Sid Iandovka
2021(to) preserve
Sid Iandovka
“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."
(to) preserve
Живи
Anna Tsyrlina, Sid Iandovka
Six minutes of dancing and trances, a spontaneous orgiastic performance slowed down and drowned in digital effects and overlays. The music heard off screen is written by Sid Iandovka and is as rhythmic as it is viscous. The movements of bodies and costumes hint at both playful carnivals and mysterious rituals.
Live the Life You LOVE
Мистерии
Sid Iandovka
Computer sounds and programmed movements erase the boundary between document and fiction. A constructed, almost magical environment is superimposed onto everyday images, imbuing them with an elusive sense of the otherworldly. Mysteries exists in murky dialogue with Signal to Noise, whose subjects appear here ten years later.
Mysteries
Horizõn
Anna Tsyrlina, Sid Iandovka
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
Horizõn
a minor piece of damage
Sid Iandovka
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'.
a minor piece of damage
Phenomenon
Anna Tsyrlina, Sid Iandovka
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.
Phenomenon
Сигнал/Шум
Anna Tsyrlina, Sid Iandovka
The most recent work presented in the retrospective, assembled primarily from the directors’ own archives and depicting Novosibirsk’s music scene of the 1990s. A fragmented form and shifting rhythm characterise the visual element of the film as well as its auditory dimension. Guitar noise dissolves into hauntological film loops and indistinct speech merges with fragments of radio and television broadcasts.
Signal to Noise
193 октиллиона
Anna Tsyrlina, Sid Iandovka
The birth of a new era in the first years of perestroika with its enthusiasm for clairvoyance and the dying practice of shooting on film are both contained within a single minute of screen time, during which a mnemonist ‘recalls’ an infinitely large number displayed on a board behind him.
193 Octillion
Ага
Sid Iandovka
Blurry figures multiply in the darkness, an otherworldly light breaks through melting textures, a monkey stares intently at something outside the frame, and disturbing landscapes are buried in digital noise. Yeah might be the most ominous work in the retrospective.
Yeah
(e)scape goat
Sid Iandovka
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.
(e)scape goat
