stage?
How do such things exist? How toget next tothem and
engage in dialogue onwhat and inwhose language?
One instinctively approaches such things through
thefamiliar, the known attimes with such precision
and force that one can see from asingle angle only,
inone direction, all things in aclear order one thing
infront, another just behind it, and so on inperspective. Can something already familiar fulfill thecriteria
for amiracle? Can one be shaken with surprise by
something one knows through and through? What does
one see then? Perhaps one encounters aquestion,
which one cannot understand. Or animage ofsomething that begins topuzzle themind. They are displayed
somewhere, where they can be discovered, and then
one waits tosee who comes tolook atthem. And how
they look atthem.
(TheAnnunciation, narrators voice over)
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Taus Makhacheva (Russia) films her own performances. Inher videos Carpet, Astrakhan, Run,
Reklen, TheSpace ofCelebration Makhacheva
visits Makhachkalas wedding halls (dressed in awhite
cocoon) or rides ahorse through vast steppe (dressed
as anunidentifiable fur-covered creature). Taus Makhachevas Reklen video (from theAvar word for herd)
dramatizes therelation ofus and them in theframework
of anational culture. Toinsinuate himself into aflock
ofsheep astranger has toput on aDagestan herdsman
fur coat and stand anall fours. Why ishe doing this and
what ishe ready todo tobe included into this society?
I amnot interested atall inart that speaks from thepoint
oftruth and I never had laid any claims totruth. Ofcourse
my works are born out of thecontext inwhich I work
today, out ofmy cultural identity and itwas not clear how
topresent this otherness in anabsolutely different environment. There are many subjects inmy works that imitate
animals in anattempt toestablish communication. Many
subjects hide, disguise themselves intheir attempts tobe
accepted by another community, as in theRehlen video
(from theAvar word for herd, 2009) where aperformer
covered by anold Dagestan sheepskin coat (timug) crawls
through asnow-covered field in aflock ofsheep.
(Taus Makhacheva)
pulsing video images upon his own canvases, theimages that carry traumas of ahard history ofDiaspora
and migration. Thehistory isnot fixed nor does itremain unchanged. Thedialogue with history allows us
tolook differently onour present.
Between projection and painting, inKalekas work,
theimage-surface becomes thesite of anacute, electrically unstable presencing. Inattending to theprecariousness of theimage, its ontological indeterminacy,
theprobabilism attendant onits address tous and our
reading ofit, Kaleka invites us toreflect onstartling
questions about thenature of theindividual subjectivity
and thenature ofeveryday experience, with its notalways registered densities ofchoice, dream, reverie
and delusion
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(Ranjit Hoskote)
Its hard tosay what interests Johanna Billing (Sweden) more experimental music or dance,
performance arts or social studies. For one ofher
projects she invited graduates from theStockholm Art
College, young people ofvarious professions, often
clumsy and awkward. They rehearsed anexperimental
dance together and Johanna Billing watched theresults. For another work she sent Edinburg musicians
and green-horn sailors ontheir first sea voyage accompanied by anironic commentary ofThis ishow
we walk on themoon soundtrack. Inmost ofher
works theartists emphasizes events that are separate
from lifes everyday and proper flow, awkward situations and situations ofdiscord.
At theExpanded Cinema exhibition in theIm
Lost Without Your Rhythm video thevery process ofpreparation for adance performance filmed
inseveral days ispresented. Theaudience was invited
towatch rehearsals and itwas suggested theviewers
get involved into thecontext ofthis dance performance.
As theemergence ofdocumentary film produced
theeffect ofapproaching reality infeature film, so
did theemergence ofvideo demand areturn toreal-
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Thevideo artist Almagul Menlibaeva (Kazakhstan) isinterested inall national and distinctive,
not only Kazakh but also symbols from various other
cultures which encounter each other. Theartist puts
onnational costumes ofvarious peoples invarious
situations. InVenice she went around injacket and
high heels and felt her body and mind were very tired.
InKazakhstan she put aUyghur dress onand instantly
felt better (itrelaxes your head). Now she dresses
inconspicuously when you are not seen itgives you
anopportunity towatch theothers.
Milk for Lambs (2010) is anartistic rendering
ofone of theTengriism (sky religion) myths. This religion peculiar feature was division of theuniverse into
three zones: theheavens, theearth, thesubterranean,
each perceived inturn as visible or invisible. Almagul
defines her genre as apunk-romantic Shamanism.
She has created acertain concept which gives her
freedom ofthinking.
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ity from thetelevision. Thefirst documentary filmmakers (Flaherty, Grierson) have discovered apossibility
tovisit thehidden nooks of theworld and show life
as is, and so did thefirst video activists by shooting
atrembling chronicle off-shoulder create aDIY
fashion and infect TV newsreels, advertisements, MTV
and auteur cinema with it(for instance, theDogma).
Social reality isfrequently compared to aclosedcircuit interactive installation. As any artistic avantgarde, video art, too, tries toovercome theexisting stereotypes and clichs, tobreak through toreality, tolife
itself. Gradually thenew hero emerges, creating new
events at thecrossroads ofimage and sound, and new
simulated reality appears. In theworks ofmedia artists
time itself doesnt stand still, itunfolds and expands.
Galina Myznikova and Sergey Provorov Provmyza (Russia) erase theborder between thought,
experience and contemplation intheir works (Despair, Enthusiasm and Snowdrop). Theartists
create their own method ofnature personification.
They try tostop thetime altogether or atleast toslow
itdown, especially for atired man. Theauthors create
another dimension hidden from theeye for their viewer: thecontemporary generation ofviewers isnot
ready for repose, but isfilled with anunconscious
yearning for avital necessity toshut down.
Snowdrop theduos new work explores
theway inwhich aman sees and perceives thesurrounding world. This work isabout distancing and
detachment as methods.
White walls reflecting adominant snow-white
authors projection
Images reflected in thewhite rays
Ahelicopter as ametaphor of theoppressive
technology
Montage attractions can prove tobe hostile. Action
becomes unimportant; theimage opens to theinner eye. Talking ofEnthusiasm we were inspired by
thePre-Raphaelite paintings. InDespair you can trace
theBreughel visuality and catch glimpses ofearly Mikls Jancs film aesthetics.
(Galina Myznikova and Sergey Provorov)
(Arev Manoukian)
Films by Yang Fudong (China) are visually beautiful meditations on thephilosophic questions ofexistence, transferring viewers attention from theouter
world ofhis characters totheir inner world. Theseven-screen Fifth Night inmade in afilm-noir style.
Theauthor recreates its atmosphere so that theviewers could enjoy theaesthetic frames, thevintage
Shanghai exotics and thesophisticated philosophical
problems, thevague and rippled combinations oflight
and shadows which hide more than they reveal.
Thefilming was realized using three horizontally directed cameras tocreate animpression
of anobjects movement through space (thefirst
camera isfocused on thelandscape, thesecond on
themoving frame, the third on theobject itself).
Yang Fudong calls this amulti-angled vision he
introduces new elements, thepicture becomes more
and more multi-layered and deep, theimage revolves
inside another image.
Where, before me, are theages that have gone?
And where, behind me, are thecoming generations?
I think ofheaven and earth, without limit, without end,
And I amall alone and my tears fall down.
Chen Ziang. On agate-tower atYuzhou
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Projects
/
Spaces of Memory / Simbolic Journeys
Courtesy of the artist, Frith Street Gallery, London and Wako Works of Art, Tokyo. Intstallation photos: Per Kristiansen
/ , 2009
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114 115
Courtesy of the artist, Frith Street Gallery, London and Wako Works of Art, Tokyo. Intstallation photos: Per Kristiansen
Netherlands/Indonesia, 2009
HD installation,two channel, colour, stereo, 21'
/ , 2009
16:9,
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Keren Cytter
Four Seasons
116 117
Courtesy of 303 Gallery, New York; Galerie Eva Presenhuber, Zrich; Victoria Miro Gallery,
London; and Regen Projects, Los Angeles.
, 2010
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House
118 119
Courtesy of 303 Gallery, New York; Galerie Eva Presenhuber, Zrich; Victoria Miro Gallery, London; and Regen Projects, Los Angeles.
USA, 2010
single channel video
4:3, 9'
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Blizzard
120 121
Russia, 2008-2009
Video installation, 13'
Sound: James Welburn
, 2010
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Leslie Thornton
Binocular
122 123
USA, 2010
HD video, three edited loops
derived from the Binocular series, 8'
Isaac Julien is represented by Victoria Miro Gallery, London; Metro Pictures, New York; Galere Helga De Alvear, Madrid;
Roslyn Oxley9 Gallery, Sydney; Two Rooms Gallery, Auckland; ShanghART Gallery, Shanghai; Almine Rech Gallery,
Brussels.
, 2008
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Derek
124 125
Isaac Julien is represented by Victoria Miro Gallery, London; Metro Pictures, New York; Galere Helga De Alvear,
Madrid; Roslyn Oxley9 Gallery, Sydney; Two Rooms Gallery, Auckland; ShanghART Gallery, Shanghai; Almine Rech
Gallery, Brussels.
UK, 2008
super 16 film, digital video
DVD/HD transfer, 5.1 surround sound, 76'
Projects
/
Moving Image/ Poetics of Language and Space
1. ?
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Is a Bell Ringing in the Empty Sky. Tom Van Eynde, Courtesy of the artist and Donald Young Gallery, Chicago
1. , 2005
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Loop Through. Courtesy of the artist and Donald Young Gallery, Chicago
1. USA, 2005
Two-channel video, sound installation,
color, stereo sound, loop
128 129
Silent Horizon
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Beyond music, beyond sculpture, beyond movie, beyond
language, beyond everything
130 131
Courtesy of the artist, Marian Goodman, New York; Hauser & Wirth Zrich London; Johnen/Schttle, Berlin, Cologne,
Munich; Galerie Chantal Crousel, Paris
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Anri Sala
Answer Me
thevacant drum vibrates and responds to thefrequencies ofhis playing. Amplified by thedome, those
frequencies cause thedrumsticks tobounce creating
not only anaudible but also avisible echo. He refuses
tolisten and plays thedrums blocking her voice
from reaching him while at thesame time crossing thespace and coming close toher via those
frequencies. InAnswer Me, I was interested tobring
Antonionis exchange under thephysical influence of
thebuilding. Is itamonologue? Or ishis drumming
theother half of adialogue, ofwhich we only understand thepart made ofwords?
Text:
Its over, admit it. That way everything will
be out in theopen and well know what todo.
Its enough toknow what we want. Isnt that so?
Answer me. Isnt that right?
Anri Sala
132 133
Courtesy of the artist, Marian Goodman, New York; Hauser & Wirth Zrich London; Johnen/Schttle, Berlin, Cologne,
Munich; Galerie Chantal Crousel, Paris
Direction Signs I 1997, monument on the street of Cetinje, Montenegro. Courtesy of the artist
My Height, March 21, 2007 inscription on a door frame in the Tretyakov Gallery, Moscow. Courtesy of the artist
, 2008
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Paintings
134 135
One minute 2010, a project during which the Louvre was opened one minute earlier for five days. Courtesy of the artist
Russia, 2008
Running letters (scrolling text), 210 ( 6 cm, chairs
timeless
, 2010/2011
, 15'
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136 137
Russia, 2010/2011
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Translations
Russia, 2011
an audio-visual installation
looped image, linear sound, 24' 20"
the sound was recorded and edited at the Boson Higgs Studio, Moscow
music: Mikhail Kharitonov
female voice: Elena Liubarskaya
male voice: Ilya Permyakov
FEMALE VOICE
No, skinned. Cut, skinned and taken off. Just
like afilm.
MALE VOICE
These are just your language hallucinations,
nothing more.
FEMALE VOICE
Do you remember how Bertolucci has linked
cinema topsychoanalysis? By theword
camera itmeans abedroom inItalian.
And what about Russian? Camera means
cell, imprisonment. Toframe animage
is thesame as toput someone behind
bars, into anisolation ward.
MALE VOICE
Theres also another camera in
Russian astorage-room. Can
also be very crowded. And one
can also take off clothes. Scrub off
theunnecessary, peel off thetruth
layer by layer, perform anontological
striptease.
FEMALE VOICE
Yes, but this striptease isgoing tobe
somewhat punitive, with purges and
exposures
138 139
Projects
/
The Third Cinema/ Video Art as a Cast from Reality
1.
2.
2. , 2008
, 5' 03"
1. , 2010
, 11' 11"
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Ranbir Kaleka
1. Sweet Unease
2. He was a Good Man
2. India, 2008
video projection on painted image, 5' 03"
1. India, 2010
video projection on painted image, 11' 11"
2.InHe Was AGood Man, Kaleka revisits thepatience, futility, stillness and
wonder ofMan Threading ANeedle, made adecade before. Inthis recursion of
acompelling psychic situation theattempt tothread aneedle ischarged with
theneed toassert agency and suture thewounds of aharrowing inheritance
theartist gives himself thelatitude tobathe thepainted surface, not only with
acorresponding if fluctuating portrait, but also with projected images that
bear thefreight of atraumatic history ofmigration and diaspora. Atintervals,
also, thepainting iswashed in theimageless light of theprojector, harsh and
inexorable as aninquisitors gaze.
Between projection and painting, inKalekas work, theimage-surface
becomes thesite of anacute, electrically unstable presencing. Inattending
to theprecariousness of theimage, its ontological indeterminacy, theprobabilism attendant onits address tous and our reading ofit, Kaleka invites us
toreflect onstartling questions about thenature of theindividual subjectivity
and thenature ofeveryday experience, with its not-always registered densities
ofchoice, dream, reverie and delusion.
142 143
Ranjit Hoskote
, 2010
, , 11' 35"
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Themythological nurturing Earth Goddess Umai and favorite wife ofTengri, thegod
of thesky, symbolizes theclose relationship
of thepeople to theland and its given riches,
by animals and humans feeding off her body
and drinking her milk. Thefemale descendants
ofUmai invoke and continue aprecarious symbiosis today between themothers who nurture
achild and their insatiable, adolescent men.
144 145
Kazakhstan, 2010
digital video
color, sound, 11' 35"
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, 2009
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Thesocial dimension ofmy works resonates with personal history. Belonging to aDagestan family Im deeply familiar with habitual social reactions towards representatives ofanother
culture. Understanding thedifficulty ofovercoming those differences continues toform theessence ofmy artistic practice. I often utilize irony
and sarcasm inmy works as I challenge thenotion ofnormality within social life and reveal
thehidden controversies and fiction of thepublic politics towards cultural minorities.
I do not claim todocument some kind
ofsocial crisis. Whilst capturing routine and ordinary situations my art manifests anobsessive
symbolic element that subverts these seemingly
innocuous moments and makes them available
for anindividual social response.
Rehlen isshot inbetween mountain villages
Tsada and Ahalchi, Republic ofDagestan, ithas
asimple narrative: young man iswearing atra-
146 147
Russia, 2009
HD video
colour, silent, 7' 21"
, 2011
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148 149
Russia, 2011
performance
, 2008
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Feasting or Flying
next to thefirst. This juxtaposition revealed that montage retains its function, its effect, even after this act
ofseparation and distribution, and gives us ananalytic
method that neither makes theobject incomprehensible nor stops its motion. That iswhat itcomes down
to: theability toanalyse abird insuch away that we
come tounderstand its flight without dissecting itas if
itwere going tobe eaten.
People tend toanalyse montage on thebasis
of thecollision between two shots; all too seldom
isconsideration given todistanced montage. Theappearance ofone shot in afilm refers to aprevious
shot, often to several similar or strikingly dissimilar shots far back in thechronological sequence.
Theshots and sequences we collected were onone
subject: theman who kills himself. When itcomes
tosuicide, thefilm-man might be said tomake up for
everything he lacks indepth ofemotion and expressiveness compared with thefilm-woman. Motifs from
wholly dissimilar films are distributed over several
screens in thespace. For instance, theres theman
walking into aroom because he wants tobe alone,
or theman walking insilence and being followed by
acamera determined topick up ananswer scarcely
surrendered if indeed thefilm narrative isposing
aquestion. Thecultural technique ofdistributing over
space inorder toanchor something in theconsciousness was already cultivated by theancient Greeks.
We use itwith theintention ofarriving at anew film:
one about theman who has used up any further
freedom ofaction.
Harun Farocki and Antje Ehmann
150 151
Germany, 2008
6-Chanel video, 24'
Photo Lavinia German, courtesy of the artist and Hollybush Gardens, London
, 2009
DVD, , 13' 29''
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2008. , ,
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Johanna Billing
Johanna Billing's videos reflect onroutine, choreography and ritual, with anemphasis on thefragility ofindividual performance within collective experience. Obsessed by circularity and retrospection, she
stages specific situations where something isabout
totake place, theartist herself remaining invisible during theperformances and actions that are
recorded. Billing's skill lies incombining thechoreography ofindividuals with facilitating their freedom
toperform naturally, bringing thewhole together in
theediting process.
I'm Lost Without Your Rhythm isbased on
therecording of alive performance ofdance
learned' or performed by amateur Romanian dancers inIasi, Romania, during thePeriferic 8 Biennial
ofContemporary Art inOct 2008. Thefilm links several days' activity into acontinuous process, inwhich
dancers were watched by anaudience who were
free tocome and go as they pleased. There isno
final performance as such and so thework is aresult
ofcollaboration between choreographer, musicians,
dancers and audience.
152 153
Photo Lavinia German, courtesy of the artist and Hollybush Gardens, London
Sweden, 2009
DVD, loop, 13' 29''
-
The Annunciation. Fra Angelico fresco, 1438-45, Museo di San Marco, Florence
The Annunciation. Eija-Liisa Ahtila. Courtesy of Marian Goodman Gallery, New York and Paris
2010 Crystal Eye Kristallisilm Oy
, 2010
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Eija-Liisa Ahtila
Finland, 2010
3-channel projected HD installation, 33'
154 155
The Annunciation. Eija-Liisa Ahtila. Courtesy of Marian Goodman Gallery, New York and Paris
2010 Crystal Eye Kristallisilm Oy
The Annunciation
Projects
C /
Simulated Reality/ The Other Hero
, 2010
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Nuit Blanche
Arev Manoukian
158 159
Canada, 2010
digital video, colour, sound, 4' 41"
ure /
, 2007
4-
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BMG Music Publishing,
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Boris Eldagsen
No Cure
Germany, 2007
4-Channel Video Installation
4:3 Pal DVD, loop, 14' 15''
160 161
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Snowdrop
162 163
Russia, 2011
digital video, b&w, stereo sound, 30' 50''
, 2010
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Viktor Alimpiev
Vot (So)
164 165
Russia, 2010
HD video, colour, sound, 5' 24''
, 2010
7-
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Yang Fudong
Fifth Night
166 167
China, 2010
7-Channel 35mm b&w film
transferred to HD, 10' 37''
Projects
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Test Pattern [ ]
, 2008
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Ryoji Ikeda
170 171
Japan, 2008
audiovisual performance
concept, composition: Ryoji Ikeda
computer graphics, programming: Tomonaga Tokuyama
ompetition
Video Effect
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174 175
Karina Karaeva
Daniil Zinchenko
Izvol (Will)
2011, 13' 11''
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Eva Zhigalova
Im here?
2010, 1' 08''
Im here?
And I amnot here. But I amnot there either
Where then?
Not tosee my new homeland with tourists eyes.
Tofix everything through thecommunication ofthree
cultures: Russian, Israeli and Arab. Tofind ones own
self at theintersection ofthese cultures. Isthis aconflict or adialogue ofthese three cultures?
Toerase thedistinction and end up between
Yes&No, between Here&Now, between I&They.
Toinhale new reality and tolet itpass
through you without turning back.
There I amnot; here all has been just
beginning
176 177
An Outing to a Gallery
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178 179
Viktoria Marchenkova
Scene
Melting Utopias
2010. 3' 10''
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Vlad Khromenko
Melting Utopias
2010, two-channel video, 3' 10''
Ice casts ofmummified communist leaders
busts melt down before theviewer, losing familiar
shapes, being erased from memory. Thegreat utopian
dream isleft behind further and further away and its
becoming increasingly hard todistinguish it.
180 181
2010, 32''
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Pavel Kuznetsov
Snowdrop
2010, 32''
Albert Soldatov
Alenka
182 183
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Anna Khodorkovskaya
Bears
Maria Kharitonova
Swimming Pool
2011, 3' 58''
This video is aplastic metaphor oflosing control,
ofborders visible and invisible, which are sometimes
very hard toovercome. By afew simple editing tricks
and by using different filming methods I achieve avery
important effect, which isonly possible inmy view
invideo and cinema acommunication ofsubjective inner state of acharacter through thestate ofhis
environment.
184 185
Information
Partisipants
-. , ,
1999,
. , .
: 26
, ,
99 .
Doug Aitken
Aitken lives and works inLos Angeles. Aitken has had
numerous screenings, solo and group exhibitions around
theworld including the1999 Venice Biennale, where he won
theInternational Prize for his acclaimed installation electric
earth. Hes exhibited work ininstitutions such as theWhitney
Museum ofAmerican Art, theMuseum ofModern Art and
thePompidou Center inParis. Aitken also recently produced
two books, Broken Screen, abook ofinterviews with 26
artists pushing thelimits oflinear narrative and 99 Cent
Dreams, acollection ofphotographs. Theprojects inspired
happening events inNew York and Los Angeles.
1973.
.1905, ,
. . , , (2008), ,
( , , 2007). 1- 2-
, 4- , (2005) .
Yuri Albert
Born 1959 inMoscow, Albert studied with theartist
Ekaterina Arnold in19741977. In1977 entered theArts and
Graphics Faculty of theMoscow State Lenin Pedagogical Institute. In1983 he became amember of theGraphics Gorkom
(City Committee) atMalaya Gruzinskaya, 28, where permitted informal art exhibitions took place. Albert is arepresentative of theso called second wave ofMoscow conceptualism.
In theearly 1980 was anactivist of theAPTART movement.
Among themost well-known works ofhis early period are
paintings in thestyle offamous Western artists with Cyrillic
inscriptions such as Im no Jasper Jones, Im no Baselitz
and so on.
1959. 19741977
. 1977- - . 1983 ,
, 28
.
. 1980- . , , ,
. .
-
. , (UCLA), -. 1990
, .
, AVEK
(1997),
(1998), DAAD (1999),
Victor Alimpiev
Born in in1973. Graduated from then. a. theyear 1905,
finished theschool TheNew Strategies ofContemporary
Art under theauspices of theInstitute of theproblems
ofContemporary Art, and also did atwo-month course in
theVeland. Lives and works in. Solo exhibitions inMoscow,
England, Italy (2008), Belgium, Germany and France (Le
Centre Pompidou, Paris, 2007). Participant of the1st and 2nd
Moscow Biennales, the4th Berlin Biennale, theVenetian Biennale (2005) and others.
Eija-Liisa Ahtila
Lives and works inHelsinki. Eija-Liisa Ahtila studied
filmmaking at theLondon College ofPrinting, UCLA, and
at theAmerican Film Institute inLos Angeles. In1990 she
received theYoung Artist of theYear Award, Tampere, Finland.
Since then, she has received numerous grants and awards, including anAVEK-award for important achievements in thefield
ofaudio-visual culture (1997), theEdstrand Art Price (1998),
aDAAD fellowship (1999), honorary mention at the48th
Raymond Bellour
Critic and theorist ofliterature and film, asenior
researcher at theCNRS (National Center for Scientific
Research) and conducts aseminar at theUniversity ofParis.
He was one of thefounders of theFrench film review Trafic. He
has edited several key film anthologies, including Le cinema
americain (1980) and Le Western (1966). His study L'EntreImages: Photo, Cinma, Vido (1990) analyzes thepassages
between images and thevideo image's power oftransformation. Bellour also served as co-curator with Christine Van
Assche and Catherine David of thewell-known Passages de
l'image exhibition at theCentre Georges Pompidou in1990.
His most recent work is anessai onChris Marker's CD-ROM
Imemory (1997).
Johanna Billing
Johanna Billing's videos reflect onroutine, choreography and ritual, with anemphasis on thefragility ofindividual
performance within collective experience. Obsessed by
circularity and retrospection, she stages specific situations
where something isabout totake place, theartist herself
remaining invisible during theperformances and actions that
are recorded. Billing's skill lies incombining thechoreography
ofindividuals with facilitating their freedom toperform naturally,
bringing thewhole together in theediting process.
BlueSoup Group
BlueSoup group was founded in, in1996 by Alex Dobrov, Daniel Lebedev and Valery Patkonen. Since 2002 group
works incooperation with Alexander Lobanov. Participated
in1st and 2nd biennale ofcontemporary art and other exhibitions inand abroad. Finalist 2008 in theMedia Art Project of
theYear Nomination
rik Bullot
Parallel to awriter and photographers career, rik Bullot
taught inart schools (Fresnoy, Marseilles, Avignon and currently inBourges), collaborates inseveral magazines (Trafic,
Cinma) and takes anactive part inpointligneplan association.
As ascenario writer, rik Bullot carried out many films halfway
between theauthor cinema and artists artist. His reflexion
goes from cinema tovisual arts. He had made aretrospective
ofits films atJeu de Paume inParis and, recently, inEnana
Marrn (Madrid) or theBiennal de lImage en Mouvement
(Geneva).
Keren Cytter
Keren Cytter went on tostudy visual art inAvni Institute
for Art, Tel Aviv. After her success invarious galleries inher
home country, she moved toAmsterdam on ascholarship
from De Ateliers.Today, she lives and works inBerlin. Recalling amateur home-movies and video diaries, her films and
videos are made ofre-composed elements of theeveryday,
ofimpressions, memories, imaginings, desires and dreams.
Thescripts are part of thestories themselves, and thestory
inturn isalways astory of theclash between a(perfect) script
and an(imperfect) reality.
Boris Eldagsen
He revolves around theidea oflosing yourself as
aredemptive mode tobeing human. Boris work has been
shown internationally ininstitutions such as Fridericianum
Kassel, Deichtorhallen Hamburg and Australian Centre for
Photography Sydney to arange offestivals and biennales such
as theEdinburgh Art Festival, European Media Art Festival
Osnabrck, Videonale Bonn, Athens Video Art Festival, Kuyre
Istanbul, Media Forum Moscow, Media Art Biennale Wroclaw,
Biennale Le Havre and Biennale ofElectronic Arts Perth.
48 (1999),
. (2000),
(2001), Artes Mundi (2006). Documenta
XI (2002) 50 (2005).
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Ars Electronica (, ) 1986 1996. , 1989 1994. 1993 1999. 1984 1989 -,
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XI (2002). Kunst
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Isaac Julien
Julien came toprominence in thefilm world with his
1989 drama-documentary Looking for Langston, gaining acult
following with this poetic exploration ofLangston Hughes
and theHarlem Renaissance. This following was expanded
in1991 when his film Young Soul Rebels won theSemaine de
la Critique prize for best film at theCannes Film Festival. He
was nominated for theTurner Prize in2001 and was therecipient ofboth theprestigious MIT Eugene McDermott Award in
theArts (2001) and theFrameline Lifetime Achievement Award
(2002). His work Paradise Omeros was presented as part
ofDocumenta XI inKassel (2002). He won theGrand Jury
Prize at theKunst filmBiennale inCologne (2003) for his single
screen version ofBaltimore, and the2005 Aurora Award. He
has had solo shows at thePompidou Centre Paris (2005),
MoCA Miami (2005), theKestner Gesellschaft Hanover
(2006) and Metro Pictures New York (2007). Julien isrepresented in theTate Modern, Centre Pompidou, Guggenheim
and Hirshhorn Collections.
Ranbir Kaleka
Ranbir Kaleka studied at theCollege ofArt inChandigarh (1970-75) and received aMasters Degree inPainting
from theRoyal College ofArt inLondon in1987. His works
have been included inmost of themuseum shows ofIndian
contemporary art that have been mounted around theworld in
thepast decade, including: Chalo! India at theMori Museum
inTokyo (2008); India Moderna at theInstitute ofModern
Art inValencia, Spain (2008); iCon: India Contemporary
at theVenice Biennale (2005); and body.city at theHouse
ofWorld Cultures inBerlin (2003);Kunsthalle Wien, Kapital
& Karma, Vienna (2003). In2007 he was commissioned
tocreate apermanent video installation for thenew Spertus
Museum inChicago and in2008 his work was included
in theSydney Biennale and in2011 his work was shown
inInTransition: New Art from India, Vancouver Biennale,.
Yuri Kalendarev
Yuri Kalendarev, sculptor, was born inSaint Petersburg, Russia. Lives and works inTuscany, Italy. He belongs
to thegeneration ofunderground non-conformist artists,
thedissidents of the70s. For thelast 25 years he has been
living and working inItaly. After working with granite, environmental art and light projects for about 25 years, he came to
adirect work with vibrations and sounds, to theart oftuning
ofmetals, to theSound Plates.
Elena Kovylina
Performance artist. winner of theInnovation All-Russian
Contemporary Art Competition award. Studied 19881991
Art School, 19931995 Art Academy, 19961998 Art
School, CH, 19981999 Center ofContemporary Art,,
20012003 UdK. Diploma. Granted: 2002 Academy Schloss
Solitude, 2004 Kuenstler Haus Boswil, CH, 2004 Kuenstler.
Inher works she develops thetraditions ofWestern feminist
art, exploring thebody and gender problematics. Theaudience often remembers her works Pick Up aGirl (2006)
when theviewers tore ofpictures ofwomen from magazines
pinned toher skin, or DIY (2000) when theartist standing with
anoose around her neck gave theaudience achance toknock
thestool from under her.
Arthur Kroker
Canada Research Chair inTechnology, Culture and
Theory, professor ofPolitical Science and Director of thePacific Centre for Technology and Culture (www.pactac.net),
University ofVictoria, Canada. He isauthor ofnumerous books
including Born Again Ideology, TheWill toTechnology and
ThePossessed Individual.
,
One Show.
, 15 , 51, 52 53 ,
MuHKA (, ), (-), . (, -), (, ), (-, ), (), (,
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, ,
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Les Rencontres Internationales //;
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(studio practice and
contemporary critical studies) 2007.
, : Powderlux, Red Gate Gallery, ; . -06. ,
; Caucasica, Scuola Grande di S.Giovanni Evangelista,
; C! ?, .
1977. . 2004 2007 ().
(: ) (2006,
2007). . IX 30
(2008) ( ).
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-
51 , KustFilmBiennale ( , ), Hors
Pistes ( , ), Biennial of Moving images ( , ), Viper ( ) .
, , Tiger Award
for Short Film of 38th International Film Festival Rotterdam, Gran Premio
for the Best Competing Film of 25th Assolo International Art Film Festival,
Best Experimental Film of 15th Chilean International Short Film Festival.
(Inspiration) Orizzonti Competition
67 . ,
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190 191
Biennale (1995), a JohnD. and CatherineT.MacArthur Foundation Fellowship Award (1998), theKurt-Schwitters-Preis
(2000), and anHonorary Degree ofDoctor Honoris Causa of
TheAcademy ofFine Arts Poznan, Poland (2005).
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Marilouise Kroker
Senior Research Scholar at thePacific Centre for Technology and Culture, University ofVictoria, Canada. With Arthur
Kroker she has authored and/or edited many books, including
Hacking theFuture, Digital Delirium, Body Invaders, and The
LastSex.
Trond Lundemo
Trond Lundemo, Associate Professor at theDepartment ofCinema Studies atStockholm University. He has been
avisiting Professor and visiting scholar at theSeijo University ofTokyo on anumber ofoccasions. He isco-directing
theStockholm University Graduate School ofAesthetics and
theco-editor of thebook series Film Theory inMedia History
atAmsterdam University Press. His research and publications
engage inquestions oftechnology, aesthetics and intermediality as well as thetheory of thearchive.
Taus Machacheva
Artist. Graduated fro theUniversity of theArts, London.
Studied photography at theLondon College ofCommunications, BA incontemporary art programme (studio practice
and contemporary critical studies) at theGoldsmiths College,
2007. Exhibitions include Powderlux, Red Gate Gallery, London; International Biennial ofPortrait, Drawings and Graphics-06. Tuzla (Bosnia and Herzegovina); Caucasica, Scuola
Grande di S.Giovanni Evangelista, Venice; Moscow Young Art
Biennale Stop! Who goes there?.
Arev Manoukian
Raised in afamily ofartists and engineers inMontreal,
Arev Manoukian plays with art and technology totell stories
inways that challenge his imagination. After studying film inToronto, Arev soon began directing music videos for local bands
which went toair onMuch Music. Lately, he has directed
interactive jobs for clients such as Mazda, Axe, Wrigley Gum,
20th Century Fox and theNFL. Arev directed Nokia's interactive commercial ThePassenger, aCannes Cyber Lions and
One Show finalist.
Almagul Menlibayeva
Theartist from Khazahstan has gained international
recognition exhibiting at the15th Sydney Biennial; 51st,
52nd and 53rd Venice Biennale; Museum van Hedendaagse
Kunst, M HKA, Antwerp, Belgium; Queens Museum, NY;
HerbertF.Johnson Museum, Ithaca, NY; Stenersen Museum,
Oslo, Norway; University ofCalifornia, San Diego, CA; Museo
Universitario del Chopo, Mexico City; Queensland Art Gallery,
Bisbane, Australia; and more recently at theChicago Cultural
Center, Chicago, IL. Menlibayeva's videos have been shown
at theSantiago International Film Festival, Chile; International
Short Film Festival Oberhausen, Germany; International Film
Festival Rotterdam, TheNetherlands; Les Rencontres Internationales Paris/Berlin/Madrid; Centre Pompidou, Paris, France;
and Palais de Tokyo, Paris, France.
Ilya Permyakov
Born 1977 inVolgograd. In20042007 co-curated
theVideologia International Audio-Visual Arts Festival (Volgograd). Nominee of theInnovation Award inContemporary
Visual Art (for Regional contemporary art project nomination).
Video artist. Grand prix of theIX Media Forum of the30th
MIFF (2008) for thework Gazing Hard. Lives and works
inMoscow.
Art group PROVMYZA
Galina Myznikova
and Sergey Provorov
Theartists' works have been shown at the51st Venice
Biennale, theRussian Pavilion; theKunstFilmBiennale,
theLudwig Museum, Cologne; Hors Pistes, George Pompidou
Centre, Paris; Biennale ofMoving Images, theSaint-Gervais
Centre and others. Many ofvideos have won several awards
such as Tiger Award for Short Film of38th International Film
Festival Rotterdam, Gran Premio for theBest Competing Film
Kirill Razlogov
Doctor inarts history, Professor, director of theRussian Institute for Cultural Research. Programme director of
theMoscow International Film Festival and theAmFest Moscow Festival ofAmerican Film. Honoured art worker ofRussian
Federation, cavalier of theOrder ofFriendship. Author, head
ofpublishing projects, film critic and political writer, published
about 1000 works onart and culture inRussia and abroad.
Author and anchor ofseveral TV programmes. Professor
ofFilm Studies faculty of theRussian State University ofCinematography named after S.Gerasimov (VGIK), reads film
history atHigher Courses for Scriptwriters and Directors, gives
lectures oncontemporary film and history ofscreen culture at
theInstitute ofEuropean Cultures, inter alia.
Anri Sala
n Albanian artist living inParis and Berlin. 2001 he
received theYoung Artist Prize of the49th Venice Biennale.
His works have been widely shown internationally, atinstitutions including MAMCO, Geneva, Switzerland; Dallas Museum
ofArt, Texas; Ikon Gallery, Birmingham, England; Kunsthalle
Wien, Vienna: ARC, Mus?e d'Art Moderne de la Ville de Paris,
and theNew Museum ofContemporary Art, New York, among
others. He participated inUtopia Station at the50th Venice Biennale; the24th Bienal de Sao Paolo; Manifesta 4 inFrankfurt,
Germany and Uniform: Order and Disorder atP.S.1 Center for
Contemporary Art, New York.
Olga Shishko
Art expert, curator. Her research activities focus
ondifferent aspects ofcontemporary media art (Art on
theNet, Video, Cyberculture, etc.). She has curated numerous international events, festivals, and exhibitions including:
NewMediaLogia Symposium (Moscow, 1994), Da-Da-Net
Festival (Moscow, 19972000), Trash-Art Festival (Moscow,
19992000), Pro&Contra Symposium (Moscow, 2000), etc.
Editor of thecatalogues, anthologies and books oncontemporary media art issues published inRussia, among them:
NewMediaLogia NewMediaTopia (Moscow, 1996), Data
Trash (Moscow, 2000), Pro&Contra (Moscow, 2000), and
theAnthology of TheRussian Media Art (1st part: Video Art
From Russia, Moscow, 2001). Director of theMediaForum
one of theprograms of theXXX Moscow International Film
Festival (MIFF). Founder and Director of theCenter ofCulture
and Art MediaArtLab.
Fiona Tan
Born inIndonesia in1966, Fiona Tan grew up inAustralia. She received her formal art training inAmsterdam and
has been living in theNetherlands since thelate 1980s. Since
the1990s she occupies animportant place in thecontemporary art world, participating innumerous solo and group
exhibitions. Tan's contribution.to the2009 Venice Biennale at
theDutch Pavilion drew agreat deal ofattention. Inher video
pieces and photographic works Tan isconcerned with theimage of anindividual and theway inwhich this individual relates
tohis or her environment and thus to theworld. Fiona Tan
creates symbolically charged landscapes as well as moving
portraits ofpeople, subtly linking personal sentiments totheir
social and cultural context.
Leslie Thornton
Leslie Thornton has been at thevery forefront ofAmerican experimental film and media since the1980s. Her major
works include Peggy and Fred inHell (her magnum opus),
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of25th Assolo International Art Film Festival, Best Experimental Film of15th Chilean International Short Film Festival. Some
installations belong todifferent collections such as Center
Pompidou, National Museum for Contemporary art and numerous private collections. Their new film Inspiration has been
presented at the67th Venice International Film Festival incompetitive section Orizzonti. Winners of theNational Premium of
theontemporary Art ofS.Kuryokhin. Winners of theRegional
Premium ofulture (Volga region).
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Moscow Museum of Modern Art exposition. 1 floor
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Moscow Museum of Modern Art exposition. 2 floor
196 197
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Moscow Museum of Modern Art exposition. 3 floor
. 4
Moscow Museum of Modern Art exposition. 4 floor
198 199
Garage Center for Contemporary Culture exposition
1. . , 2008
Isaac Julien Derek. UK, 2008
2. . , 2010
Yang Fudong Fifth Night. China, 2010
3. - . , 2010
Eija-Liisa Ahtila The Annunciation. Finland, 2010
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ISBN 978-5-905110-07-8
Annotation:
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./: (495) 637 3909, 6373833
info@ legein.ru
www.legein.ru
XII
33
orum
XII MediaonF
al Film Festival
of 33 Moscow Internati
Expanded
Cinema