CYFEST-12: ID. The International media art festival
Video Media Art: Personal Identity
CYFEST-12: ID premieres December 13th at the renowned Made in NY Media Center BY IFP. The inaugural event will set in motion it’s year-long, multi-city festival; geared towards exhibiting new media work which explores the dynamics of identity in our ever-expanding digital culture; focusing on levels of tech:intimacy, self augmentation, identity health, and technological personas at large.
CYFEST has joined forces with Rome-based curator Valentino Catricalà, of Rome Media Art Festival (MAXXI Museum), and Carla Gannis, Assistant Chairperson of Digital Arts at Pratt, to bring a thematic three-part video program to IFP. The video art program will include a video screening organized by Cyland’s video curator, Victoria Ilyushkina, a large scale multi-channel video installation by esteemed video artist, Daniele Puppi, and a video installation created by Pratt Digital Arts MFA students.
30 John Street DUMBO, Brooklyn, NY 11201
Thursday, December 13th 6pm- 10pm
On view: December 13th -31st
CYFEST-12: ID. THE INTERNATIONAL MEDIA ART FESTIVAL
Portrait genre at birth was a way to depict a person in a best moment of his life — at the apogee of his maturity, power, deeds. Today everyone can have numerous portraits as long as he has a gadget with internet access. Fascinated Narcissus stares at the device and sees an unsteady figure on a screen. Swiping left and right he chooses his reflection for today.
One can compile an endless selfportrait gallery of avatars for all occasions. Figures could be a bit adjusted or transformed beyond recognititon. Existence splits into multitude accounts in all forms of virtual communication with world (from Facebook, WarCraft, Uber to email client and bank account). ID floats between virtual and real, fictional and truthful, body and item.
In this regard device has got an ID and provides keeping person’s ID at the same time. ID makes unknown known, named, atributed. ID authorisation provides access and prevents outsiders’ entering. Login and password are a lock and a picklock. ID is a polysemantic term — from psychoanalysis to identity documents. We wonder what represents ID in the world of people and things, what additional meanings emerge during their interaction and what they lead us to.
DIGITAL MEDIA SCREENING : PERSONAL IDENTITY
CYLAND VIDEO CURATOR: VICTORIA ILYUSHKINA
Di Hu – Urban sculptures (2017, China)
The technological progress of recent years has strengthened the ties between humanity and technology, machines and artificial intellect, and made the interaction between organic and synthetic life more intimate.
People and machines learn from each other with the help of neural networks. People’s consciousness undergoes certain changes. They develop a different outlook on the notions of life and death, moral problems of scientific experiments, territorial and virtual boundaries, tracking sysscsctems and total digital control. Personalities surrounded by a mirror cube of social networks hide behind their avatars and continue to exist in their accounts even after death. If you are absent from social networks, does it mean that no one knows about your existence, or is it a way of avoiding media control? The preservation of memory and transfer of information onto a digital database, and the fast development of artificial intellect and its humanization makes us face the inevitable question of personality identification. Who are we What is our future going to be like? This program is dedicated to a contemplation of these problems by contemporary artists.
Emma Bayer – Incorporeal (2018, Russia)
This video presents a dialogue between an experiment participant IJWL80 and a scientist from a biotech laboratory after the completion of Phase 1 of the experiment — copying consciousness and creating an archive of memory of the elderly person with Alzheimer’s disease. The interview is based on a medical assessment. IJWL80 remembers all biographical details and enjoys scenes of his life that could be lost due to the disease. This video raises the issue of merging a machine and a human being and their mutual influence. The work suggests considering controversial and unresolved questions: the cost of technology and its commercialization, the new perception of death and mortality, the problem of ethical experiment.
Masha Godovannaya – Laika. The last flight (2017, Russia)
Laika was the first dog which the Russians successfully sent into the Earth’s orbit. One of the many Soviet space-dogs, the first astronauts, who paid with their lives for humankind conquering Space. This film is a letter from the dead dog. Its haunted spirit re-tells the story of her heroic deeds and martyrdom. The letter is not a call for a revenge or restitution, it’s rather a document of a life, one of many lives that were considered “disposable” by the well-known human strategies of conquest and domination.
Mascha Danzis – Saint nicknames (2018, Germany)
Industrialization, technological progress and morality make possible such unusual forms of self-realization as “reborn” or motherhood. Our connection with technology is growing more and more intimate, Youtube collects new practices of self-display and provides access to this unknown reality. The artist explores the phenomenon of manifestation of ideal motherhood where a “reborn” – an artificial baby-doll is brought to life with the help of a video blog on Youtube. The light, the color of clothes, the characters’ poses and their movements are taken from the canvasses of Michelangelo and Da Vinci.
Gioula Papadopoulou – Fall (2018, Greece)
This allegorical portrait, created by editing older footage for the exhibition “Coming of age” (Athens, Greece) and it synopsizes in a symbolic way the harsh and tough side of growing old : a series of falls, which rhythmically thicken as the video progresses, refer conceptually to hits and consequently wounds. Our personal identity is “sculptured” by all these falls.
Summer McCorkle – Psychogeography (2018, USA)
“Psychogeography” is a stream of conscious narrative touching on time, geography and memory that weaves in and out over images of landscapes, water and woods. The narrator reflects on how each landscape acts as a memory trigger for other places she’s been, other times in her life. As the setting and narration shift, our perspective of nature as healer and sanctuary change to a backdrop where our deepest fears and anxieties are played out.
Mahta Hosseini – Where ever I am, let me be; the sky is mine (2018, Iran)
In this video performance by Mahta Hosseini, she is like an immigrant who starts to walk away from her hometown Tehran. She is wearing a mirrored backpack depicting the same sky all the way. The sky is very much like humanity and human souls as both cannot be limited by the territorial borders and walls being built every day between people. The artist depicts Sohrab Sepehri’s poem of the same name with a poetic vision.
Citron / Lunardi (Selene Citron and Luca Lunardi) – Back up my memories (2018)
Back up my memories is a reflection on the disquieting perspectives offered by cryopreservation. Can memories be frozen before death to be defrosted in the near future thanks to new scientific discoveries? Back up my memories is about the fear of losing memory and therefore of dying. Recovering memories means to long for immortality. And certainly, the more we are connected to machines that will keep us alive, the more we will be imprisoned inside a global crystalline structure of data, information and technology from which we will no longer be able to separate ourselves as it could mean accepting death.
Necko (Juan Manuel Carrillo Rosales) – RANDOM / Part of Transhumanity Project (2018, Spain)
Times of confusion and confused visual and sound stimulations that are difficult to process. Confused and stunned brains. Lives agitated by data, images, sounds, concepts and perceptions drowned in a sea of inputs for which we are not designed. Temporal, changing and manipulated reasoning and mental schemes. Lives full of chaotic information disturb our judgment. What are we? Where do we go? What do we believe in? Are we so arrogant as to believe that the bombardment of information does not affect us? Do we have our own criteria or do we just repeat what we are injected with a flow of information impossible to process? RANDOM represents that chaotic relationship between technology and being the chaos that our life has become.
Search for sensations close to confusion, stunning, saturation and vulnerability.
Di Hu – Urban sculptures (2017, China)
The surveillance camera and the smartphone, one is passive and the other is active, represent two types of societies, disciplinary society and society of control as described by Gilles Deleuze. Today, people can do anything in China with a smartphone in hand, including making payments via services like Wechat or Alipay in even the most unimaginable places and situations. A smartphone contains a whole life and has become life itself.
Marisa Benito – Ductiles (2018, Spain)
The image of women has been used and molded to the taste of the societies and historical events of each era generating visual codes and stereotypes: the working woman, the mother, the housewife, the muse, the sexual object, etcetera. These models have been filtered in one way or another from strata of masculine power that have used them, introducing at the same time different norms of ethical and moral behavior, assigning functions and specific spaces. The utility of women was thus subjugated to the service of man and family without promoting their autonomy and personal growth as an individual.
Virgina Lee Montgomery – CUT COPY SPHINX (2018, USA)
CUT COPY SPHINX is a surreal, sculptural short art-film about metaphysics, myth, and destruction. A feminist twist on the classical myth of Oedipus and the Sphinx, CUT COPY SPHINX recasts the sphinx as the uncanny hero who endures ‘cuts’ across time. SPHINX is a historic and often-copied 18th century garden sculpture of Madame de Pompadour, a controversial member of the century French court who served as politician, arts advocate, and chief mistress to King Louis XV. Both the film’s conceptual conceit and choreographic action explore themes of reproduction, destruction, power, and ambiguity.
Joe Hambleton – Stasis in Flux (2018, Canada)
Stasis in an experimentation of animation’s potential to mimic the real. Artist began by building a functional zoetrope within 3D space to test if persistence of vision is replicated accurately. From this experiment, he realized 3D animations potential to go beyond the physical limits of the real, allowing him to coordinate movements between both the camera and the zoetrope to replicate much more advanced cinematic techniques. The result is a carefully choreographed animation that represents the ebb and flow of the creative process.
Bram Lattré – Il muro cattivo (2016, Belgium)
It is based on the civil code of Belgium, in which lies the origin of the common walls, and all its societal implications. The docufiction shows a critical approach of a traditional living culture and its accompanying urban structure. It investigates in an ironical way the relation between space, living conditions and people’s habits.
Yanina Chernykh – Cap of Invisibility (2017, Russia)
A poetic film about a desire to hide and an attempt to find weak links and blind spots of reality in the world permeated by numerous ties.
Vladimir Abikh – God with us (2018, Russia)
The work is a video documentation of the experiment of communicating two smartphones. In the course of which they translate to each other the word “we are Russians, god is with us” from Russian into English and vice versa. The work has no video editing or other interference from the author.
Elena Artemenko – Game (2018, Russia)
There are three persons on the playground, each of which use own semiotic system (the nursery rhymes, the body language and “adult’s” verbal cliché). Each of performers creates their own game and rules of interaction with the space.
DVENEODNA – How and What I remember (2018, Russia)
Folders with photos turn into a portal which connects memories with what happened in our lives. An imaginary heroine is leafing through her photo folders. But what she sees is not the photos themselves but the feelings they evoke which are revealed by the tone of the image (white, grey or black). She doesn’t know how to master her judgmental thinking: whether to delete all the negative memories or to preserve them carefully, together with rest, as part of her personality.
Reza Masoud – Everything is under control (2018, Iran)
The artist is talking to himself to make sense of his personal situation and is trying to frame his identity and to take control of his life. Even though there are many things that seem not to be working towards his comfort, as well as much distress from the outside, and a feeling of loneliness and confusion. The artist is asking to what extent it is even possible to take control of his life and shape his identity by himself rather than let it get shaped from the outside.
Marina Blinova – Who is the player? (2018, Russia)
A mini-film made in Minecraft (“creativity” mode). We can hear the main character’s inner monologue. Torn away from his past and unable to make sense of the world around him he questions his own identity, the reality of things happening and his consciousness. We see the level of perception of a certain “streamer” who is possibly controlling our character in the game. Are the personalities of the player and the character the same? Who is the player? Whose monologue is it? Of a person who has lost his memory or is it an artificial intellect who acquired consciousness in the game, or is it just the stream of thoughts of the film’s creator?
Made in compliance with the brand use rules. The product has not been issued or approved by Minecraft. For non-commercial use.
Nataliya Lyakh – Untitled 2 (2017, Russia)
The collective unconscious exerts overwhelming influence on the minds of individuals. These effects of course vary widely, since they involve virtually every emotion and situation” Our emotions alike bursting bubbles – are they personally ours?
PRATT DIGITAL ARTS MFA STUDENTS VIDEO INSTALLATION
CURATED BY: CARLA GANNIS
Designed to explore the genetic and memetic evolution, devolution, and re-evolution of the human consciousness. These topics, represented by three interconnecting 45-second animated loops, combine to tell a story about our collective personhood.
Our personal identities are predicated not only on our biological origins but also on the stories we tell about them. This fact forms the intellectual basis of this piece – telling the story of life on earth from primordial soup to the first hominid. This is an origin story, represented in a 45-second hand drawn animation in black and white. Through surrealistic interpretations of an evolutionary cycle the artists seek to provide perspective on the atavistic tendencies encoded in many forms of contemporary culture.
The body, which is the very basic element of recognition, is now going through processes of deformation and re-assemblage. This is an effort to implement a new definition for human identity, concentrating on the eagerness of human beings to differentiate themselves from nature and thus denying the process of evolution, and at times deconstructing systems that have been in place for millennia.
With current limitations to the ways we can augment ourselves in reality, we see people’s online identities become a space for manifesting the wilder sides of their optimal identity. But in a tangible future, we will be able to manifest these extensions, pulling our idealistic identities from nature, technology, and other humans in order to create ideal forms. An unrestrained evolution from individual free will can overtake natural selection, as we rapidly prototype and iterate our own identities constantly re-evolving in the process.
PSYCHEDELIC LOCK BY DANIELE PUPPI
VIDEO INSTALLATION, 2016
CURATED BY VALENTINO CATRICALÀ
Psychedelic Lock (2016)
Two enjoined led monitors appear in a space defined by two angular walls.
An image is passed instantly from one monitor to the other accompanied by a forceful rhythmic sound both sustained and hypnotic.
In the passage from one dimension to the other the image projected acquires a double physicality, thus defining the very space between the two dimensions – the architectural (physical) and the extreme limitations of movement.
In the juncture between the two monitors, passing from one temporal dimension to another, a new image, a new space for perception is created establishing a relationship between two distant realities.
A sort of “door” which offers similar stories of two diverse periods in time to coexist.
ABOUT THE ARTIST
Daniele Puppi has been defined by some critics as an artist outside the canon, and most of all outside the language and formula of contemporary art, since his debut in 1996 with Fatica no.1, a site-specific audiovisual installation, he has been working to unhinge the idea of space that is still perceived and revolves around Euclidean parameters.
With an emphasis on video installation, he has manifested a new attitude towards this medium, emphasizing and radically subverting the use of sound and visual-architectonic reconfigurations that always reinvents itself. A totally new, alien perspective.
Puppi conceives of his work as authentic “works in regress”, which come into being after a long period of gestation spent inside the spaces. The artist experiences the environment and establishes an almost carnal relationship with it, assessing its limits and its potential.
The technologies used – video projectors, synchronizers, amplifiers, subwoofers, speakers and microphones – serve to activate and amplify our powers of perception, especially our visual and auditory ones. An integral part of the work, the viewer is called upon to enter a new and de-familiarized spatial and sensory dimension.
His most important solo exhibitions include: Respira (Galleria Borghese, Rome 2017); Gotham Prize (Italian Cultural Institute, New York, 2015); 432 Hertz (Australian Experimental Art Foundation, Adelaide, 2013); Happy Moms (MAXXI, Rome, 2013); Bast (MAGAZZINO, Rome, 2013); Fatica n. 23 (Galleria Nazionale, Rome, 2010); Fatica n. 16 (HangarBicocca, Milan, 2008).
ABOUT THE CURATOR
Valentino Catricalà (Ph.D) is a scholar and contemporary art curator specialised in the analysis of the relationship of artists with new technologies and media. He is currently the artistic director of the Rome Media Art Festival (MAXXI Museum), Art Project coordinator at Fondazione Mondo Digitale and curator of the Kunstraum Goethe (the art space of the Goethe institut Rom). Valentino is currently teaching at Rome Fine Arts Academy.
CYFEST is one of the largest international media art festivals, it was founded in St. Petersburg in 2007 by independent artists and curators. The festival promotes the emergence of new forms of art and high technology interactions, developing professional connections between artists, curators, engineers and programmers around the world and exposing wide audiences to the works in the field of robotics, video art, sound art and net art.