la performance, video
Des efforts constants, plusieurs fois supérieurs au résultat, m'ont provoqué à créer le travail F=mg. Le but de l'action performative était de collecter une pyramide de cubes. Un ensemble de cubes de 5 couleurs en taille 10 par 10 centimètres est destiné à développer le jeu aux enfants à partir de 6 mois. Dans l'espace de la galerie pour cette tâche simple, j'utilise un chariot élévateur pesant 4 tonnes. Au cours de cette action, j'ai reçu une intoxication aiguë par les gaz d'échappement (empoisonnements d'un degré facile ont reçu deux personnes de plus), cassé par le mur et recueilli seulement 7 blocs, 3 sur 10 ont été écrasés.
F=mg — c'est la formule pour trouver la force, où F — est la force de gravité, m — est la masse du corps, g — est l'accélération due à la gravité.
LA RAIE VERTE
Le marquage routier informe les citadins sur l'ordre de déplacement, attire l'attention, avertit du danger. Les frottages sont les points faibles de la ville. Un espace est une vulnérabilité. Dans la ville où Olga Rozanova a vécu et travaillé, il y a peu de gens qui connaissent son travail, il y a peu d'endroits de son activité, désignés sur les routes touristiques. Le tableau le plus célèbre de Rozanova est La Raie verte - l'une des œuvres les plus significatives de l'avant-garde russe. Mon La Raie verte est une tentative de guérir cette ville.
Sur le chemin de la maison Rozanova (Vladimir, rue Muzeynaya, 10) au lieu du Festival d'Actual Arts Art Sujet (Vladimir, rue Sakko et Vanzetti, 50), j'ai peint tous les endroits de la route en verte, où le marquage orienté piéton a été effacé
Les moulages en plâtre sont retirés des meubles qui composent l'atmosphère d'une maison. Leur emplacement dans l'espace correspond entièrement aux coordonnées réelles des détails intérieurs dans le cadre résidentiel.
La taille de l'installation varie.
OLYMPIADE, LE ROUGE à lèvres de la mère, slip de papa, un, deux, trois!
The title of the work duplicates the name of a children´s game, the aim of which is to get over the tangled rubber band without touching it. "The Olympics,
mom's lipstick, dad's underwear, one, two, three!"* — is a counting rhyme, during which the two leads while holding the rubber band in their hands, tangle it and freeze in the resulting pose. Objects are made of rebar and repeat the possible variations of game figures that the player or players need to overcome.
Objects are made of rebars and imitate possible shapes of the game figures.
To play one needs a rubber band with a length of about five meters. More than three people should be playing. It is best to play on the street. The game is suitable for children from six years.
1. The first player takes a rubber band with two hands, without squeezing it. The second player takes the band with one hand on the other end, and the other takes the band between the hands of the first player and moves a few steps away. So two players stand opposite each other at a distance of one and a half to two meters
with a tight rubber band, crossed over as an "eight" or a "bow".
2. Players say: "The Olympics, mom's lipstick, dad's underwear, one, two, three!"*.
3. At the words "one, two, three!" players, without releasing the rubber from their hands, tangle it and freeze in the resulting pose. You are allowed to put your feet on the rubber band, you are allowed to raise one arm and lower another — the main thing is to get the more sophisticated "spider web".
4. The goal of other players is to climb (jump, crawl) over the "spider web" without touching the band.
5. The one who touches the band, is a loser and takes the place of the one holding the rubber band. You can play in two-person teams. In this case, one pair holds the rubber band, two players of the other team try to climb over it, if someone from the team touched the band, the team is a loser, and swtches places with the team that holds the rubber band.
* Versions of the rhymes:
Mickey Mouse loves sausage – stop!
Mickey, Mickey Mouse, Santa Claus, Donald Duck, do like this!
Olympics, eat three poisons and choke!
The objects are made of reinforcement and completely repeat possible options of contours of the rubber, which must be overcome.
Creation as a method of survival and living day by day.
It's 366 days, during neither one of which I was able to change the course of things.
On the table with a white tablecloth 366 dumplings are placed.
366 times one needs to admit their weakness to create.
On the round table with a white tablecloth stands a pyramid of gypsum dumplings. At the opening the visitors were offered dumplings, inside of which was dough instead of stuffing. The work is in Switzerland in a private collectio.
Time-based object on the impossibility of clear communication. The conversation about the inequation of the spoken and the understood, exactly as the signifier and the signified, on the loss of information, about the insurmountable difference of the positions of an addressee and an addresser. The core of the installation — is a fence made of boards, which on one side contains the author´s record, stylistically similar to the fragments of Plato's Dialogues, on the other — only markers and potency to the dialogue.
The utterance of the relevance asserts its existence. To be understood means to exist.
BORN TO BURN UP
Burning matches one by one where a single movement provokes an arson and tilting at a distance – is one of the meaningless time-spending practices. In this work I am interested in the form of procrastination caused by the conflict of ambition and fear of failure, desire for action and apathy. The inscription on each match reveals the intention of a useful activity, but burning one of them is not accompanied by the process of ignition.
The burning of matches as a kind of purposeless leisure has ceased to exist, along with the matches that went out of use. So, in Born to burn up subject, object and medium, the signified and the signifier converge at one point.
Born to burn up is an installation of matches burned of varying degrees, each of which have the inscription "Я буду зажигать" ("I will light up"). The mass of matches occupies the space allotted to them, they completely cover the floor.
time-based object, text
The body is a work about the transience of touching, both physical and mental. This time-based object represents the female body. Its contours are smoothed and unified, but contain the characteristic facial features and shapes, in which author is easily recognizable. Thus, the author cancels the opposition of the "General — particular" and goes on to the opposition of "public — private". Each visitor may touch the body, removing the surface coating of the pigment, changing the structure and appearance.
Part of the work is also the text on the form, its choice and significance.
RADIO OF SILENCE
"Radio of silence" is a growing library of double-channel audio tracks that reproduce the background sound.
60-minute recordings represent the response of the empty spaces to the presence occurring in them.
The Genius loci of the state archive, radio studio, sewing workshop, cemeteries, greenhouse, dance hall, library, museum, house, cinema, town square, monastery.
WHOLE LIFE BEFORE MY EYES
If I trip and fall down these stairs, my fall will last 1-2 seconds. I have a dolichocranic configuration of the skull, this means that there will be no injuries in the cervical spine, only the bones of the cranial vault will be damaged. With the fracture in the confluence of sinuses, I will have time to see my whole life before my eyes, captured by a camera of my iPhone. The fall of the device from the same height onto a hard surface will lead to the damaged case. My iPhone has 7 layers in the motherboard. Damaged inner layers will make any further operation impossible.
Sedova — is a utopia-project. I was born on this street and spent my childhood there. This geographical area that has the exact coordinates, moved into the category of space fantasy, its existence in time and space stopped, was preserved. At that time it seemed to me that all dreams can be realized and all the inhabitants of this street loved me and strawberry ice cream. Keeping this view about the space where everything is in harmony, I collect all the buildings on all the Sedova streets in different cities as the utopian city of my childhood, where people understand each other without words and eat the same ice cream.
Plan, layout, interactive map of the city contain copies of all the Sedova streets in our country and abroad, recorded by Google maps and Yandex maps. Little paper houses are striving to the draft of the city in order to take their place in this project, but the city remains a fantasy non-place.
I'M DANCING AND LOOKING INSIDE MYSELF, AND I SEE, HOW I'M DANCING AND LOOKING INSIDE MYSELF, AND I SEE...
Two screens are facing each other: on the first one — an outline of the dancer, on the second – a close-up of their face. So, the viewer gets into the position of choice, either to observe the actual action or the reflected one, the whole or the part. Thus, the artist, based on the thesis that a dance is a discovery of yourself, turns inside out the look of a dancer to the inside, interpreting the situation as "I'm dancing, and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see, how I´m dancing and looking inside myself, and I see...
THE IDENTITY OF THE VISIBLE. Anya Lyalina. Masha Molokova
We put the photos of our apartments in small utility stereo boxes. Inside they live their life, without merging into one image when you look at them, but creating a new everyday and typical picture.
Random details of this project become the primary elements of the public. We were united in this project into the mechanism, where the object of shooting is determined by the everyday environment of everyone, and the photos are selected due to the similarity of the objects and their shooting to produce a "binary" view of the collective living space of the house. The fragmentation and displacement of the focal length used by us forces the viewer to recognize and "to finish", construct the images. Thus the viewer is involved, he/she complements the proposed reality and extends the collective household space.
DO YOU FEEL HOW THE HEAT IS LEAVING MY FACE?
video, time-based object
Rituals are designed to separate the stay in the spheres of the profane and the sacred. The transition from one state to another is impossible without the cult and magic phrase structures or objects. One of the most effective tools of this transition was a mask. Covering one's face under it signifies a symbolic death. Going through the ritual, the representative of the traditional community temporarily "dies" for the outside world and "resurrects" in a new role, often with a new name and entity.
The phenomenon of the mask is multifaceted, but its fundamental principle — a symbol of a stay in the region of death, to which Roland Barthes referred the photograph. Following the impossibility of the reviewer, spectrum, imprinted and immutable, one goes beyond their limits, the photo as the death mask, constitutes the death of the image object. I am going through a transitional ritual of a symbolic death and resurrection. Gypsum allows me to access thermoperception and to provide a tangible time-based object.
"Do you feel how the heat is leaving my face?" represents a full cycle of the mask creation from manufacturing of the cast on the video representation to cooling the gypsum here and now. This allows me to involve the viewer in the process as a witness, an observer.
Do you feel how the heat is leaving my face?
@ Anya Lyalina, 2018
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