installation, 2026 The installation It's not for Them presents three enigmatic, organic-looking entities. Each organism operates through an independent mechanical and electronic system. They do not communicate with one another. Drawing on the movement logics of marine life and based on AI-generated speculations, they do not represent living creatures but sustain a minimal state of activity within an environment to which they are fundamentally unsuited. They are placed directly on the floor of the exhibition space, close to the visitors, although the audience is not invited to interact with the work. These organisms are, in fact, devices that periodically activate, animating themselves through subtle movements that evoke a sense of life. The installation proposes a form of coexistence without relation. Autonomous systems persist, interfere with one another, and gradually transform through their continuous negotiation of a milieu that was never designed to sustain them. It does not produce events but maintains fields of tension. It replaces the dramaturgy of interaction with operational persistence, in which systems continue to exist independently of human recognition. By prioritising material constraints and non-human processes, the work formulates an implicit critique of aesthetic anthropocentrism. The work does not address the visitor; it simply persists. Reggy Timmermans and Beatrijs Albers live and work between Brussels, Belgium, and Luché-Pringé, France. Their artistic practice encompasses sculpture, video, installation, and digital technologies. Their work questions the subjectivity of empirical data by stripping it of its conventional meaning, thereby opening up a contingent and unlimited field of possibilities. By decentring the human position, the artists propose an ontological equality between humans and objects. Their work has recently been presented at Watou Festival-23 (Watou, Belgium); Centrale for Contemporary Art (Brussels, Belgium); ART PLATFORM-ON, Chonnam National University, (Gwangju, South Korea); and iMAL – Art Center for Digital Cultures and Technology (Brussels, Belgium); CYFEST 13 (St Petersburg, Russia). \ https://alberstimmermans.com/ \ @reggytimmermans \ Instagram: @beatrijsalbers

installation, 2016–2021 Tsinamekuta (2016–2021) is a five-year project inspired by pyrrhotite, a magnetic mineral extracted from a mountain in the Potosí plateau, a sacred Wixárika ceremonial site now occupied by a major copper mine. Through geological exploration and the construction of experimental instruments, the project challenges scientific perspectives by foregrounding affect, ritual, and alternative relationships with technology and the Earth. Central to the work is an accordion activated through the mineral's magnetic field. Developed with the permission and participation of the Wixárika community, the project culminated in a ceremonial offering, magnetizing the rock with human heart signals before returning it to the mountain. Marcela Armas is a Mexican transdisciplinary artist and researcher whose practice explores the intersections of art, science, technology, ecology, and territory. Through installations, machines, sound devices, documentary objects, and electronic and analog media, she investigates relationships between bodies, materials, environments, knowledge, memory, autonomy, and resistance. Her research-based projects critically address extractive systems and explore environmental ethics and alternative relationships with technology and the Earth. Her work has been presented internationally at institutions including Centre Pompidou (Paris, France), MAXXI Rome (Rome, Italy), Museo Amparo (Peubla, Mexico), and the Museum of Modern Art (Paris, France). \ marcelaarmas.net \ Instagram: @marcelarmas

sculpture, 2025 Supported by CYLAND MediaArtLab Born by the Arctic Ocean, I quickly understood that to survive among perpetual ice and long winters, nature created a unique register of beings adapted only to this place: polar bears, pale reindeer, white foxes and arctic foxes, white ptarmigans, white—white—white ermines, and many others. A snowy owl folds its white wings before its enormous black eyes—and disappears, becoming a lump of snow on a branch. The boldest animals, in search of warmth, wandered into my city, where their white camouflage turned into a visible mark against the grey walls of buildings. White softness becomes a target, and the city at the edge of the earth reveals itself as a hostile, unnatural environment. Very early on I began drawing black-and-white ornaments charged with the palpable fear of owls I often saw at dawn, trapped beneath the entrance canopies. Within these rhythms I inscribed the silhouettes of reindeer herders, framing them with the sharp line of the tundra’s endless horizon. The sun was always the principal conductor—the center of my compositions—because in winter it makes the snow burn crimson, and in summer it refuses to leave the horizon, circling day after day above my head… This turned me into a particular kind of person, capable of being whiter than snow and thinking like snow.—Andy Barrt

sculpture, 2026 Supported by CYLAND MediaArtLab Snow Flower of the North is a textile sculpture inspired by the visual language, ritual forms, and environmental conditions of the Far North. Its flower-like structure draws on the simplicity and directness of northern symbolic traditions, where forms often emerge from an intimate relationship with landscape, climate, and survival. The flower is treated as both an organic form and an intelligent natural system. In biological terms, it is a site of selection, transformation, and reproduction—a living mechanism that responds to its surroundings while sustaining its own continuity. This idea is translated into soft sculptural form through textile, giving the work a tactile, bodily presence that is at once delicate, resilient, and slightly uncanny. The work combines folkloric imagery with an ecological understanding of nature as an active, adaptive force. Its apparent simplicity conceals a more complex logic, recalling strategies of camouflage and transformation found in northern environments, where life persists under extreme conditions. Andy Barrt was born near the Arctic Circle, on a peninsula inhabited by polar bears and reindeer. Ten months of snow and ice shaped the language of his painting: his works are composed of only two colours—black and white. This visual logic arises directly from the northern landscape itself: any object set against the vast white expanse of snow appears as a dark mark. The effect is heightened by the northern Sun, which makes the snow blaze with white fire, while everything that is not snow condenses into dense black forms—profiles of reindeer herders and the ornamental figures of polar owls. The background of Barrt’s paintings is always an immaculate snowy plain. For his performances, Barrt creates sculptural costumes reminiscent of the heavy garments worn by northern hunters and fishermen. When his paintings are installed in gallery and museum spaces, they unfold as ornamental mandalas whose centres reveal narratives of mutual support, friendship, and the inherent ambiguity of life in the Far North.

immersive textile installation comprising 3 suspended handwoven tapestries, 2021–on going Sand Storms in Medio Mundi is a series of handwoven tapestries inspired by landscapes and spiritual traditions along the Silk Roads. The sandstorm becomes both a natural phenomenon and a metaphor for our turbulent era, marked by war, migration and environmental crisis. Throughout history, sandstorms have buried cities, monasteries and civilizations, revealing human fragility before the power of nature. Echoing Khalil Gibran’s “storm of the spirit,” they evoke renewal through transformation. Through a slow, meditative weaving process, thousands of threads become grains of sand, forming shifting surfaces where symbols and sacred geometries emerge, dissolve and reappear. The medallion shape is released from its context within the carpet and transformed into an autonomous portal. Resembling a cloud of wind-blown sand, it gathers symbolic forms that have travelled across cultures for millennia, tracing them back to a common origin. Inspired by Henry Corbin’s concept of the Medio Mundi, the imaginal realm between the visible and invisible, the installation explores imagination as a creative and cognitive faculty through which hidden dimensions of reality may be perceived. Weaving becomes a contemplative act of revealing. Sand Storms in Medio Mundi invites viewers to cross these thresholds, where the journey through symbols leads back to a shared source and a possibility of regeneration. Lisa Mara Batacchi is an Italian visual artist whose multidisciplinary practice explores textile research, handweaving, ancestral knowledge, and symbolic languages. Developed through fieldwork across Asia and the Middle East, her work connects spirituality, cultural memory and contemporary experience. Her work has been presented internationally at Kunsthalle Lottozero; Un(common) Threads, Alserkal Avenue, Dubai Art Week 2023; 10th Mediations Biennale, Istanbul; Dubai Design Week 2022; Silk, Giudecca Art District, during the 59th Venice Biennale; Manifesta 12; 2nd Something Else – Off Cairo Biennale; Remembering the Future, Arts & Globalization Pavilion, during the 57th Venice Biennale; 4th Land Art Mongolia Biennale; and Clark House Initiative, Mumbai. \ www.lisabatacchi.com \ Instagram: @lisabatacchi

installation, 2020–2026 The installation visualizes the complex neural networks of the nervous system as they appear under a microscope. Their tangled structures recall the underground roots of trees and plants, while also evoking images of the universe captured by the Hubble Space Telescope. Moving between the microscopic and the cosmic, the work draws attention to the visual parallels between biological systems and larger natural structures. At the center of the installation is the relationship between the physical processes of the brain and the formation of emotion, perception, and consciousness. Electrical impulses and neurotransmitters shape experiences ranging from love and euphoria to sadness and depression, while billions of neurons, dendrites, axons, and synaptic connections form the intricate networks through which these states emerge. The work considers this hidden “inner landscape” and the ways in which changes within it can alter our connection to the external world. Through this exploration, the installation reflects on the brain as both a biological system and a constantly changing field of experience. It considers how shifts in neural activity can transform perception and thought, reshaping the way we understand and experience reality. Liudmila Belova is an artist and curator based in St. Petersburg and Montenegro. She works with video, sound, painting, and photography, investigating issues of memory, space and time and studying the impact of new technologies on the human being in art practices by making the viewer a participant of the art process. Participant of more than 50 local and international group exhibitions and festivals including the Moscow Biennale of Contemporary Art (2005, 2011, Russia) and the parallel program of the Manifesta 10 Biennale (St. Petersburg, Russia, 2014). Since 2011, she has been a regular participant in exhibitions parallel to the Venice Biennale. Winner of the prize “50 Bestern” ZKM (2000, Karlsruhe, Germany) and of the Sergey Kuryokhin Award (2017, Russia). Her works are held in the collections of the Russian Museum, the Anna Akhmatova Museum, the Kolodzei Art Foundation (New York, USA), and in numerous private collections. www.ludmilabelova.com

series of kinetic sculpture (3 elements from 10, variable dimension), 2025 Void loop () composed of six second-hand car wash brushes, disrupts the familiarity of their “natural” movements by removing the mechanical infrastructure that once defined their purpose. Freed from their human imposed constraints, the brushes explore a kind of absurd autonomy. Through clumsy repetition and distorted gestures echoing their former labor routines, they reintroduce themselves as animated, rebellious, and strangely self-aware. Élie Bolard is a French artist who lives and works in Brussels. In his practice, he is closely interested in new technologies, both on a practical and theoretical level. He creates robotic sculptures and installations that question the use of robotization in our daily lives and in our production systems. His technical approach leads him to question dominant technologies and the monopolies of contemporary technologies. This research dimension runs through his entire practice and is also manifested in the transmission and exchange of knowledge during the workshops he leads in art centers and art schools. \ eliebolard.net

video [5:51, loop, sound], 2026 The video establishes a dialogue between the works of the Organic School from MOMus Thessaloniki and the central themes of the exhibition, alongside the physical pieces on display. It aims to highlight the ‘deep roots’ of an artistic approach that has seen countless iterations over the following decades, yet remains—in its core dynamics—a vital point of reference and inspiration for contemporary artistic practices.

2013 — ongoing 20 records, turntable, headphones Supported by CYLAND MediaArtLab The CYLAND Audio Archive (CAA) is a division of CYLAND MediaArtLab, created to investigate archiving and exhibiting methodologies of sound art. This archive is a continuous process of working on a structure of various subgenres of sound art, making compilations, and cataloging the growing archive. To date, there are 61 releases, including works by more than 80 international artists. All the records are available for listening on cyland.bandcamp.com. Each release presented is a stand-alone piece accompanied by an artist statement. Source material for artists varies from existing records—personal or found—filed records, machine signals, or sounds extracted from revitalised devices, which were initially completely strange to sound creation in the first place and turned into sound machines. All of them are reflected and conceptualised by artists, collected together into a contradictory and rich picture of sound to memorise and fix the experience of being present in the world. Where sound—recognised or completely strange—will escape being fully possessed but remains an environment shared by people who heard it together. That is how memories form, building blocks for infinite variations of archives. —Sergei Komarov and Lidiia Griaznova

from series Totems sculptures, 2026 Supported by CYLAND MediaArtLab Totem sculptures are part of a larger body of research exploring the metamorphosis of time. The project draws on the ancient concept of totems—objects representing spiritual beings, ancestors, or shared cultural lineages. Traditionally, totems serve as emblems of identity and continuity, transmitting stories and values across generations. In this work, the totemic essence is reinterpreted in a minimalist, contemporary form. Each towering structure commands its surroundings, inviting contemplation. It stands as a modern totem—stripped of figurative detail yet imbued with symbolic presence. Time weaves subtly through the sculpture’s design. The polished metallic surface conveys a sense of timelessness, while the vertical form aspires toward the infinite. This tension—between past and future, solidity and transience—embodies the ongoing transformation that defines human experience. The mechanical aesthetic of the sculpture also evokes the form of a meat grinder, an everyday object symbolizing transformation through fragmentation and recombination. This visual reference reinforces the work’s central theme: the cyclical process of deconstruction and renewal inherent in both time and matter. The installation consists of three inflatable totems forming an interactive environment. Each totem is constructed from durable inflatable material connected to an air pump controlled by an Arduino microcontroller. Alexandra Dementieva’s main interests focus on social psychology and perception and their application in multimedia interactive installations. Her artistic research process happens in the here and now, within the increasingly technologized present. It is deeply rooted in its cultural context. Photography and other digital media always record a trace, which indicates the former presence of something. Attesting to a certain event the trace at the same time enshrines the technology in use, thus acting as a witness to contemporaneous culture. In a similar manner, she tends to reflect on behavioral patterns and cultural mechanisms that are characteristic of contemporary society. Her works can be found in museum collections and have been exhibited internationally. She is a founder and director of LASER Talks Brussels and teaches at the Royal Academy of Fine Arts Brussels. / alexdementieva.org

interactive video installation, 2014 Supported by CYLAND MediaArtLab Cycloramadrome is an immersive project that invites spectators to interact with the work within an all-encompassing audiovisual environment. Drawing on 360-degree projection technology developed in the 1950s, the artist transforms the surrounding space into an active medium capable of affecting the audience both mentally and physically. The movements of the projected characters are conceived to provoke corresponding movements in the viewers, turning spectatorship into an embodied experience. Through this technology, the artist explores the complexity of collective behavioral patterns and the public’s “iconophilia”—an obsessive attachment to images. Alexandra Dementieva’s main interests focus on social psychology and perception and their application in multimedia interactive installations. Her artistic research process happens in the here and now, within the increasingly technologized present. It is deeply rooted in its cultural context. Photography and other digital media always record a trace, which indicates the former presence of something. Attesting to a certain event the trace at the same time enshrines the technology in use, thus acting as a witness to contemporaneous culture. In a similar manner, she tends to reflect on behavioral patterns and cultural mechanisms that are characteristic of contemporary society. Her works can be found in museum collections and have been exhibited internationally. She is a founder and director of LASER Talks Brussels and teaches at the Royal Academy of Fine Arts Brussels. / alexdementieva.org

audio-video installation, 2009 Supported by CYLAND MediaArtLab This audio-video installation combines the sights and sounds of the “Wild North” with the newest technologies. It consists of five old tin cans and a large screen. The viewer handles the cans, each of which triggers a video on the screen, filmed in the Arctic and accompanied by songs of the indigenous peoples—droning, yet very rhythmical. Judging by the context of the videos, the artist seeks to remain a neutral observer. Thus, the viewer is given a degree of control and some food (or fodder) for thought: about the future of the Arctic and the relationship between artist and viewer in contemporary art. In 2009 Anna Frants took part in a 20-person expeditionary residency program that sailed into the mysterious Arctic Circle. The mission of this 14-day journey was to bring together artists from different disciplines, scientists, architects, and educators to collectively explore a remote and fascinating environment aboard a specially outfitted sailing vessel. The expedition became an incubator for thought, artistic experimentation and invention, directly related to this unique environment. Polar Bear Fodder grew out of Anna Frants’s experience of this journey. Anna Frants is an artist, curator in the field of media art. 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 MediaArtLab 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. She lives and works in Miami, USA. / annafrants.net

installation, 2026 Engineers: Dmitry Shirokov, Phillip Avetisov Supported by CYLAND MediaArtLab An axis is what allows rotation. It is invisible, structural, indispensable. Without it, nothing turns—yet it is rarely seen. An absence is also structural. It is what remains when someone has left—or when time has moved beyond us. In the installation, the turning table becomes a metaphorical planet: time revolves, cycles repeat, years accumulate. Yet the armchair does not revolve with history—it waits. The doll’s book rests on the chair as a displaced narrative: childhood paused, memory archived, story unfinished. Absence is not an event. It is a condition.

installation, 2026 From series Protocols of Seeing Supported by CYLAND MediaArtLab Two robotic arms encounter a goldfish. One cannot stop drawing; the other cannot stop trying to understand what it sees. The work begins with a distant reference to Henri Matisse’s Goldfish—an image in which observation becomes contemplation. Here, however, the observers are machines. One translates vision into endless action, repeatedly producing images. The other analyzes the same subject, searching for meaning in what appears before it. The goldfish remains indifferent to both.

oil on canvas, 1960 Collection of the National Gallery of Armenia Haroutiun Galentz (Kyurin, Ottoman Empire, 1910 (?) – Yerevan, Armenian SSR, 1967). Born Harutyun Harmandayan, Galentz lost his parents during the Armenian Genocide and spent seven years in an American orphanage in Aleppo. After leaving the orphanage, he worked as a lithographer’s apprentice and received his first artistic instruction from Onnik Avetisian. In 1927 he moved to Tripoli, Lebanon, where he joined his brothers’ photographic studio and painted backdrops. After meeting the French painter Georges-Claude Michelet, Galentz moved to Beirut in 1930, where he taught painting and drawing and soon established his own studio. During the 1930s he became an active participant in Beirut’s emerging art scene, exhibiting his work and contributing to local artists’ associations. In 1939 he created a seven-metre relief for the Lebanese Pavilion at the New York World’s Fair. In 1943 he married his former student, the painter Armine Paronyan, and in 1946 they repatriated with their son to Soviet Armenia. In 1947 Galentz participated in the first exhibition of works by repatriated artists at the Artists’ House in Yerevan. He joined the Artists’ Union of Armenia but, following an exhibition in 1948, was accused of “formalism” and excluded from the Union; his membership was restored in 1951. During the restrictive postwar years, his Yerevan studio gradually became a gathering place for artists, writers and scientists. From the late 1950s, the support of physicist Artem Alikhanian and writers including Ilya Ehrenburg and Alexander Gitovich introduced his work to wider intellectual circles in Moscow and Leningrad, where it was shown in unofficial exhibitions. A planned exhibition at Yerevan State University was prohibited in 1961. His only official solo exhibition in Armenia during his lifetime was held at the Artists’ Union in Yerevan in 1962. His portraits, landscapes and still lifes, constructed through saturated color and expressive simplification, became an important expression of postwar Armenian modernism. Galentz was named an Honored Artist of the Armenian SSR in 1965 and received the Armenian SSR State Prize posthumously in 1967.

set of 5 VHS tapes, video player, headphones, shortwave radio sound installation, 2026 Supported by CYLAND MediaArtLab An exploration of the archive of an unknown radio amateur, the work invites visitors to listen to a collection of radio broadcasts recorded onto VHS tapes. The medium itself points to a now-obsolete recording technology: VCRs were indeed used by radio amateurs for wideband recording of the radio spectrum. Rather than capturing a single selected station, this method recorded a section of the radio-frequency spectrum, which could later be revisited to examine and identify the signals contained within it. The tapes are undated, but such methods of recording radio transmissions are known to have been used at least during the 1980s and 1990s by amateur radio enthusiasts and DXers—people engaged in receiving and identifying distant radio and television signals. With the development of computer technology, these methods were gradually replaced by more convenient digital forms of spectrum recording and software-defined radio. We hear disembodied—or perhaps bodiless—sounds, patterns, technological and isolated signals, echoes, and noise, behind which there may be a message sent by machines to machines. In these recordings, we do not hear the familiar wandering from one frequency to another. Rather, we are dealing with a sampling of the electromagnetic field—a space in which multiple events unfold simultaneously. Here, the human dimension of technology reasserts itself: our capacity to imagine and analyse the nonhuman remains bounded by what can be perceived and described at all. The world’s excess is framed by the width of a selected band of the spectrum, from which a single fragment is preserved for subsequent analysis. Based on the surviving notes, the recordings were used to draw conclusions about what had been heard—about something that exists, yet remains invisible and cannot be heard directly by the human ear. What we encounter is a collection of such fragments, accompanied by brief, quasi-scientific observations on what was perceived. The depth of the author’s knowledge, as well as their epistemology and methodology, can only be reconstructed. Yet any such reconstruction is inevitably shaped by a present-day perspective: that of a person looking at an obsolete technology through the lens of a contemporary one. It is a message from the past—if the arrow of time indeed moves in only one direction. What remains is a historical artifact that, within the installation, retains its original medium—the VHS tape—which we invite visitors to listen to rather than watch. We have given the project the working title Long Delayed Echo Files—the unexplained, seconds-long delays of radio signals associated with long-delayed echoes are, through the anthropic principle, projected onto years—or perhaps even onto cosmological timescales. It is our nod, as amateurs ourselves, to all forms of amateur engagement with science and technology: practices driven by curiosity and by the desire to understand technologies that do not exactly conceal themselves, yet do not readily explain themselves either. It is also a nod to the delayed, perhaps unintended listener who encounters the work of a researcher unknown to us many years after it was created. The archive is old; its “signal” has only just reached us. The message was sent long ago, and only now has it found a listener.

media installation, 2025–2026 author's copy (third of the three) Supported by CYLAND MediaArtLab A futurist opera Victory over the Sun, staged in 1913 and co-authored by Aleksei Kruchonykh (libretto) and Mikhail Matyushin (music), was conceived to emphasize the parallels between literary text, musical score, and visual art. It became an exemplary collaborative work between poets and artists. The opera tells the story of a group of budetlyane (from the Russian word “budet”, meaning “will be”) who set out to conquer the sun. Commonly, it is interpreted as a vision of the triumph of future technologies over the old natural world. Yet, in this artwork, the very idea of “victory” is questioned. Humanity depends on sunlight—essential to the ecosystem it inhabits. Even a slight alteration in sunlight immediately reveals our vulnerability, as well as the fragility of our aspirations and visions for the future. The installation operates on solar energy. A system of solar panels accumulates energy and sets the installation’s components—futurist-like kinetic “mobiles”—in motion through motors. These motors are powered by solar panels that follow the sun’s trajectory to maximize energy collection. The direction of the components’ movement is determined by the sun’s path and changes throughout the day. The installation remains active as long as the batteries are charged. The installation also includes a sound component. A set of speakers plays a contemporary version of Victory over the Sun, staged on May 3, 2007, at Vassar College in Poughkeepsie, New York. The noted St. Petersburg composer Georgy Firtich created a new score for the opera (only fragments of Matyushin’s original music have survived) and came to Vassar to participate in the performance alongside a company of student singers and musicians. The production was conceived not as a historical reconstruction but as a reinvention from a contemporary perspective—an attempt to convey the explosively innovative energy of the early twentieth-century avant-garde. Elena Gubanova is a visual artist and curator who works in the fields of painting, sculpture, installation, and video art. As a curator, she is engaged in CYLAND MediaArtLab projects. Since 2013, her works have been exhibited at major Russian and international venues, including the Hermitage Museum (St. Petersburg, Russia), Russian Museum (St. Petersburg, 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. Awarded with the Sergey Kuryokhin Award (Russia) for "Best Work of Visual Art" (2012, jointly with Ivan Govorkov) and "Best Festival in the field of Contemporary Art" (2018). Since 1990, she has been working in collaboration with Ivan Govorkov. She lives and works in St.Petersburg, Russia. Ivan Govorkov is an artist 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 Saint Petersburg Repin Academy of Arts. His works have been exhibited at major Russian and international venues, including the Hermitage Museum (St. Petersburg, Russia), Russian Museum (St. Petersburg, 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 of CYFEST. Awarded with the Sergey Kuryokhin Award (Russia) for "Best Work of Visual Art" (2012, jointly with Elena Gubanova). Since 1990, he has been working in collaboration with Elena Gubanova. He lives and works in St. Petersburg, Russia.

oil on canvas, 1968 Collection of the National Gallery of Armenia Hakob Hakobyan (Alexandria, Kingdom of Egypt, 1923 – Yerevan, Armenia, 2013). Born into a family of Armenian refugees from Ayntab, Hakobyan studied at the Melkonian Educational Institute in Cyprus from 1934 to 1941, where he received instruction from Onnik Avetisian. After returning to Egypt, he worked as a textile designer and studied at the Cairo Academy of Fine Arts. In 1944 he participated in the Young Artists of Egypt exhibition. From 1952 to 1954 he continued his training in Paris, first in André Lhote’s studio and then at the Académie de la Grande Chaumière. After returning to Egypt, he participated in the Alexandria Biennales of 1959 and 1961, subsequently donating eight works to the National Gallery of Armenia. In 1962 Hakobyan repatriated with his family to Soviet Armenia. He initially settled in Leninakan, where he worked for five years as a colorist at a textile factory. His solo exhibitions in Yerevan, Leninakan and Kirovakan in 1963 brought him broad recognition. After moving to Yerevan in 1967, he increasingly turned from the figures and still lifes of his Egyptian period to the austere Armenian landscape, which became the central subject of his mature work. In 1974 he exhibited jointly with Minas Avetisyan in Vienna. In 1977 he received the Armenian SSR State Prize and was named People’s Artist of the Armenian SSR; he later received the USSR State Prize. From the 1980s onward, Hakobyan also developed a sculptural practice, creating anthropomorphic and symbolic forms from metal tools and found objects. Major exhibitions of his work were held at the Cafesjian Center for the Arts in 2011 and, posthumously, in 2013. In 2023 the National Gallery of Armenia marked the artist’s centenary with a major retrospective.

video installation [07:43, HD, color, sound], 2025 Triggered by the COVID–19 pandemic, Sung Nam Han conceived the idea of an art museum accessible only underwater, leading to the establishment of the Japan Undersea Art Museum in 2022. As the world's first underwater museum designed specifically for contemporary art exhibitions, it offers a fresh perspective on contemporary society by tracing human activities within the marine environment. Furthermore, through the act of viewing art underwater, the project explores the expansion of the viewing experience, human bodily functions, imagination, and creativity, while opening up new possibilities for underwater activities. Her work JUAM 2024 –U / D / L / R– invites viewers to complement the video content by imagining the spaces between the monitors, creating an immersive structure that simultaneously demands an objective perspective. Sung Nam Han is a video artist, director, and curator based in Japan. She creates single-channel and blue-screen keying video installations, AR art, and installations themed around "blue." Guided by her original concept of "Superlinear," she directs cross-disciplinary art performances integrating moving images, theater, and dance. Alongside presenting work internationally, she serves as the representative of Interdisciplinary Art Festival Tokyo, Art in Country of Tokyo, and Interdisciplinary Art Project Kobe, and is the founding director of Japan Undersea Art Museum. She has also served as a juror and programmer for international film festivals in Korea and France. \ jonart.net \ Instagram: @sungnamhan_jonart.net_

multimedia installation, 2026 The Lab of Eden (since 2023) is a long-term project built through a fictional "gene-matching" system. Based on my childhood memories and family experience, I construct an imagined genealogy and design twisted LEGO modules as the basic units of a genetic network. In Phase VII, the laboratory worktable is raised into a monumental cube, bringing the genetic specimens to eye level and changing the viewer's relationship to them—a fictional system for imagining inherited memory and a conversation with ancestors. Beside the cube stands an oil painting on a wood panel with a gold-painted background, framed in counterfeit LEGO bricks—a sacred LEGO icon linking this genetic system to religion, creation, heredity, and ancestry. — Zhuang Han Zhuang Han is a multidisciplinary artist based in Paris. His practice spans across game-based multimedia installations: sculpture, sound, performance, and speculative systems. He draws inspiration from personal experiences shaped by childhood and family dynamics to create rich, open metaphorical worlds. Through the reworking, imitation, distortion, and substitution of LEGO bricks as a childhood object, he imagines a fictional lineage in which biology and mysticism intertwine. Therein, he employs inverted logic to examine kinship structures, multiple identities, and the speculative origins of human lineage. \ www.labofeden.com

site-specific installation, 2025–2026 Humming the Ubique unfolds as a living interface between hidden signals, light and voice, translating imperceptible radiation, electromagnetic fields, cosmic fluctuations and environmental vibrations into luminous colour fields and artificial voices. A mosaic of thin foils responds to captured energetic signals, while AI-generated vocal tones make these hidden phenomena temporarily perceptible. The work reflects on perception, invisible infrastructures, the environmental footprint of digital systems, and how AI can serve as a tool for mediating between the imperceptible and the imaginable. Aernoudt Jacobs is a Belgian artist working primarily with the medium of sound. His work is both phenomenological and empirical. It has its origins in acoustic and technological research and investigates how sounds can trigger sonic processes that affect the observer's scope of perception. His work focuses on a central question: how can the complexity, richness, and stratification of our everyday environment become perceptible through sound, material, and technology? Notable exhibitions include Bergen Art Museum (Bergen, Norway), MACBA (Barcelona, Spain), ISEA, Singuhr Hoergalerie (Berlin, Germany), Netwerk (Aalst, Belgium), NIMK (Amsterdam, the Netherlands), STUK (Leuven, Belgium), Vooruit (Ghent, Belgium), Kaaitheater (Brussels, Belgium), deSingel (Antwerp, Belgium), Le Bon Accueil (Rennes, France), Lydgalleriet (Bergen, Norway), Tschumi Pavilion (Groningen, the Netherlands), Palais de Tokyo (Paris, France), the Hermitage Museum (St. Petersburg, Russia), Kristiansand Kunsthall (Kristiansand, Norway), Bozar (Brussels, Belgium), Museo Reina Sofía (Madrid, Spain), and Marta Herford (Herford, Germany). \ aernoudtjacobs.info \ Instagram: @aernoudtjacobs

media installation, 2023 I arrived in Pontelongo by chance, shortly after my immigration to Italy in the autumn of 2022. At the time I was staying with friends in Piove di Sacco, not far from this small town. Walking along the single street that runs beside the canal near the church, I noticed an old house. On the ground floor were former shop spaces, clearly closed for many years. The shop windows had been covered from the inside with sheets of white paper. They had hung there for decades. Over time, the surrounding environment slowly left its mark: water, humidity, sunlight, and shifts in temperature transformed the paper into something entirely unexpected. On its surface, traces of time began to emerge—forms resembling Rorschach blots, landscape maps, or satellite images of the Venetian Lagoon. They were neither drawings nor photographs, but impressions shaped by time itself. At that moment, I understood I was looking at works of art. I decided to rescue them from the abandoned building, but the process proved far from simple. With the help of Italian friends who lived nearby, I began to trace the history of the place. We discovered that the woman who had owned the house had died about thirty years earlier, and that the building had passed to her relatives in Padua. We eventually found them, but opening the shop was not straightforward—the relationships within the family were complicated. Eventually, the doors opened and we were able to enter. But that was when the real difficulties began. The paper, which had hung in the sun for decades, had become as fragile as a butterfly’s wing. It literally disintegrated in our hands. I had to invent my own method to transfer this crumbling material onto a supporting surface. This is how the series Papyri from Pontelongo came into being. On one level, the series Papyri from Pontelongo consists of found objects and artistic gesture. On another, it reflects a deeply personal experience connected to the reality of migration: finding oneself in a foreign country, surrounded by an unfamiliar language, and suddenly discovering something that begins to speak to you in a language you understand—a “document of time” that no one intended to create. The sheets that hung for decades behind the windows of a closed shop on the single street along the canal are not drawings or abstractions in the usual sense. They are traces left by air, humidity, sunlight, and temperature—traces of water that transformed ordinary paper into images resembling river deltas or the nervous tissue of the lagoon. It is as if the place itself had tried to write its own biography on this fragile surface. A key aspect of these works is that the sheets were not simply found—they were recovered. The story of gaining access to the house, the complicated relationships among the heirs, and the moment of finally entering the space all form a kind of dramaturgy. Alongside this runs another, more subtle narrative: the authority of the material itself. The fragile paper, which had become like a butterfly’s wing, dictated not a method or a style but an ethic of handling. In the process, I had to invent a technique that would allow this state of transformation to be transferred onto a support—preserving the moment in which nature and time themselves generate texts and forms. Here the organic element is not nature represented, but nature as a process, acting as both author and co-author. — Sergey Kishchenko Sergey Kishchenko is an interdisciplinary artist based in Venice whose work spans performance, video, installation, and research-based practice. His projects — including Duck Test, Observation Journal, Hortus Conclusus, and Temple of Venus — investigate migration as a movement of memory, myths, and biological forms across time and borders. Central to his work are hybrid figures, archives, and ecological metaphors that reveal identity as a fluid and evolving process. By bringing together cultural history, natural systems, and performative narratives, Kishchenko constructs environments where historical memory and contemporary experience intersect, suggesting migration as a universal condition of culture and human existence. / sergeykishchenko.com

object, 2017 Eggshell—image of the genome, coding, and storage of information. Eggshell objects by Alexei Kostroma reveal the theme of micro- and macro-worlds governed by the invisible mathematical harmony of numbers. The artist uses natural white eggshells to create geometric structures. Applied in invisible ink to the inner surface of each shell are numbers from 1 to 9, the sum of which represents an information code. Rows of eggshells form an image of the atomic microcosm; circles form an image of the macrocosm. The study of the world of atoms has been actively developed in the age of nanotechnology; hence the series is entitled NANO. The number in the title of each object refers to its composition—for example, NANO 163 was created from 163 digitized eggshells. These invisible numbers are visible only under UV light. Alexei Kostroma is an artist, theorist, researcher living and working in Berlin, Germany. Since the early 1990s he has formed his artistic worldview, the Organic Way, where the central concept is a study of interrelations between natural and social laws. “The Organic Way is a way of knowing the unity of meanings” (definition by artist, 2016). Working throughout his art practice with eggshells, white feathers, figures (numbers), and lemon yellow pigment, Alexei Kostroma identifies these four media in his work as his “artistic signs” or “brands”. Concentrating all the diversity of his long-term creative work, the artist arrived at the point, his concept of a central phenomenon that determines the end and beginning of all events and all phenomena. / alexeikostroma.de

with participation of Stephen Tod, Dylan Banarse, and Frederic Leymarie 12 digitally generated prints, 2026 This collaboration has led to a new type of AI-guided evolution, for which Banarse has coined the term "Foundational Evolution". At its heart is Gemini, a foundation model trained on vast amounts of text and images. This allows Gemini to interpret abstract visuals in a human-like way, performing the equivalent of Rorschach’s inkblot test by finding meaning in complex forms. In this work, the genetic mechanisms and unique 3D "form-growing" grammar developed by Latham and Todd over the past thirty-five years are married with Gemini. Emulating evolutionary principles, the system starts from a simple geometric form. The grammar and its parameters are then mutated by their custom software, Mutator, to generate multiple variants. These many variants are then handed over to Gemini to be judged—a process traditionally done manually by the artist. Based on its understanding of the forms and driven by Google DeepMind's "evolutionary prompts," Gemini identifies “winners” and weeds out “losers” in a Darwinian-style selection, pitting organic forms against each other in what Banarse calls "binary tournaments." It uses a "success-scoring system" and explains each of its selection decisions to retain or discard images. The result is a system that generates complex natural forms that resemble viruses, antlers, diatoms, horseshoe crabs, dragonflies and much more. William Latham (Goldsmiths University of London) is a pioneering UK digital artist well known for his evolutionary art created at IBM in the late eighties. After twelve years as a Creative Director in Rave Music and Computer Games, he became a Professor at Goldsmiths. Currently, William and his collaborator Stephen Todd are working with Google DeepMind to use AI to drive and steer the evolution of their organic art. This work was shown for the first time in the Evolution and Foundational AI exhibition in London in late 2025. \ evolutionandfoundation.com \ Instagram: @williamlathamart Stephen Todd (Software London Geometry) is William's long time collaborator since they worked together 1987–93 at the IBM UK Scientific Centre in Winchester. Stephen worked as a Senior Scientist at IBM Hursley for over 20 years. He then became a Visiting Professor at Goldsmiths University of London for 3 years where he also worked on scientific visualisation work linked to the Mutator Project. He is currently working with London Geometry on software development. Dylan Banarse (Software Google DeepMind) is a Senior Software Engineer at Google DeepMind working at the intersection of AI, artificial-life and computational creativity. After his PhD on biologically-inspired neural networks he moved into industry to lead development on multiple BAFTA-nominated projects, from the Creatures series of artificial-life simulations to four series of the mixed-reality BBC TV show BAMZOOKi. He worked with William Latham on the Evolution and Foundation project. Prof. Frederic Fol Leymarie is a prominent computer scientist, engineer, and academic who serves as a Full Professor of Computing at Goldsmiths, University of London. He is widely recognized for his interdisciplinary work bridging the gap between artificial intelligence (AI), computer vision, and the visual arts.

9 lenticular prints, 2019–2026 Extending her work on perception and light in digital 3D image, Anne-Sarah Le Meur’s recent lenticular prints are striking in their relationship to time and space. Moving in front of them, viewers discover shifts, appearances and disappearances of images. Elements, colors, and glows transform, interlock, or duplicate. Gathered on a sometimes streaked rectangular surface, a few basic shapes (a circle, a stripe) play with a strange and recurring black area. The result is complex and fascinating, fleeting and ambivalent, mixing geometrical and lyric pictorial references from Malevich to Rothko, hypnagogic visions (behind closed eyes) or post-mortem and archaïc memory. Connecting past and present, stillness and movement, these compositions thus capture and simultaneously empower our gaze. Anne-Sarah Le Meur lives and works in Paris, France. Since 1990, defying 3D conventions and drawing inspiration from painting and experimental cinema, visual artist Anne-Sarah Le Meur has mainly created 3D images, which she twists and distorts in unusual ways. In 2000, she turned her attention to virtual light and color sensations. Her real-time 3D computer program (with no rendering delays) enables her to produce installations, generative pieces, performances and prints. At the same time, she teaches visual arts at University Paris 1. \ http://aslemeur.free.fr/

sculptures, 2024–2025 Diapasones is an interactive sound sculpture from the Heliophones series that explores how sunlight can leave a permanent trace in matter. Each sculpture preserves one month of solar activity through the irreversible transformation of tuning forks, creating a unique microtonal instrument. Rather than translating solar data into sound in real time, the work allows sunlight to physically reshape the instrument itself, making each sculpture both a musical object and a material record of a specific period in the Earth’s relationship with the Sun. Diego Liedo is a Mexican artist and intermedia producer whose practice explores sound, electronics, mechanics, and the construction of experimental instruments. Trained in philosophy, he later expanded his work into creative technology, programming, fabrication, and sound art. His projects often combine handmade mechanisms, custom electronic systems, sensors, synthesis, and performance, treating technology as both material and language. He develops much of his work at Taller 30 in San Miguel de Allende, where artistic research and technical experimentation intersect. His practice focuses on creating devices, installations, and performances that reveal physical, acoustic, and electromagnetic phenomena through direct experience.

video-photo installation, 2026 Water is among the oldest symbols in mythology, philosophy, and psychology alike. In the thought of Carl Jung, it becomes a metaphor for the unconscious—individual and collective—fluid, deep, purifying, and treacherous at once. In WaterProof objects, water is held within miniature screens as a physical metaphor for subjectivity itself. Each viewer perceives the world through a personal lens shaped by their own unconscious. At certain angles, the real image vanishes, displaced by a reflective shadow. As Jung observed: “Until you make the unconscious conscious, it will direct your life, and you will call it fate.” The video-object engages with the collective unconscious. Dark depths evoke the unknown; drifting ice suggests the slow crystallisation of archetypes; sudden flashes of light emerge as brief incursions of the personal within a collective current. A moving reinterpretation of Olga Rozanova's Green Stripe (1917) passes through the frame as a stream of impersonal psychic energy—without origin or end—while vibrating lines trace the momentary surfacing of individuality above the collective flow. The installation invites an encounter with the hidden dimensions of the unconscious: our shadows, which may either overwhelm or illuminate us. Whether we drown in these depths or learn to swim and dive through them depends on the quality of our individual awareness—on the willingness to see. Nataliya Lyakh is a Paris-based multimedia artist working across photography, video, photo-objects and installation. She holds a PhD in neuro-linguistics, with research focused on brain asymmetry and speech processing. Since 2000, she has devoted her practice to photography, video art, short films, and video installations, exhibiting internationally in Paris, Stockholm, Istanbul, Milan, Rome, New York, and London. Her works are held in private and public collections, including the Russian Museum. Informed by her scientific background, Lyakh explores hidden dimensions within ordinary objects and situations, using plexiglas, aluminium, photography, and video to transform perception and reveal unexpected visual and aesthetic possibilities.

digital images created with generative AI, large format printing, 2023–2026 Spinoza distinguished natura naturans, nature as creating force, from natura naturata, nature as created things. Which category fits generative AI? Perhaps both, since its models are built from things already made. But I am more interested in the first. Like a forest, it is a self-organizing system: it does not store pictures but grows them, each image emerging from a latent space the way a branch emerges from a trunk. In Natura, this generative process is given an appropriate subject. Interiors and forests intertwine. A massive limb crosses a room like a beam. Bookshelves—my recurring motif, the classic architecture of accumulated human knowledge—stand inside a tangle of branches, their contents indistinguishable from nests and roots. Human figures appear among the shelves and branches not as owners of these spaces but as one more species inhabiting them. The images are rendered in the visual language of fine pen and graphite drawing, the medium through which Europeans first studied and catalogued nature, from Renaissance botanical illustration to nineteenth-century scientific engraving. But here this language of observation is redirected: the AI is not recording nature, it is enacting it. What we see is not landscape as naturata—nature depicted—but a trace of naturans: a machine that, like nature itself, endlessly generates form. — Lev Manovich Lev Manovich is an artist, author, and one of the world’s most influential digital culture theorists. After studying visual art, architecture, and filmmaking, Manovich began using computers to create digital art in 1984. His work has been exhibited in 14 solo and 120 international group exhibitions at many prestigious institutions, such as the Institute of Contemporary Arts (ICA) (London, UK), Centre Pompidou (Paris, France), and the Shanghai Biennale (Shanghai, China). His innovative art projects include “little movies” (the first film project for the World Wide Web, 1994), Soft Cinema (narrative films edited by algorithms in real-time, 2002) and Phototrails (visualizations of 2.3 million Instagram photos shared in 13 global cities, 2013). Manovich played a key role in creating four new research fields: new media studies (1991–), software studies (2001–), cultural analytics (2007–) and AI aesthetics (2018–). He is the Presidential Professor of Computer Science at City University of New York’s Graduate Center and the Director of the Cultural Analytics Lab. \ manovich.art

installation, 2021 The project was triggered by an observation: some geese on the Harakka island had started using plastic filaments in the construction of their nests. Birds adapt to urban marine environments and tend to appropriate anthropogenic materials for their own purposes. The work sets out to revisit the story of avian evolution by elaborating on the imaginary potential of new hybrid bird species, genetically programmed to thrive on plastic detritus. The installation consists of nine nest-sculptures put together of plastic waste drifted ashore with photographs of the nests placed in the natural habitat of the island. The main ingredients of the nests are the partly bleached filaments of colour-coded shock-tube detonator wires applied in initiating underbelly explosions. When the city of Helsinki expands, excavated rock material gets dumped into the sea together with bits and pieces of plastic wires used in blasting the bedrock. Tuula Närhinen is an artist and researcher in visual arts living and working in Helsinki, Finland. Tuula Närhinen holds an MFA from the Finnish Academy of Fine Arts and an MSc in Architecture from the Helsinki University of Technology. In 2016 she gained a Doctorate in Fine Arts from the Helsinki University of the Arts. Re-adapting methods and instruments derived from natural sciences, Närhinen facilitates visual renderings of natural phenomena. Alongside tracings and recordings, her installations showcase the processes of inscription and the DIY instruments implicated. Her works are represented in the collections of the Kiasma Museum of Contemporary Art and the Helsinki Art Museum. / tuulanarhinen.net

from series Secret Garden drawing, 2025 Secret Garden is a place to appreciate plant aesthetics, as a combination of various plants from different seasons alongside separate botanical portraits. Plants have always been important to humans—for survival, for expression, and for their ability to bring beauty and a sense of calm. Rather than treating plants as a decorative background or as specimens in a still life, this series invites the viewer to encounter them as living individuals in their fading and drying form. By shifting focus to these often-overlooked forms, the works invite the viewer to slow down, step away from the rush of everyday thoughts, and spend a moment of pause. The drawings are inspired by the aesthetic principles of ikebana, which value simplicity, respect for nature, and the creation of harmonious compositions that follow the natural growth, movement, and form of plants. Anna Otsolainen is an Estonian artist and art teacher. She graduated from the Sculpture Department of the Art Academy of Latvia in 2019 and is currently pursuing an MA in Drawing at the same institution. In her artistic practise, she focuses on illustration and drawing, inspired by nature, especially plants. Drawing often works with ceramics and macro photography. Anna has participated in several national and international sculpture symposiums and in recent years also in several group and solo exhibitions in Estonia.\ Instagram: @annaotsolainen

from the project Glacier Elegy installation, 2026 This wall-based sculpture consists of multitude of identically shaped but unique pieces on film. Each hand cut with uniform cuts and each with paint eroded by ice and water across the surface. The work takes on different forms each time it is installed by the artist, with the pieces recycled and reused, then assembled and falling in different ways. For the artist, this mimics the fluidity of water and the way that the same mass of water can appear in different places across the world and in different forms. Huge mass of water is also held in glaciers. Glaciers were formed layer by layer over long periods of time and hold memory of the atmosphere at the time of freezing. Peerna’s installations are labor intensive and are created one line, one drip and cut at the time. By doing it the artist is tuning into the life of a glacier and the flow of the water in an embodied way. The title Cold Love refers to the kind of love Peerna calls the world to feel towards glaciers: love them warmly but keep the love cold not to make the beloved disappear. Jaanika Peerna is an Estonian-born artist based in New York and Lisbon. Her work encompasses drawing, installation, and performance, often dealing with the theme of transitions in light, air, water and other natural phenomena. For her performances she often involves the audience in participatory reflection on the current climate meltdown. Her art practice stems from the corporeal experience of our existence and reaches towards enhanced awareness of the fragility, interconnectedness and wonder of all life. She has exhibited her work and performed in the entire New York metropolitan area as well as internationally. Her work is in numerous private collections in the USA and Europe and is part of the Fonds National d’Art Contemporain (Paris, France) and the Glyn Vivian Museum (Swansea, UK). Her work is represented by JHB Gallery, Artrovert and IdeelART. The latest solo exhibitions took place in Soul at Korea Foundation (2025) and in Tallinn at ARS (2026). \ jaanikapeerna.net

kinetic installation, 2026 Supported by CYLAND MediaArtLab 12 Body Problem is a work about the depiction of time. It combines the ancient technology of the sundial, which projects the movement of the sun onto a flat surface, allowing one to track the motion of a celestial body and precisely display time in a daily cycle, with the more advanced technology of watch hands rotating around a dial, and the even later method of digitally counting time intervals, displayed in a readable format on a seven-segment display. It is a compression of timepiece technologies into a single mechanism, reflecting both the natural origins of timekeeping and its artificial development. We would have added a tourbillon if we could. —Matvei Peshkov and Aleksandr Bochkov Matvei Peshkov is a visual effects artist specializing in computer graphics, primarily for feature film and series. His A/V performances have been presented at the State Philharmonia of Armenia (2024, Yerevan, Armenia), Centro de Cultura Digital (2025, Mexico City), Aether Gallery (2025, San Luis Potosi, Mexico), and the Urvakan festival (2025, Yerevan, Armenia). Aleksandr Bochkov is a media artist, engineer, and performer. He believes each element has a function.

video installation [15:53, loop, no sound], 2023 The camera recorded the anemometer set in motion by the wind. The anemometer is an instrument commonly used in meteorology to measure wind speed. I modified the anemometer by cutting the data transmission cables and applying linseed oil-soaked threads to each cup. Positioned at the centre of a sheet of paper and exposed to natural wind for five minutes, the device produces a circular trace. The resulting pattern varies depending on the wind velocity, duration, shifts in direction, interruptions or complete absence of propulsive thrust. What interests me is the tendency towards a mechanical objectivity, which is never completely achieved since the anemometer thus reworked is imbued with subjectivity. I am interested in the field of tension between the subjective and the objective. The transformation from technological instrument to mechanical/empirical apparatus counteracts the achievement of objectivity, which remains, however, an ideal to strive for, a tension towards. Furthermore, the video is not perfectly in focus to emphasise that no matter how hard we try to understand and grasp reality, it retains a certain degree of opacity. — Mariateresa Sartori Mariateresa Sartori is a visual and sound artist. Her research revolves around three thematic fulcrums: the empirical scientific method; behavioral dynamics, often in relation to neurosciences; music and sound in relation to language. She frequently collaborates with experts from the various disciplines she explores: geologists, physicists, linguists, musicologists, musicians, actors, botanists. She has exhibited in numerous museums and galleries in Italy and abroad, including the Therese Giehse Halle at the Münchner Kammerspiele (Munich, Germany), Stanislavsky Electrotheatre (Moscow, Russia), Chopin Museum (Warsaw, Poland), Ikon Gallery (Birmingham, UK), Fondazione Querini Stampalia (Venice, Italy), NGBK (Berlin, Germany), Hangar Bicocca (Milan, Italy), Museo Macro (Rome, Italy), Museum Joanneum, (Graz, Austria), Palazzo delle Esposizioni (Rome, Italy), Mucsarnok Kunsthaus (Budapest, Hungary), and the 45th Venice Biennale. / mariateresasartori.it

object, 2026 Some manifestations of natural forces are felt by humans constantly, while others remain beyond the reach of our senses. A Geiger counter detects high-energy cosmic particles that are inaccessible to human perception. The indicator registers the number of particles captured by the device—traces that may originate in distant galaxies during processes such as star formation, a direct expression of the Universe at work. Each click is a manifestation of global processes. Dmitriy Shishov is an electronics engineer, nature explorer, and weather observation enthusiast based in St. Petersburg, Russia. Born in Vyborg (USSR), he graduated from the St. Petersburg Electrotechnical University “LETI” (Russia). He develops electronic devices for both industry and art. Electronics engineer at CYLAND MediaArtLab. His work has been presented at festivals including Chaos Constructions (2019, St. Petersburg, Russia), Archstoyanie (2024, Nikola Lenivets, Russia), CYFEST 16 (2024, Yerevan, Armenia; 2025, Mexico City, Mexico), CYFEST 17 (2026, Venice, Italy).

photography, 2024–ongoing It is a printed photography manipulating with the idea of three main colors: Red, Green, Blue. The visual perception of the piece changes when you look at it through different plastic frames. The synthesis of photo and vision occurs at the intersection of optical illusion. Details delve into the interplay of light and color, forming an ever-evolving image that reflects the continuum of past, present, and infinity. Action effects highlight touch and human connection. Suren Tadevosyan is an award-winning cinematographer, art director, and visual artist based in Armenia. His work spans feature films, music videos, animation, and commercials. He has received Best Cinematography awards at several international film festivals, as well as the European Cinematography and Anahit Awards. He studied cinematography at the Armenian State Pedagogical University and completed camera operation courses with Michael Krichman (Moscow, Russia). Tadevosyan is Art Director of the Yerevan International Short Film Festival and a member of several professional film organizations in Armenia, including the Armenian National Film Academy and Armenian Cinematographers Guild. https://surentadevosyan.com/

video installation [33:37, loop], 2005 For the video The Vanitas Record, Koen Theys first constructed a monumental three-dimensional still life that reinterpreted the traditional vanitas genre. Spanning 20 × 12 × 4 meters, the installation incorporated classical symbols of mortality and the transience of human ambition: a huge amount of skulls, books, candles, and clocks. Among these objects, Theys introduced a living element—22,000 live snails—which added a dynamic, organic decay to the tableau. The video begins with a deliberate, contemplative camera movement, capturing the intricate details of the installation, underscoring the delicately rendered interplay of mortality and ephemerality. As the camera glides across the assemblage, a series of voice-overs surfaces, featuring fragments from Theys’s own media appearances, where he reflects with self-awareness on the absurdity and spectacle of his “record-breaking” creation. This sardonic layer of commentary imbues the work with a subtle irony, framing the installation as a meta-critique on the very concept of vanity and ambition embodied by the vanitas genre itself. In a final twist, the film shifts to the opening ceremony of the exhibition. Instead of showcasing the audience or the speakers, Theys directs his lens toward the press throng, an abundance of cameras capturing and consuming the spectacle. Koen Theys is one of the pioneers of videoart in Belgium. Already during his studies (at the age of twenty) videowork of him was bought by the MoMA in New York. Ever since, his work has been shown all over the world, from Europe and Russia to the USA and Asia. However his video- and photographic work remains the centre of his œuvre, he can be considered as a typical post-medium artist, as he makes sculptures, installations and performances as well. A constant in his work is the critical deconstruction of icons in modern culture. Through minimal interventions—such as displacement and duplication—he transforms these icons until they start to act against themselves, as it were. \ koentheys.org \ Instagram: @koen.theys

video installation, 2019 A few years ago, I bought a stock of printed Super 8 films at a flea market. They were the travel souvenirs of a single family from 1970 to 1980. There’s a paradox of family film: these memories are both extremely intimate and perfectly common. So they're very boring to watch, unless they're about your own family. After tedious viewing, I felt I had a mission to do something with all these memories. I thought perhaps the passion of the amateur filmmaker lay in capturing light and transforming it into emotion. So I followed in his footsteps, capturing and transforming this light as matter: light matter from Tunisia, fossil light from Morocco or Brittany... While the computer scrolls through the films, EKTACHROME's software chromatically decomposes the image and reorganizes the grains of silver oxide in synchronization with electroacoustic music. The result is a hypnotic visual journey that attempts to reconstruct the process of creating emotion and memory. Eric Vernhes’ artistic practice is based on the creation of “temporal objects”. This concept, derived from phenomenology, qualifies devices endowed with an intrinsic movement that espouses that of the spectator’s consciousness. Eric Vernhes employs this idea in his work to create a magical moment — the moment when the spectator’s imagination, set in motion by the work, comes embodied within it. Art often proposes questions. The work of Eric Vernhes proposes rather an ambition: to attain an ever higher level of awareness of ourselves, our bodies, the world and time in order to perpetuate, despite all challenges, the experience of our humanity. Represented in Paris by Galerie Charlot, his work is part of several private foundations (Artphilein Foundation, Lugano; Stuart Frankel, Chicago; New Art Foundation, Barcelona, etc.). / ericvernhes.com/en

kinetic sculpture, 2025 Mathieu Zurstrassen loves machines, which leads him to craft with a luxury of invention, machines that may sometimes seem utterly useless. With a combination of anthropomorphic adornments and complex mechanical devices he gives birth to astonishing hybrid creations. Is all this only a fairly learned, brilliant, but gratuitous game? Not quite. By distancing himself from our everyday reality, saturated with devices, and by diverting them from their usual functions, he reveals a mutant universe. Art is always a game with matter and time, and Zurstrassen plays with our perceptions, the ephemeral and the duration. Mathieu Zurstrassen is a trained architect who from 2013 embraces the path of visual arts. In designing objects, he moves away from the projection of the drawing and focuses on the experimentation of construction. He gives added value to his work, symbolic and philosophical, on the quality of the invisible and the relationships thus created between the sender and receiver. He uses the codes of craftsmanship to solve aesthetical issues often at the borders of the unspeakable. Highly technical, Mathieu Zurstrassen combines the ambiguity of materials, a poetic thought made of humor and delicacy. He has exhibited in various events, galleries and festivals such as the KIKK Festival (Namur, Belgium), Ars Electronica (Linz, Austria), and the Venice Biennale. / zurstrassenkinetics.com / www.mathieuzurstrassen.com