Anna Tsyrlina

Новейшая работа из представленных в ретроспективе. Собранная в первую очередь из собственных архивов, запечатлевших музыкальную сцену Новосибирска 90-х. Фрагментированная форма и изменчивый ритм характерны не только для визуального, но и для аудиального измерения фильма: гитарный шум растворяется в хонтологических пленочных петлях, неразборчивая речь смыкается с кусками радио- и телепрограмм.

‘And so I hid in caverns in the mountains; I began to wander, like a meteor’

В одну минуту экранного времени, на протяжении которой мнемонист «вспоминает» бесконечно большое число на табло позади него, поместились рождение новой эпохи — первые годы перестройки с их увлеченностью ясновидением — и уходящая практика съемки на пленку.

By intertwining different visual layers, the artists introduce pluralities in processing sensory information. They engage in new forms of visualisation in the configuration of possible worlds. With escape goat they want the work to create itself 'on its own terms': unsteady and strange, untethered to familiar orders of mediated perception.

Taking as a starting point an artist's own paintings, long lost, and recasting what a work can be with interventions of digital post-cinematic processes, a minor piece of damage explores the space between the vanished place of referential origin and its re-presentation as a cinematic 'artefact'.

Tsyrlina’s radical found footage film subjects frames and sequences taken from Soviet propaganda about women’s equality to a cinematic archaeology, unearthing a sensuous and discreetly subversive movement within the material’s interstices and ellipses.

Made from surviving early 1990s 'hi8' videotape of "schwimmen," a teenage industrial/noise band from the (then-Soviet) city of Novosibirsk, and comprising footage shot entirely within and/or from the seventh-floor apartment where they lived and worked communally, "phenomenon" radiates a sense of cinematic immediacy, capturing the lost world of immanence of being and ultimately tapping into vital, uncertain energy of the ephemeral “paranormal” space - both historical and metaphorical - where the only metaphor is optical. The camera pans along frozen squares and zooms into details of the immediate surroundings - innocently reinventing tropes from video-art of the preceding two decades: the unit of “what happens” not an event, but an experience, as it falls oblivion together with the anonymous dreaming collective to which it occurred.

Шесть минут танца и транса, спонтанное оргиастическое представление, замедленное и утопленное в цифровых эффектах и наложениях. За кадром — музыка, написанная Сидом Яндовкой: сколь ритмичная, столь и вязкая. Движения тел, наряды наводят на мысли как о шутливом карнавале, так и о некоем таинственном обряде.

A random seventies newsreel from the artists’ hometown in Soviet Siberia forms the substratum for a relentless exploration of representational and narrative strategies: without ever collapsing into a ‘story’ or abstraction, the film recants the relationship between analogue and digital, surface and reference, sense and experience, past and present. –Thomas Zummer

Perhaps the spiritual prequel to Live the Life You LOVE, Peter the Wolf is one of the earliest extant video works by Iandovka & Tsyrlina. Featuring footage shot during a spontaneous trip to the first Detroit Electronic Music Festival in 2000, the filmmakers’ voyeuristic camerawork drinks in the scene, alternating between close-ups and wide shots of unaware partygoers and police monitoring the proceedings. Besides the obvious differences between the two works — the Y2K-era ravewear and the absence of phones — Peter the Wolf utilizes music to similarly displace the visuals from mere reportage. In this case, the video’s 8-bit soundtrack was recorded from a group jam session on hacked Nintendos. The gaiety and nostalgia in our contemporary viewing of this dawn-of-the-millennium happening is tempered by the suggestion of surveillance in the camera’s perspective, induced more explicitly by the brief shot of satellite dishes and radio aerials in the film’s final seconds.

“The surface of a thing is not part of it. Thus the surface of water does not form part of the water, nor does it consequently form part of the atmosphere. Then what divides water from air?” To Leonardo da Vinci’s question, the poet Daniil Charms answered: "The water is like a wheel."

The film details the early years of the legendary Siberian Punk/Rock group 'Гражданская Оборона' (Grazhdanskaya Oborona), and its frontman, Egor Letov.

The film details the early years of the legendary Siberian Punk/Rock group 'Гражданская Оборона' (Grazhdanskaya Oborona), and its frontman, Egor Letov.