Join in the conversation with artist Ai Weiwei and Brooklyn Rail Editor-at-Large Paul D. Miller (aka DJ Spooky), CYFEST-3 (2009) participant.
9 a.m. Eastern / 6 a.m. Pacific
In this talk
Renowned for making strong aesthetic statements that resonate with timely phenomena across today’s geopolitical world, from architecture to installations, social media to documentaries, Ai Weiwei uses a wide range of mediums as expressions of new ways for his audiences to examine society and its values. Recent exhibitions include: Ai Weiwei: Resetting Memories at MARCO in Monterrey, Ai Weiwei: Bare Life at the Mildred Lane Kemper Museum in St. Louis, Ai Weiwei at the K20/K21 in Dusseldorf, and Good Fences Make Good Neighbors with the Public Art Fund in New York City.
Ai was born in Beijing in 1957 and currently resides and works in Berlin. Ai is the recipient of the 2015 Ambassador of Conscience Award from Amnesty International and the 2012 Václav Havel Prize for Creative Dissent from the Human Rights Foundation.
Paul D. Miller, aka DJ Spooky
Composer, multimedia artist, and writer Paul D. Miller (aka DJ Spooky) makes work that immerses audiences in a blend of genres, global culture, and environmental and social issues. Miller has collaborated with an array of recording artists, including Metallica, Chuck D, Steve Reich, and Yoko Ono. His 2018 album DJ Spooky Presents: Phantom Dancehall debuted at #3 on Billboard Reggae. He is an Editor-at-Large of the Brooklyn Rail.
Dear festival participants, friends and colleagues,
In light of the COVID-19 pandemic and the impact this has had on the city of St. Petersburg, our team has decided to move our annual CYFEST festival to November, 2021. Having spent the whole year preparing for the show with our curators, managers and partners, we’re genuinely upset and disappointed not to be able to host you at this time.
Unfortunately, the pandemic is not declining, and our priority continues to be the safety of our audiences, colleagues and artists. We sincerely apologize for any inconvenience caused and we look forward to further cooperation next year.
CYLAND Media Art Lab is pleased to announce the results of the Cyfest-13 open call. Festival theme: Cosmos and Chaos.
CYFEST is one of the biggest international festivals of media art in Eastern Europe, founded by a group of independent artists and curators in Saint Petersburg in 2007. CYFEST unites art professionals, programmers, engineers and media activists all over the world, expands territories and possibilities of contemporary art, intertwining it with various disciplines of science and technology.
As part of an open-call for participation in the CYFEST-13 International Media Art Festival, we received 154 applications from artists and collectives from 27 countries, including South Korea, USA, Mexico, Spain, Egypt, Belarus, Czech Republic, Peru, Iran, Italy, Turkey, Great Britain, Germany, Switzerland, Israel, France, Russia, Canada, Netherlands, Austria, Iran, Japan, Indonesia, New Zealand, Australia, and Macedonia.
The curators of the festival express their deep gratitude to the artists and art collectives for their interest in the festival and high artistic and professional level of applications.
“Today we’re announcing the winners of our international CYFEST-13 open call. Thanks to all the artists who submitted their projects. It was not an easy choice by any means. We have assessed the applications against all relevant criteria. Many of the proposals are worthy of a separate exhibition. In addition to the conceptual framework, we paid attention to the possibility of adapting each project to the festival format. And, of course, when selecting artworks, we took into account how each artist reveals such a broad philosophical topic as Cosmos and Chaos.”
— Elena Gubanova, artist, co-curator of the CYFEST festival
This edition of the LASER series proposes to build on current artistic, anthropological, architectural and scientific research about forest ecosystems for enriching discussions about biodiversity and creativity. Forest agencies of humans and more-than-humans point to manifold affordances, combining their inner and outer workings to inhabit convergent worlds. The speakers will discuss the following topics: visualizing respect and memory of old-growth forests with high-definition video and stereoscopic technologies (Sujir and Zavagno), deciphering the inner network of tree sap flow functions with 3D microscopic imagery in periods of drought (Lourenço) as well as recent trends in architectural designs in Finland pointing to the resurgence of wood, a qualitative housing endeavour to kindle the senses (Howes).
Through the interplay of sensing bodies and technologies, Forests Drawing Close will be an encounter with conditions of proximity about tree relations, up close and afar.
This LASER edition is presented in the context of Hexagram’s 1st Interdisciplinary Summit Web Platform entitled Sympoietics : The Sharing of Agency and Autonomy. (https://rencontres.hexagram.ca/).
David Howes will discuss the implications of Finnish architect Juhanni Pallasmaa’s work – most notably The Eyes of the Skin: Architecture and the Senses (1996) – for the recent re-valorization, by architects and designers, of wood as a building material (formerly dismissed as a fire hazard and constructions made of it deemed “vernacular”). For a long time, humanity sought to domesticate or “manage” forests. Might this new trend in wooden architecture be a sign of forests drawing closer and sylvanizing us? This presentation complements Howes’ essay on Whole-Body Sensing: Encountering the Forest with Henry David Thoreau on Hexagram’s Sympoïétiques Web platform.
Hydraulic Architecture of Trees: Adjusting to Survive in a Changing World
Jehová Lourenço Jr will present the use of novel approaches such as laser microscopy for 3D imaging of cell structures and trait-based ecology in understanding how trees adjust their hydraulic architecture to cope with environmental constraints through time. Recent studies conducted with Jack Pine trees on celllevel adjustments and their effects on the safety and efficiency of water transport allow us to understand the outstanding growth performance of this species and its ability to withstand drought.
Walking in 3D Stereoscopic Forest Spaces (2016-ongoing)
Leila Sujir and Jorge Zavagno will talk about the development of a series of video projects focusing on the old-growth forests, collaboration with the community in their practice, and the possibilities brought by considering walking rather than seated viewers. The monumental scale of the video projections and the “elastic depth” of the 3D images render the work immersive, integrating the spectators’ corporal movements into its reception.
David Howes is a Professor of Anthropology at Concordia University, and an Adjunct Professor in the Faculty of Law at McGill University, Montreal. His teaching and research span many disciplines, including anthropology, art, law, architecture and marketing. He is a forceful proponent of the comparative method. David is a research member of Hexagram and he is currently directing a project entitled Explorations in Sensory Design.
Jehová Lourenço Jr is a Brazilian plant ecologist with expertise in the Atlantic rainforest ecosystem. His work and research provide new insights into how environmental change influences forest functioning. He is a Postdoctoral Research Fellow at the Centre d’étude de la forêt at UQAM. He was recently awarded a Newton International Fellowship by the British Royal Society.
Jorge Zavagno is a Concordia INDI Masters candidate in Intermedia Practices whose research focuses on the use of 3D and 360 video to encapsulate and narrate the decision-making processes of documentary filmmakers. With over ten years of experience as a post-production supervisor for documentary films, Jorge is part of the Elastic Spaces research group at Concordia as the technical director.
Leila Sujir is an artist, Associate Professor in Intermedia and Chair of the Studio Arts Department at Concordia University. Over the last thirty years, she has been building a body of video/video installation artworks exploring immigration, migration, nation and culture. Sujir is a founding member of Hexagram. Her works have been shown at the Museum of Modern Art in New York City and the Tate Gallery in England.
Presentation partners: Médiane Canada Research Chair in the Arts, Ecotechnologies of Practice and Climate Change and Hexagram Network.
Since September 2020, CYLAND Media Art Lab is the official representative of the LASER Talks project in Russia.
A free online game developed by a Goldsmiths, University of London MSc student led by senior researchers at the University of Oxford helps the public to understand how vaccines work on a global scale. The placement of the game was set up by Professor William Latham, CYFEST International Media Art Festival participant.
The Vaccination Game, which launched this month, challenges players to figure out how they can deploy limited doses of a vaccine to best control a disease modelled on influenza.
A virtual vaccine in the game is available in limited doses per week and the player has to decide who to vaccinate in each of the 99 cities worldwide that are part of the game. At the end of the campaign, the player receives a report as to how well they played the game and how many lives were saved by the vaccine.
The idea of developing a game was conceived by Professor Hal Drakesmith and colleagues at the MRC Weatherall Institute of Molecular Medicine in Oxford (MRC WIMM), who are part of a research network focussing on immunising babies and mothers to fight infections in low and middle-income countries. Following funding from, and in collaboration with the IMPRINT research network, they were able to begin development of the game in 2019.
Goldsmiths MSc student Giacomo Mazza took a summer work placement to work on coding for The Vaccination Game with the Analysis, Visualisation and Informatics group at Oxford which is led by Steve Taylor and based at MRC WIMM.
The placement was set up by Professor William Latham and Professor Frederic Fol Leymarie from Goldsmiths’ Department of Computing who have previously collaborated with Taylor and MRC WIMM on a number of DNA / RNA visualisation tools and scientific papers, including a recent VR 3D visualisation of Covid-19 with the University of York.
Managed by Richard Leinfellner, lecturer on the MSc Computer Games Programming at Goldsmiths, Giacomo has helped to produce a final version of the game based on mathematical models of how a virus spreads, and what effect a vaccine might have.
An exhibition of short time-based works
by more than 50 artists!
On-line, In Social VR, and In the Gallery
October 22nd – December 17th, 2020
Opening this Thursday, October 22nd, 4:00 – 7:00pm [PDT]
REGISTER HERE TO RECEIVE LINKS TO THE ON-LINE RECEPTION
Watch the works on our website: www.tttelematiccc.com
Curated by Clark Buckner and Carla Gannis
Featuring works by: Alfredo Salazar-Caro, Alicia Escott, Antonio Roberts, Auriea Harvey, Bayeté Ross Smith, Caroline Sinders, Christina Corfield, Clareese Hill, Claudia Hart, Danielle Siembieda, Darrin Martin, David Bayus, Faith Holland, Faiyaz Jafri, Gabriel Barcia-Colombo, Genevieve Quick, Gretta Louw, Hank Willis Thomas and Kambui Olujimi, Jakob Kudsk Steensen, Jamel Chapel AKA Jam No Peanut《MC 听不懂, James X Patterson, Jenifer Wofford, LaJuné McMillian, Laura Gillmore, Laura Hyunjhee Kim, Laura Splan, Leila Weefur, Liss Lafleur, Lorna Mills, Lynn Marie Kirby and James Kirby Rogers, Mads Lynnerup, Maggie Roberts [Orphan Drift], Mark Amerika, Mark Klink, Martina Menengon, Mary Flanagan, Minoosh (Raheleh) Zomorodinia, Mohsen Hazrati, Molly Soda, Noth (Qinyuan) Liu, Penelope Umbrico, Porpentine Charity Heartscape, R. Luke DuBois, Ranu Mukherjee [Orphan Drift], Rosa Menkman, Ruben Natal-San Miguel, Sean Capone, Shaghayegh Cyrous, shawné michaelain holloway, Sherie Weldon, Snow Yunxue Fu, Surabhi Saraf, Susan Silas, Tamiko Thiel, Tiare Ribeaux, Yuliya Lanina.
As an outgrowth of Carla Gannis’ wwwunderkammer, Telematic Media Arts is pleased to present, The Archive to Come, an exhibition – both on-line and in the gallery – of short time-based works that address questions of loss, memorialization, crisis, and re-invention, through the lens of contemporary networked culture and digital media.
The current crises we confront raise fundamental questions about what we value and want to preserve as we work to recover from their ravages and build for the future. How will we memorialize those whose lives have been lost? What could do justice to the fact that so many have died needlessly, as a result of government inaction and political maneuvering, or worse, as victims of racist terror and state violence? How can we redress the unequal distribution of suffering and work to dismantle systems of oppression? What histories demand to be foregrounded and what legacies should be left behind? What have we carried with us as we’ve withdrawn into isolation and emerged in protest? What are the sources of precariousness and resilience in our personal and collective constitutions? What kinds of work do we honor as essential? What do we need to preserve our sense of well-being? What novel modes being and relating have we developed to maintain our social connections? What do we hope for the future?
These are questions of the archive, which both founds and sustains the authority of discourses, institutions, and practices. They concern the construction of memory, knowledge, experience, and power; and they present themselves now, amidst these crises, as both problems and possibilities: revelations of the previously unconscious contradictions in our way of doing things, as well as opportunities to re-orient our attunement to the world.
Carla Gannis’ wwwunderkammer appeals to the 16th – Century “Cabinets of Curiosity” to consider the uncanny complications of grounded reality and virtual reality, nature and artifice, science and science fiction in contemporary digital culture, while building virtual worlds, founded upon de-colonizing, post-human, and feminist archives. The Archive to Come, accordingly, opens these concerns to consideration by a broad field of other artists, inviting them to construct archives of their own, to reflect upon the correlative issues of historical trauma and displacement, and to consider how the digitalization of memory has changed the experience of what we remember – indeed, memory and experience themselves?
Grounding is a cultural and educational program aimed at cultivating interdisciplinary interactions in the Art & Science community by means of artistic practices, laboratory research, and public discussions. We welcome artists, scientists, and students to participate in the open call. The public program includes an exhibition and educational events.
Artists, scientists, researchers, and students are invited to participate in collective Grounding, a process of sharing knowledge and exhibiting art projects that focus on soil in various contexts, from environmental to philosophical. Participation can take the forms of art projects, lectures, and workshops.
Based on the results of the open call, we will select up to 15 projects for a group exhibition at the Dokuchaev Central Museum of Soil in St. Petersburg. Completed artworks and unrealized projects alike are welcomed in open call. Selected workshops and lectures will be included in the educational program. We don’t restrict participants in the number of applications. For realization of their projects participants can use resources of ITMO university laboratories: of computer technologies, robototechnics, AI, advanced materials, biotechnology, photonics and others (full list).
The mission of Grounding is to build connections between contemporary art and traditional science. During the selection process, special attention will be given to the projects that connect with the scientific and historical exposition of the Museum with its glass cases, historical artefacts, soil profiles, and other objects. We also invite artists to think about possible ways to carefully interact with museum exhibits in their projects. Here we provide creative freedom with the only condition that the exhibit should remain intact.
Application deadline: until October 20 (inclusive)
Announcement of results: October 25
Opening of the exhibition: December 5 (World Soil Day)
Public Conversation on Learning/Education
SEPTEMBER 26/27, 2020
On behalf of the Post Pandemic Provocateurs (PPP) initiative we invite you to participate on September 26/27, 2020 in a special Public Conversation on the topic of Learning/Education.
Soh Yeong Roh (South Korea)
Fred Paulino (Brazil)
Adam Somlai-Fischer (Hungary)
Marcus Neustetter (South Africa/ Austria)
Jo Wei (China)
– will tell us about the current COVID 19 learning environment from they own local context.
They may not share disciplines, BUT they share the conviction that it is urgent to teach learning (beyond established curricula) such as eliminating racism and world?wide Xenophobia, but also how to learn to forget some social customs (e.g. handshakes) that help propagate COVID19.
PPP – Nina Czegledy, Roger Malina, Vania Negrete, Joel Slayton and Marcus Neustetter
The public conversation will be joined by a live participatory performance Whose Imaginary Future? by Marcus Neustetter and collaborators in South Africa with a call and response to one another from across space and within multiple artistic disciplines, supported by the imaginaryfutures.org <http://imaginaryfutures.org/> partners.
Timeline: Saturday September 27 1:00 AM Moscow Time
which is the same time in:
Saturday September 26 17:00 Dallas, Texas US & Mexico City. Mexico
Saturday September 26 18:00 Toronto, Canada
Saturday September 26 19:00 Belo Horizonte, Brazil
Sunday September 27 00:00 Budapest, Hungary & Johannesburg, South Africa
Sunday September 27 06:00 Beijing China
Sunday September 27 07:00 Seoul, South Korea
*Please note that for some in different time zones the date is extending to September 27
RSVP please: firstname.lastname@example.org
mailto:email@example.com> to receive the ZOOM link.
Leonardo/ISAST and the CYLAND MediaArtLab present the launch of Leonardo Art Science Evening Rendevous St. Petersburg in conjunction with the CYFEST 13 Festival theme Chaos and Cosmos. This LASER will present “out of this world” artists and scientists as a preview to the upcoming festival and Leonardo journal on Space Arts in English and Russian. The event is supported by UCLA Art|Sci Center as part of the Ars Electronica Festival.
The Cosmos above us and the touchscreen in front of us
Participants of this discussion — artists whose interest is addressed to the Cosmos, which is in long distance from our actual presence. In the artworks it is expressed in forms of object, installations with physical properties, perceived in real time, activated by action, or as performances requiring a live involvement.
After the continuous pause of forced seclusion we need and we want to fully return back to the physical world. There is one of the most desired answers how it will happen, taking to the account this worldwide shared Covid story hasn’t ended yet. Our constant activity didn’t reduce unlike air traffic and artistic nomad life. It has changed the dimension and turned from one to one into peer to peer exchange. Thanks to strong and stable internet connection, we continue to contact, communicate, cooperate.
Being three-dimensional human, we interact with a flat screen, which, as the Cosmos, may be considered as not fully explored and unexpected deep and infinity space. It may be a new source for concepts of the future with the scenario where we ever deeper dive in online. But what about the three-dimensional human body, its need and ability to perceive the world?In the form of dialogue and opinion exchange, we offer to discuss — What will happen with our need for a living tangible experience in the future? How may change the encounters of viewers with art? What role lay on physical characteristics of the artwork, materials from which it was created and its perception? What role allotted to the physical, sensorial, perceptible aspects of artwork?
The Leonardo/ISAST LASERs are a program of international gatherings that bring artists, scientists, humanists and technologists together for informal presentations, performances and conversations with the wider public. The mission of the LASERs is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building.
Since the 1980s, the Russian Museum has gratefully acknowledged the contribution of donors in new acquisitions exhibitions, annual reports and publications. However, the museum has never shown to the viewers the artworks donated from the moment of its foundation till the end of the twentieth century.
To mark the 125th anniversary of the Russian Museum, such an exhibition is shown in all of its palaces, bringing together items of different epochs and donors, including the imperial family (Alexander III, Nicholas II, Grand Dukes), famous patrons of the arts (M. K. Tenisheva, D. N. Tolstoy, V. N. Argutinsky-Dolgorukov and many others), artists (I. E. Repin, V. A. Serov, I. I. Shishkin and others).
We are pleased to announce that the works «Garden of Malevich» (1992) by Elena Gubanova, Ivan Govorkov, Alexey Kostroma and «Acrobatic Sketch» (2012) by Victoria Ilyushkina and Maria Popova became part of the exposition in the Marble Palace.
The Marble Palace exhibition includes works of 1960-1980s, the authors of which, as a rule, worked in the direction oppositional to official Soviet art. A significant section of the exhibition introduces masterpieces of Russian contemporary art of the late XX — early XXI century. These works reflect the nature of the Russian Museum contemporary art collection and give an idea of the principles of its formation. Most of the works, donated in recent years, are shown for the first time.
The open competition was announced in April 2020. Its purpose is to support Russian and international sound artists during the pandemic, and also to study the processes taking place in the art world under quarantine, to take a look at the work going on in self-organized home “workshops” all over the world.
Over 140 applications were received from 75 authors from Russia, France, Finland, Sweden, Switzerland, Israel, India, the USA and Germany. All competition works are available online under the tag #oneononecyland on our SoundCloud channel. An album will be released, with the first part containing works from the competition short list, and the second featuring the work by the winner.
«We are eternally gratefully to the all sound artists who responded to our request to share the sound of their quarantine, their response to the pandemic, and simply the way that musicians are passing the time in these somewhat unusual conditions.
We examined 50 works in more detail, from which we painstakingly selected 80 minutes of material. We were very pleased to see that the participants used a wide spectrum of sound and took diverse approaches. We have completed work on compiling an album in two parts, the first part featuring 17 works by different authors, and the second containing a full sound statement, and we are ready to announce the winners!» — Sergey Komarov, curator
Over 130 applications were received for the open international competition from artists and groups from Brazil, Finland, Israel, France, Australia, the USA, the UK, Norway, Luxembourg, Argentina, Columbia, the Netherlands, Mexico, Japan, Canada, Russia and other countries.
Digital video works accepted for the competition ranged from web-based, generative art and GIF to augmented reality, VR, AI, 3D modeling and neural network art.
The open competition was announced by CYLAND media lab in April 2020. The projects that made the short and long list will be shown at Cyfest-13, which will be held in St Petersburg, Russia, in the first quarter of 2021.
Video program curator – Viсtoria Ilyushkina.
CYLAND Media Lab would like to announce and congratulate the winners that made the shortlist of the video competition.
shared between two applicants – 500 + 500 USD
Francesca Fini (Italy), /S)CONFINAMENTO — first chapter, 2020
Francesca Fini created the performance project /S)CONFINAMENTO to show the city of Rome where life came to a halt under quarantine, by broadcasting the signal from security cameras. In the silent emptiness, these short fleeting lives, these lonely adventures in the closed city are narrative elements of an antiutopian story. With the software she developed, the artist transforms the tiniest movements into a unique sound performance and graphic visualization, and returns this digital stream to the web.
Aristarkh Chernyshev (Russia), Dystopia #02, 2018
Dystopia #02 is a critical project about the radical shift of concepts of consumption and post-consumption in modern society. The anti-aesthetics of garbage dumps and eternal urban renovations enter our lives and become part of everyday reality. This creates a feeling of apocalyptic “eternal timelessness”.
Second prize — 500 USD
Boris Shershenkov (Russia), Etheroforming, 2020
VR documentation of an experiment to discover the human impact on the etheric force, continuing the experiments by Thomas Edison. Test generators of pure signals are transmitted to a channel that contains the imprint of a historical layer of media.
Third prize — 500 USD
Fay Heady (Japan), OTAKU BOI, 2019
Otaku Boi is the chaos of a gamer’s life who migrates between the real and virtual worlds, conveyed by a synthesis of performance, computer chiptune music, animation and scenography.
Special prize — 250 USD
TONOPTIK (Yuriy Tolstoguzov, Alex Inkov) (Russia), ZEN, 2019
In this work, the Tonoptik group develops the idea of Nam June Paik and his work “Zen for film” (1962). The artists studied emptiness using tools of minimalism, comparing the perfection of mathematical objects and the imperfection of their analogous 3-D generation and perception by humans.