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Ivan Karpov (Russia), Fine Body, Audiovisual object; Author’s hydroponic system with a liv


November 14-20, 2022



ASU MIX Center

50 North Centennial Way, Mesa, Arizona

Hours: 10:00 am – 5:00 pm, Mon-Sun

Admission free



Philipp Avetisov

Vasilii Bakanov

Alexander Bochkov

Alexandra Dementieva

Anna Frants

Ivan Govorkov

Alexey Grachev

Elena Gubanova

Ivan Karpov


Sergey Komarov

Alexandra Lerman

Oleg Malenok

Andrew Strokov



Anna Frants, Elena Gubanova, Lydia Griaznova




November 18 — Exhibition presentation 


November 19 — Opening of Emerge: A Festival of Futures


Workshops by СYLAND’s artists and engineers Alexander Bochkov, Sergey Komarov, and Philipp Avetisov on creative use of LiDAR, found tapes, and experimental video and sound mixing.


Performance by ​​Alexey Grachev, Alexander Bochkov, and Sergey Komarov, Symphony for bicycles.


LASER Talk ASU-CYLAND: Fermentation featuring Anne Marie Maes, Jenny Strickland, Sara El-Sayed, and Natalia Kolodzei. Watch video

Снимок экрана 2022-11-13 в 01.43.01.png

CYLAND Media Art Lab, in partnership with Arizona State University, the Mesa Arts Center, the City of Mesa, and Leonardo ISAST present CYFEST-14: Ferment. 


CYFEST-14 is collaborating with Emerge: A Festival of Futures, and extends its program with a 7-day thematic media art exhibition, interdisciplinary workshops on creative use of technologies, experimental video and sound mixing, and a LASER Talk ASU-CYLAND online discussion featuring Anne Marie Maes, Jenny Strickland, Sara El-Sayed, and Natalia Kolodzei. 


CYFEST-14: Ferment Arizona showcases works of thirteen artists, most of them developed out of CYLAND’s long-term collaborative programs to demonstrate how meaningful art can be to communicate complex stories while bringing forth deeper connection and understanding to our hybrid “fermented” environments. Some of these artworks are on loan from the Kolodzei Art Foundation and provided specifically for the exhibition.


CYFEST, one of the biggest international media art festivals in Eastern Europe, was founded by a group of independent artists and curators in 2007. Since its inception, CYFEST’s main concerns have been to examine the dialogue between new and traditional visual languages and to show technological achievements via artistic transformation. CYFEST unites art professionals, artists, curators, educators and thinkers, programmers, engineers, and media activists all over the world, and expands contemporary art, intertwining it with various disciplines of science and technology.


CYFEST is one of the world’s few nomadic cultural events: in 2022 festival projects will be shown in Yerevan, Armenia; Dartington, UK; and Arizona and New York, USA. The program includes exhibitions, video art screenings, and a series of performances and educational meetings. The theme of the festival in 2022 is Ferment.


The works in the CYFEST’s international festival’s program demonstrate a wide range of cultural, scientific, ethical and aesthetic concepts of fermentation as a process of change for the living and the dead, color and smell, sounds and impressions.


The exhibition is supported by One Market Data.


CYLAND is a nonprofit organization founded in 2007 by independent artists and curators. For over 13 years, CYLAND has been dedicated to supporting the production and exhibition of New Media Art. We promote the emergence of new forms of art and high technology interactions, develop professional connections between artists, curators, engineers and programmers around the world and expose wide audiences to works in the field of robotics, video art, sound art and net art. Emerging or established, local or international, our selected artists are provided with resources, from technicians to equipment and professional development. Over the years, CYLAND has held the annual CYFEST, organizing and participating in various exhibition projects around the world, working on sound and video art archives.


The Kolodzei Art Foundation, a 501(c)(3) US-based non-profit corporation founded in 1991, arranges art exhibitions in museums, universities and cultural centers throughout the United States and Europe. Its Board of Directors includes distinguished business, diplomatic and cultural figures in US-European relations. The Kolodzei Art Foundation also arranges cultural exchanges and publishes books on art. 


Leonardo/ISAST LASER Talks are a program of international gatherings that bring together artists, scientists, humanists and technologists for informal presentations, performances and conversations with the wider public. The mission of LASER is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building. In September 2020, CYLAND Media Art Lab became the official representative of Leonardo/ISAST LASER Talks.




Fermentation as a natural process might be an entry point in seeking new approaches to perceive the world and to devise alternative attitudes of how to live here differently. To be able to respect life as it is and share the world with others seems to be an essential feature and an ongoing training process in an ever-changing world. Sometimes a radical step will not be another leap in progress made in a blink of the eye, but will take place extremely slowly, with a long-standing accumulation of energy. Where there was once a sharply-focused vision with a well-planned horizon of the future, there will be a wide-angle observation of ways to exist “other than me” — planetary, existentially, organically.


We are inevitably part of the world of many forms and ways of lives, despite how individual and separated our own life might feel sometimes. How could we be conscious and responsible actors in this process? Art might not provide straightforward and exact answers, but it may offer some clues about the directions where these answers could be located.


Anna Frants, Artist, Curator, Founder of CYLAND Media Art Lab

Lydia Griaznova, Curator, CYLAND Media Art Lab



Vasilii Bakanov and Andrew Strokov

Slow burning. Still Life

Installation, 2020 (edition of 2021)


OpenCV, Python, Arduino; 3x black box (thermally insulated), heaters, temperature and humidity sensor, HD webcam, flood light, DIN rail, microcontroller modules, Raspberry PI, Korg Monotron Delay, fruits

Engineers Andrew Strokov, Alexey Grachev, Alexander Bochkov; 3D modeling Alexander Bochkov; Python programming Andrew Strokov

Supported by CYLAND Media Art Lab


Three fruits on pedestals are contained inside a black box. In artificially created and regularly maintained conditions, the fruits pass through three chemical reactions — caramelization, the Maillard reaction and enzymatic browning. Usually, these processes take place within minutes in cooking. Here they are intentionally prolonged in time. Inside the box constant humidity and a temperature of 60 degrees Celsius are maintained, thus killing bacteria which cause decay. In ideal and constantly controlled conditions, the fruits preserve their form, and burn up inside from day to day at the lowest possible speed.


Visitors can observe the slowly burning still life by watching it in real-time on the video panel placed on the boxes. But the main activity remains hidden and takes place at the molecular level. Its tangible manifestation is a monotonous soundtrack performed by the fruits themselves. Information about the external appearance of each fruit is converted into sound waves. The processes inside the box are analyzed and sonified by an analog synthesizer. The sound pitch and timbre depend on temperature, humidity, fruit size and color. As the fruit burns up, the sound “burns up” as well and becomes increasingly dull and quiet.


The process is an artificially prolonged borderline state of “in between”. The metamorphosis is too slow to perceive by the naked eye. Because of the unnatural maximum delay, all differences vanish in the abyss of time to the accompaniment of a droning trio. However, it is still an open question as to whether the process will proceed in the way that was intended. Every effort has been made, all we can do is to wait and see what will happen next.


Alexandra Dementieva


Interactive sound installation; Tapestry, AR, 2015–2017

Courtesy of the Kolodzei Art Foundation

A series of tapestries together forms an installation that presents a sequence of film frames from the movie “Sleeper” by Woody Allen. The movie has been glitched and accidentally "edited" by the artist's crashed computer, becoming completely transformed and practically unrecognizable. The order of narrative development has been rigorously preserved: the still images are arranged in the same sequence as they appear in the film. The tapestries convey the movie’s plot, but in their own way, where some parts have been lost and others have remained. The size of each tapestry is 58x77 cm, which corresponds to the television and film format (4x3) of the 20th century. The artist uses an old visual technique: the art of weaving. Even if contemporary digital media were destroyed, this technique would be preserved.   


By pointing a tablet with an AR application at a tapestry, visitors can watch a video which gives an explanation for each tapestry. The video is made from the perspective of human descendants / space travelers, who have found the tapestries 2000 years later. Their conclusion is that the tapestry is a way to archive film and video from the 20th-21st centuries. The film they find is Sleeper, a science fiction movie about a dystopian world.


Anna Frants

Artist Union. Still life

From the series “Matter of Chance”

Media installation, 2019

In collaboration with CYLAND Media Art Lab

Courtesy of the Kolodzei Art Foundation

“Artist Union. Still life” is a reflection on the law of large numbers. Is it applicable in visual arts — to colors in painting, lines in graphics, forms in sculpture, and the image integrity in installations? The law of large numbers is a principle that describes the completion of the same experiment many times. According to this law, the joint action of a large number of random factors leads to a result almost independent of the chance. For example, in the XVI century the length of the English foot was defined, by a royal order, as the arithmetic average length of the foot of the first 16 people leaving the church on Sunday matins. Although the law of large numbers was not yet defined, it serves as the basis for the principle of arithmetic mean used in determining the length of a foot.

Elena Gubanova & Ivan Govorkov

Life as Life. STYX

Installation, 2016 

Courtesy of the Kolodzei Art Foundation


Usually, Time is regarded as a line (theoretically, a line of endless length), on which the present moment is a point in constant motion. But this line may also be regarded as a succession of points in different positions, so that any moving or changing object may be interpreted as a number of motionless versions of “shots” of oneself. The artists observe the serene flow of life, but at the same time disrupt the “arrow of time”. Life consists of repetitions which seem to combine to form a single “river”. The video of people floating serenely along the river from one screen to another actually shows the same moment, which is multiplied and repeated, devoid of past and future, and joined into a cycle.

Ivan Karpov


two-part installation; solar powered model and fermented herbal tea sets, 2022

components: 8 solar panels, 4 electric pumps, 100m of 6mm plastic tube, herbal tea sets 


A solar panel powers up a small pump that runs water particles within plastic tube circuit. The speed of water movement depends on the intensity of the Sun, visualizes and thus represents the energy flow.


If you think about it, every form of life, every living being could be seen as a matter transformation process driven by our suns energy. Every process has its own time period and frequency. Some of them last for ages, other finish within seconds. On the other hand, it is hard to say where one starts and the other ends, everything is connected in this planetary scale fermentation process. Only one remains the same, the Sun, the catalyst doing its job.

Each plant is a perfect illustration of this concept, especially since they transform sunlight directly. Edible plants make it even better, because when we consume them we convert further.

I welcome every visitor of the Summer house. Here you will find herbal tea leaves that I've collected and processed during this summer in my native forest in Russia. I kindly offer you to brew a hot cup of tea and review a short story of each herb with a glimpse of the idea of global transformation.

We all are a part of one chain. We have to care for each other and everything around us.

Please, have a good time.



Thousand handshakes

Objects; ceramics, glaze, 2022


The project builds upon Sergey Katran’s years of research exploring the ways in which the biocentric concept impacts ethical ties and building of special society networks. That said, we register a certain correlation between grassroots initiatives of artistic communities’ networks, and mycelia. Both are based on thin, interlaced fibres of daily existence.

Various forms of cooperation and mutual assistance act as a binding principle in all this. Altruism viewed as an inalienable component of the biocenosis and aided by the ethical element in anarchist ideas, are two permanent constituents present in the life of animal communities, plants and fungi, and occur in natural environments, as well as in human society. Self-organization as grassroots, independent initiative, confirms the viability of its alternative ethical practices and behaviours that radically differ from those adopted by capitalist societies, geared for profit, and based on manipulation to achieve the higher standards of living. Mutual communal support is a vital component of artistic practices. By self-organising as groups, artists find optimal ways of existence steeped in equality and mutual responsibility. The first handshake upon a meeting becomes the metaphor for an encounter of kindred artistic souls.

The mushroom anarchy, as a metaphor for grassroots symbiotic artistic communities, establishes the hubs of respect for those living entities that are prone to empathetic behaviours and for the interspecies altruism in their joint search for the way out of the environmental and cognitive impasse. 


— Katran, Natasha Timofeeva

Alexandra Lerman

Swipe Swipe Swipe

Installation, 2017–2022

This work explores the invisible abstraction of contract law that exists between the movement of human fingers and the backlit glass of the smartphone screen. The copyrighted, choreographed gestures of the “swipe,” “slide to unlock” and “pinch-to-zoom” are performed by millions each day and are owned by Apple, Inc. A series of clay smartphones are imprinted with indexical “portraits” of these ephemeral and often unconsciously executed touch screen gestures. These sculptures are installed on a wall painted Rose Gold — a color invented in the nineteenth century by Carl Faberge as a new chromatic alloy of gold and copper. In 2015, Apple released the Rose Gold version of the iPhone and consequently the color was named one of the top trends of 2016 by Pantone. Today Rose Gold is routinely referred to as the “millennial pink” or the “Russian gold.”

Oleg Malenok, Vasily Bakanov, Alexey Grachev, Andrew Strokov, Alexander Bochkov
BPM — Blobs Per Minute
Sound installation, 2021

Glass carboys, water, malt, hop, yeast, custom made circuit boards, speakers, blob counters, heaters, microcontrollers, LEDs, LCD screens, cameras, Raspberry Pi, drum kit, stepper motors, robotics

Engineers Andrew Strokov, Alexey Grachev, Alexander Bochkov; 3D modeling Alexander Bochkov; Python, Arduino programming Andrew Strokov

Supported by CYLAND Media Art Lab


Beats Per Minute (BPM) is an essential concept in music denoting the rhythm and speed of a track in quarter notes. Blobs Per Minute (BPM) is the essential parameter which denotes the intensity of the fermentation. 


The basis of the installation is a drum kit and alcohol fermentation system. Together, they form a closed system in which the fermentation process is the source and initiator of sound. The sound in the installation is completely analogue and is formed in real time. The rhythm that the drum sticks beat out depends on the fermentation process. Carbon dioxide is released, and a blob is formed and becomes an impulse for the drum stick movement.


In each vessel, the process takes place with differing intensity. The combination of the ingredients, the temperature, the properties of the drum kit and the fermentation system — all of these things determine the process and nature of fermentation, as well as the rhythmical pattern of the music created. The resulting soundtrack is additional data, an analysis of which helps to gain a better understanding of the fermentation process. 


The working principle of the installation resembles a creative process with the need to present the result to the world. In the installation, sound is a sign of life, just as artistic projects are a sign of life in art. A sense of timeliness is useful in both cases — whether  the process is complete, or more time is needed for the idea to reach maturity. If it is kept too long or stopped prematurely, the process may end in failure, becoming incomprehensible or incomplete. Or it may ferment excessively and deteriorate.



Alexey Grachev, Alexander Bochkov, Sergey Komarov

Symphony for bicycles

November 19, 2022, 6:30 PM MST


The artists on the bikes regulate the sound and rhythm by their pedaling, and together create the final work. How the “symphony” is performed depends on the motion of both cyclists. The intentions and aspirations of the participant acquire sonic expression. They may become synchronized, and try to turn the pedals in the same rhythm, to be in harmony. Or they may intentionally disturb this and cause harmonic fluctuations, creating complex combinations of sounds that arise when movements are not synchronized.


Alexander Bochkov

Scan for fun 

November 19, 2022, 1:30 PM – 3:00 PM MST



Workshop on creative use of LiDAR by an engineer, 3D modeler, and media artist Alexander Bochkov.

Using LiDAR is a simple way to move our life and surrounding environment to a 3D space. It is also a way to extend artistic practice or advertise brand content. 

The workshop includes a tutorial that will allow you to become familiar with creative LiDAR tools available on your phone. You will learn how to collect 3D objects from real surroundings, import and transform the received data, and use it in art projects (VR / AR / graphic textures).

Sergey Komarov

Lost Tapes

November 19, 2022, 2:00 PM – 5:00 PM MST


Workshop on experimental sound art techniques with sound artist, curator, engineer, and computer programmer Sergey Komarov.


The workshop is designed to search for found sound art in a very narrow format — on old cassette tapes from flea markets and attics. The quality doesn’t matter. The worse the better! During the workshop, participants will be able to try to find and subjectify unusual soundings on usual recordings, reflecting on them based on their own experience. The most interesting results will probably join the CYLAND Media Art Lab sound art archive:


Philipp Avetisov

Visualization of sound and audialization of images. Principles, patterns, algorithms

November 19, 2022, 6:00 PM – 7:00 PM MST


Workshop on experimental video and sound mixing with artist and engineer Philipp Avetisov.

During this workshop, you will learn about the basic principles, patterns, and algorithms of audio-visual artistic production as well as tools for creating audible images and visible sounds. 

Alexandra Dementieva (Belgium), Sleeper, interactive sound installation, 2015–present time



Vasilii Bakanov


Media artist, R&D specialist and chef. Born in 1987 in Kaluga, USSR. Graduated from the Moscow Automobile and Road Construction State Technical University (MADI, Russia). Hardware engineer at CYLAND Media Art Lab. As a chef he participated in the semi-final of the S.Pellegrino Young Chef 2018 (Moscow, Russia), and as an artist in such festivals as Theatrum: Re-Formation (2020, Moscow, Russia) and CYFEST-14: Ferment (2021, Dartington, UK). He gave a workshop on rediscovering ancient techniques of fermentation at Dartington Hall (2021, Dartington, UK). Lives and works in St. Petersburg, Russia.

Alexander Bochkov


Engineer, 3D modeler and media artist. Born in 1990 in Orsk, USSR. Founder of the “Reverse Side of the Road” gravel cycling race. Co-founder of the cycling brand Sin_x. Сhief 3D printing specialist at CYLAND Media Art Lab. Participated in such festivals as Chronotope (2021, Vyborg, Russia) and CYFEST-14: Ferment (2021, Dartington, UK). Lives and works in Yerevan, Armenia.


Alexandra Dementieva 


Artist. Born in 1960 in Moscow, USSR. She studied journalism in Moscow, USSR, and fine arts in Brussels, Belgium. Her principal interest as an artist is the use of social psychology, perception theory and behaviorism in media installations that combine dance, music, cinema and performance. She organizes LASER Talks Brussels and teaches at the Royal Academy of Fine Arts (Brussels, Belgium). Dementieva received first prize for the best mono-channel video at VAD Festival (2005, Girona, Spain). She is a participant of numerous exhibitions in major international cultural institutions, including Rubin Museum (New York, USA), MACRO Museum (Rome, Italy), Centro de la Imagen Museum (Mexico City, Mexico), the Hermitage Museum (St. Petersburg, Russia), Moscow Museum of Contemporary Art (Russia), and others. Lives and works in Brussels, Belgium.

Anna Frants 


Artist, curator in the field of media art. Born in 1965 in Leningrad, USSR. She graduated from the Vera Mukhina Higher School of Art and Design (Leningrad, USSR) and Pratt Institute (New York, USA). Founder of the nonprofit cultural foundation Cyland Foundation Inc. Cofounder of CYLAND Media Art Lab and CYFEST. Frants’ interactive installations have been showcased at Museum of Art and Design (New York, USA), Video Guerrilha Festival (Brazil), Manifesta 10 Biennale (2014, St. Petersburg, Russia), Hermitage Museum (St. Petersburg, Russia), Chelsea Art Museum (New York, USA), Russian Museum (St. Petersburg, Russia), Kunstquartier Bethanien (Berlin, Germany), Hatcham Church Gallery, Goldsmiths, University of London (UK), Dartington Estate (UK), Ca’ Foscari Zattere Cultural Flow Zone (Venice, Italy), MAXXI Museum (Rome, Italy), National Arts Club (New York, USA) and at other major venues all over the world. The artist’s works are held in the collections of the Russian Museum (St. Petersburg, Russia), Museum of Art and Design (New York, USA), Sergey Kuryokhin Center for Modern Art (St. Petersburg, Russia) and Kolodzei Art Foundation (New York, USA) as well as in numerous private collections. Lives and works in Miami, USA.


Alexey Grachev


Media artist, engineer, computer programmer. Born in 1983 in Kaluga, USSR. Graduated from the Bauman Moscow State Technical University (Russia). Completed the program “School for Young Artists” at the Pro Arte Foundation (St. Petersburg, Russia). Technical director and chief engineer of CYLAND Media Art Lab. Participant of the World Event Young Artists Festival (2012, Nottingham, UK), CYFEST (many times), special project “Urbi et Orbi” at the 6th Moscow Biennale (2015, Russia) and “The Creative Machine 2” exhibition at Goldsmiths, University of London (2018, UK). Participant of the “Arts Work of the Future” project in the Tate Exchange space (2018, London, UK). He has given lectures and workshops at the University of the Arts London (UK), St. Petersburg Stieglitz Academy of Art and Design (St. Petersburg, Russia), Pro Arte (St. Petersburg, Russia), and ITMO University (St. Petersburg, Russia). Lives and works in St. Petersburg, Russia and Yerevan, Armenia. 

Elena Gubanova


Artist and curator. Born in 1960 in Ulyanovsk, USSR. Graduated from the Ilya Repin State Academic Institute of Painting, Sculpture and Architecture (Leningrad, USSR). Works in the fields of painting, sculpture, installations and video. As a curator, she is engaged in CYLAND Media Art Lab projects​​. Lecturer in the master’s program at the ITMO Art & Science University (St. Petersburg, Russia) and the “Young Artist’s School” at the Pro Arte Foundation (St. Petersburg, Russia) in 2020–2021. Recipient of the Sergey Kuryokhin Award (Russia) for “Best Work of Visual Art” (2012, together with Ivan Govorkov) and “Best Festival in the Field of Contemporary Art“ (2018). Her works have been exhibited at major Russian and foreign venues, including the Hermitage Museum (St. Petersburg, Russia), Russian Museum (St. Petersburg, Russia), Museum of Moscow (Russia), Tretyakov Gallery (Moscow, Russia), University Ca’ Foscari (Venice, Italy), Goldsmiths, University of London (UK), Chelsea Art Museum (New York, USA), Kunstquartier Bethanien (Berlin, Germany) and National Arts Club (New York, USA). Participant of the Manifesta 10 parallel program (2014, St. Petersburg, Russia) and several exhibitions parallel to the Venice Biennale (since 2011, Venice, Italy); frequent participant and curator of CYFEST. Since 1990, she has worked in collaboration with Ivan Govorkov. Lives and works in St. Petersburg, Russia.

Ivan Govorkov


Artist. Born in 1949 in Leningrad, USSR. Graduated from the Ilya Repin State Academic Institute of Painting, Sculpture and Architecture (Leningrad, USSR). He is engaged in philosophy, psychology, painting, drawing, sculpture and installations; he works at the junction of traditional art and cutting-edge technologies. Professor of drawing at the Ilya Repin Institute (St. Petersburg, Russia). Recipient of the Sergey Kuryokhin Award (2012, Russia) for “Best Work of Visual Art” (together with Elena Gubanova). His works have been exhibited at major Russian and foreign venues, including the Hermitage Museum (St. Petersburg, Russia), Russian Museum (St. Petersburg, Russia), Museum of Moscow (Russia), University Ca' Foscari (Venice, Italy), Chelsea Art Museum (New York, USA), Kunstquartier Bethanien (Berlin, Germany) and Sky Gallery 2 (Tokyo, Japan). Participant of the Manifesta 10 parallel program (2014, St. Petersburg, Russia) and several exhibitions parallel to the Venice Biennale (since 2011, Venice, Italy); frequent participant of CYFEST. Since 1990, he has worked in collaboration with Elena Gubanova. Lives and works in St. Petersburg, Russia.



Ivan Karpov


Born in 1986 in Gatchina (Leningrad Region). He graduated from a high school specializing in physics and biology, and then studied to be a radio technician at the The Bonch-Bruevich Saint Petersburg State University of Telecommunications. Physicists and engineers by training, his parents also inspired him to take an interest in growing plants, which mutated into more modern forms. Ivan took up progressive plant-growing, producing micro-greenery, modeling systems and creating various environments for plants. He began by studying the life of plants from a scientific standpoint, and made a smooth transition to creating installations which could no longer be classified as scientific exhibits. Hydroponic systems transformed into mediums of the artistic environment. 



Artist. Born in Nikopol, Ukraine, USSR. In 1992 Katran obtained his first degree in Natural Sciences at the Kryvyi Rih State Pedagogical Institute (Ukraine), majoring in biology and chemistry. He later moved to Moscow, Russia, where he received his Fine Arts degree from the School of Visual Arts. Katran is a versatile artist who experiments with Science Art and Bio Art and works in a variety of media, such as installation, sculpture, performance and video. His practice is grounded in recent scientific and technological findings. He is a recipient of the Lomonosov Art Prize for intellectual contribution to contemporary art (2012, established by the Faculty of Philosophy, Moscow State University, Russia) and a laureate of the Fabrika Center for Creative Industries competition (2019, Moscow, Russia). Katran’s artworks can be found in museum, private and corporate art collections, such as Luciano Benetton’s collection Imago Mundi (under the auspices of the Fondazione Benetton Studi Ricerche, Treviso, Italy), Les Jardins d’ Étretat (Normandy, France), the Russian Museum (St. Petersburg, Russia), National Center of Contemporary Art (NCCA, Moscow, Russia), and others.

Sergey Komarov


Sound artist, curator, engineer, computer programmer. Born in 1980 in Kaluga, USSR. Since 2008, he has worked as a computer programmer at CYLAND Media Art Lab; since 2012, has curated audio projects and CYLAND Audio Archive ( Since 2015, together with Alexey Grachev, he has developed the project “Subjectivization of Sound” based on the interaction between space and spectators. Participant of CYFESTs in various years, Archstoyanie Festival (2014, Kaluga Region, Russia) and “The Creative Machine 2” exhibition at Goldsmiths, University of London (2018, UK). Currently lives and works in Yerevan, Armenia.

Oleg Malenok


Engineer of computer networks and telecommunications, drone operator (BPLA), beer brewer. Born in 1986 in Obninsk, Kaluga Oblast, Russia. He works as a cadastral engineer’s assistant. Since 2015 Malenok has studied the art of whole-grain brewing; in 2016–2018 he worked at local breweries, gaining experience from specialists of international class; in 2019–2020 he worked as a brewer at the LaBEERint Brewery in Naro-Fominsk, Moscow Oblast, Russia. He presents beverages of his own manufacture at regional and national festivals. Participant of CYFEST-14: Ferment, held in Dartington, UK in autumn 2021. At present Malenok is studying the cultivation and selection of strains of cultured yeasts. Lives and works in Obninsk, Russia.

Alexandra Lerman


Born in 1980 in Leningrad, Russia. Artist. She holds a BFA from the Cooper Union School of Art (New York, USA) and an MFA from Columbia University (New York, USA). In her “projects-investigations” Lerman researches how human beings are affected by systems and ideologies that control the post-industrial world of immaterial labour and a human’s influence on the planet’s ecology. Her projects have been shown at Artists Space (New York, USA), Queens Museum (New York, USA), Whitney Museum of American Art (New York, USA), Signal Center (Malmö, Sweden). Lives and works in New York, USA.

Andrew Strokov


Engineer, programmer, media artist. Born in 1991 in the Omsk region (USSR). Graduated from the Physics Faculty of Omsk State University (Russia) and the master’s program of the St. Petersburg Electrotechnical University “LETI” (Russia). He has worked on developing electronic and biomedical devices and systems of the Internet of Things. One of the founders and resident of the hackerspace B4CKSP4CE (St. Petersburg, Russia). Head programmer of CYLAND Media Art Lab. Participated in such festivals as Chaos Constructions (2019, St. Petersburg, Russia), Chronotope (2021, Vyborg, Russia) and CYFEST-14: Ferment (2021, Dartington, UK). Lives and works in St. Petersburg, Russia.


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