installation, 2016 3D modeling, 3D printing, video [MPEG4, color, sound, loop]; fifteen 3D printed figures, LCD screen, media player; acrylic glass, small antique side table Engineer: Alexey Grachev Supported by CYLAND MediaArtLab In the installation Pastorale copies of a porcelain shepherdess produced by a 3D printer are arranged on a screen that reproduces a video imitating a flowery meadow. The sound is a compilation of the music of Jean-Baptiste Lully and the chirping of “electronic birds”. If a traditionally understood pastorale is the peaceful bucolic scene lit by bright sunlight, the digital pastorale is a digitized world behind the looking-glass that represents what is absent in reality, the reflection’s reflection. Instead of sunshine flooding idyllic landscapes, the digital spaces glimmer with the cold silver of the Moon—the reflected light of the Sun. The pastoral music of Lully appeases the spectator who sees a multitude of absolutely identical “shepherdesses” dancing on the grass that is breaking up into pixels. The birds’ chirping creates the atmosphere of a joyful sunny day and invites us into this new digital world which dazzles us with its beauty, goodwill and absence of borders. 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.

selection of records from CAA, 2013 — ongoing 25 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 59 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 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 59 releases, including works by more than 80 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.

interactive object, 2024 3D modelling, 3D printing, welding, laser cutting; Arduino, Fusion 360; custom controller board, paper shredder, plexiglass, steel, fan, air blower, A6 color paper Engineers: Denis Markov, Alexey Grachev Supported by CYLAND MediaArtLab Imagine our psyche as a delicate sheet of paper, passed through the shredder of time and experience. Each event leaves its mark, tearing our sense of self into countless pieces. Then, like a gust of wind from a fan, our memories are swept up and swirled around, mixing and mingling until they become almost unrecognizable. As we attempt to retrieve these fragmented memories, we may find that only snippets remain intact. Perhaps it's the warmth of a sunny afternoon, the sound of laughter in the air, or the sting of a painful loss. These “extraits” serve as glimpses into the past, offering tantalizing hints of the emotions we once felt. But as time marches on, even these fragments can become blurred and distorted. Like a tornado gathering strength, our memories twist and turn, reshaping themselves with each passing day. What was once crystal clear may now be muddled and indistinct, clouded by the passage of time and the haze of our own perceptions. Despite the inevitable erosion of memory, there is a beauty in the chaos of our archive of feelings. It is a testament to the richness of human experience, the complexity of emotion, and the resilience of the human spirit. Our memories may be imperfect, but they are uniquely ours, shaped by the ebb and flow of life itself. So, as we navigate the labyrinth of our memories, let us embrace the fragments, the whirlwinds, and the tornadoes. For within their swirling depths lies the essence of who we are, a kaleidoscope of feelings and impressions that make us truly human. 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, in 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 were exhibited around the world. She is a founder and director of LASER Talks Brussels and she teaches in Brussels Fine Arts Academy.

from Series “Simple Pleasures” installation, 2024 kineographs, robotics, mixed media Engineers: Philipp Avetisov, Eugene Pavlov, Eugene Ovsyannikov, Dmitry Shirokov Supported by CYLAND MediaArtLab 30 years ago, when I just came to the United States, one of my first jobs was at a photographic store. Among the services offered, there were development of B/W films copying and retouching of old photographs. During several years of work, hundreds of images passed through my hands and, whether you like it or not, what you saw becomes a part of you. I came upon images from various times: 18th, 19th and 20th centuries. Mainly, those were individual, family and group photographs, portraits of the military and pictures from the Victorian Age when photographs were done with the deceased family members in them. There were some curious incidents: once I was handed an envelope with photographs that contained a note: “Be careful. The photos are really old; they date back to 1715.” (Daguerreotype, by the way, was invented in 1839). Those images stuck in my memory. What astounded me was the fact that practically all the images were alike. It is interesting that, despite the geographic origins of those who were depicted on a photograph, it was impossible to determine where they were from (unless the architecture got captured in a frame). It was impossible to figure out whether they were immigrants from Armenia, Russia, Sweden, Italy or Ireland. It was also impossible to determine on the photographs from different countries where they were taken at the time. Scientists claim that if the brain saw something, it would stay with it for the rest of one's life. However, the fore-conscious* plays its role as well… *Fore-Conscious is a term that indicates the perceptions, thoughts and memories that, while not being part of our current conscious experience, are still remain available for comprehension. 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.

sound art object, 2012 vintage aluminum case, stand, speaker, microcontroller, Arduino and Max/MSP; programming, Mac Mini, environmental sensors Engineers: Alexey Grachev, Sergei Komarov Supported by CYLAND MediaArtLab Weather Station No. 1: Atmospheric-Acoustic Transducer is an atmosphere-to-sound converter. Designed to convey information about environmental changes in the absence of visual cues, it generates sound based on input data such as atmospheric pressure, humidity, temperature, and more. With Weather Station No. 1, Alexey Grachev explores what the interpretation of data streams can reveal. Using atmospheric inputs from various sensors as a compositional foundation, the work delves into the subliminal poetics of space. Algorithmic music, structured through simple rule-based processes, unfolds continuously — shaped by real-time environmental change. Alexey Grachev is a media artist, engineer, computer programmer, musician and performer. Graduated from the Bauman Moscow State Technical University (Russia). Completed the School for Young Artists program at the Pro Arte Foundation (St. Petersburg, Russia). Grachev is the technical director and chief engineer of CYLAND MediaArtLab. Participant of the World Event Young Artists Festival (2012, Nottingham, UK), CYFEST (numerous times), special project Urbi et Orbi at the 6th Moscow Biennale (2015, Russia), The Creative Machine 2 exhibition at Goldsmiths, University of London (2018, UK), ID exhibition parallel to the Venice Biennale (2019, Venice, Italy). Participant of the Arts Work of the Future project at the Tate Exchange space (2018, London, UK). He has delivered lectures and workshops in several educational and cultural institutions in Russia and internationally.

installation, 2024 3 channel video [00:00:30, b/w, sound]; 3 screens; 3D modelling, 3D printing, welding, Arduino programming, stepper motor, stepper driver, magnet, custom-made circuit board, steel, heavyweight wool coat, hanger, carpet beater Engineers: Alexey Grachev, Yuriy Avdeev, Dmitriy Shishov Video engineer: Anton Khlabov Supported by CYLAND MediaArtLab A man's life is but a moment in infinity—like dust floating in the stream of time. Turning to our memories, we seem to beat them out of ourselves like an old dusty coat, sometimes admiring their brightness, sometimes choking on their suffocating corrosiveness. Each of us comes into this world following our unique path, but in the end, we all return to our starting point—stardust. Understanding this, we can feel the vulnerability and significance of our existence. We are made of dust, but we are also a part of the dust of stars, of which we remain a part forever. 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.

2-channel video installation, 2021 video [08:30, colour, sound, loop]; Video, Graphic, Editing: Heejeong Jeong Sound: HyunTae Lee In the 1960s, Korea began to build apartments as part of an economic development policy that came with the rise of an authoritarian government. Mountains and rivers were covered, and the entire country became the same residential space. The apartments that have become Korea’s representative residential space today are not simply homes, but the inevitable pinnacle of economic and cultural desires. The panorama, which is a collage of photographs, shows the abandoned and alienated landscapes of the outskirts during this process. Like an inverted glove, the back of the place where the outside is projected upside down reveals the flow of desire and aspiration for a home. Will she, who spent her childhood in a house with a yard before the development boom, be able to realize her lifelong dream of a small garden where she can grow her own food? Through landscapes pushed aside by development and the story of a woman dreaming of a home with a garden, this panorama asks: what kind of “home” do we truly long for? Heejeong Jeong was born in Seoul, Korea in 1975. She holds an MFA in Digital Media Design from Hongik University’s International Design School for Advanced Studies and is actively working in the field of video art. Her work reveals unexpected dangers and alluring moments in everyday life through distinctive color palettes, compelling compositions, and symbolic imagery that resists easy interpretation. She was invited to CYFEST16 in Yerevan in 2024 and has participated in numerous group exhibitions and screenings, including VIDEOFORMES in Clermont-Ferrand and the Torrance Art Museum in Los Angeles. In 2017, she received the Audience Award at the Seoul International NewMedia Festival for her work Red Room.

video art, 2024 full HD video [00:00:00, b/w, loop] mix of vector graphics, photo-based animation, static photo images The realization of any grand plan is often the most vivid illustration of how human thought is flexible and changeable. When beginning to bring to life a concept that once seemed ideal, we invariably encounter the fact that the ideal has already changed before it was fully materially embodied. The video Imaginary Center of a Circle is based on a series of photographs about urban fabric, its folds and curves, recurring motifs and fragments that with their sectors and circle segments try to form into the perfect shape, but ultimately turn out to be merely a reflection of the dream that contradictory and diverse elements of the world can be composed into something unified, just like the urban plan of modern Yerevan, originally conceived as the perfect circle of a garden city, in the end… Anton Khlabov was born in 1986 in St. Petersburg (Russia), currently lives and works in Yerevan, Armenia. Photographer, video and multimedia artist. Graduated from Institute Pro Arte in “New Technologies in Modern Art” program. His video works often combine photo-based animation, geometric abstraction and results of processing, analyzing, and researching of architecture, urban environments, and the structures of spaces created by humans. The works of the artist were presented at exhibitions in numerous countries, participated in international festivals and biennales around the world.

single channel video, 2023–2024 video [00:09:48, color, sound, loop]; 65” screen, headphones Blind and Mute explores the relationship between individuals and society, portraying people who, while capable of hearing and speaking, are blind to the world, or those who can see the present but cannot speak or hear, as well as the unstable and fluid nature of society. Additionally, through artistic expression, the piece raises questions about human connection, resilience, and the limitless potential of human expression beyond sight and sound as It draws significant inspiration from the exploration of historical events, emotions, and memories. This work also emphasizes deeply on human suffering and shares the spirit of the times, as it offers a social reflection on Korea's past, present, and future — marked by conflict, confrontation, and anger. Furthermore, the ultimate goal of this work is to recognize and honor the resilience and beauty of individuals who live with sensory challenges, delivering the depth of expression beyond words to the audience and expanding the realm of empathy with those who navigate the world differently. It is a powerful performance aiming to convey this message. Kira Kim has actively expressed a responsible attitude toward the social role of art and artists through performance, installation, and video work. His research interests are closely related to human actions and habits, addressing the irrational boundaries, social inequalities, and prejudices that surround us. His major exhibitions include "Artist of the Year" at the National Museum of Modern and Contemporary Art (MMCA) in 2015, "Soft and Fragile Like Water" at the 14th Gwangju Biennale in 2023, "The Moving Moon Approaching Land" at the 3rd Jeju International Biennale.

VR (Performance), 2021 Unity, Python, HMD (Quest) Direction and graphics: Anna Kim Music: Park Sungmin Choreography: Ko Dahee, Kim Yujin Dance: Ko Dahee, Kim Sohee, Kim Yujin, Kim Hyunjoo, Jang Haram Technical Support: ManiaMind Invisible Cities: is a transdisciplinary collaborative mixed reality using motion capture technology. Initially showcased as a live performance, it is an artistic experiment that allows both artists and viewers to overcome spatial and temporal boundaries through merge of the real and virtual. The project was organized to have artists of different genres (a writer, a media artist, a composer, and a choreographer) come together in a fashion similar to the surrealist game of “exquisite corpse” allowing for each contribution to overlap those of others’ rather than adhering to an unidirectional output. Created against the backdrop of the turbulent socio-economic landscape during the COVID-19 pandemic, the surreal landscape of attempts to open up a new psychical horizon about a new world to come. It is a journey onto the alien nebula “Aldalbach” in the collaborator Sim Na-wool’s story, Virtual Love, a virtual city built upon a phantasm beyond the graspable reality which unfolds in the work. is a virtual world that consists of imaginary subsistence. Anna Kim is a media artist who explores the interaction between humans and the environment through technology. Her work investigates artistic possibilities by observing environmental and social phenomena, which she embodies through digital storytelling and simulative practices. Her creations focus on alternative narratives, using various technologies in subversive and critical ways to explore new trajectories for the future. Her notable exhibitions include “Digital Resonance” at the Gwangju Media Art Platform (2022), “Seoul Convergence Art Festival Unfold X” at S Factory (2022), “Sustainable Museum: Art and Environment” at the Busan Museum of Contemporary Art (2021), the Open Media Art Festival “Black Swan: Unpredictable Future” at Oil Tank Culture Park (2020), and “Media Anatomy” at the Total Museum of Contemporary Art (2020).

sound installation, 2023 Supported by CYLAND MediaArtLab The time signals have a strict utilitarian purpose and are used as a reference to determine the time of day. Not only humans, but machines too, are sensitive to them. Coordinated Universal Time — an imposed time — splits space into time zones and divides days into slots for labor and leisure. A seemingly ordered and planned timing of the day bends the stream of life. It establishes hours through a hierarchy of choices we make throughout the day. In this project, utilitarian, purposeful time-counting is displaced by a subjective logic. It is guided by one’s personal sense of time — where what feels too long or too short is a matter of perception, shaped by what is happening and when. It appears as a temporally staged game, existing only for the sake of play, without any clear purpose. Whatever slice of time is noticed will be neither a beginning nor an end. They are all part of a broader continuity, where the sound from this installation is just one of many fragments — existing like pulsars, like strangers’ shouts from nowhere — a barely recognizable fragment of someone’s voice, snatched from the surrounding noise. Sergei Komarov is a curator, engineer, and sound artist. He curates the sound art program at the International Media Art Festival CYFEST and Cyland Audio Archive (CAA). As a sound artist and musician, he is a co-founder of the Kurvenschreiber band. As a Max/MSP programmer, he is involved in creating the installations made in CYLAND MediaArtLab. He was a collaborator in Asymmetrique Answer, an interactive performance group. Works as an independent author of sound art pieces. Currently lives and works in Yerevan, Armenia. Lidiia Griaznova is a curator. Since 2019, she has been a managing editor and curator at CYLAND MediaArtLab. Since 2023, co-curator together with Sergei Komarov of CYLAND Audio Archive and the sound art program at CYFEST. Earned an MA in Curatorial Studies from co-joined program of the Bard College and St. Petersburg State University. Curated several exhibitions and book-based projects for the Boomfest Comics Festival. Guest editor for a special issue of Leonardo Journal (54:1), “CYFEST 13: Cosmos and Chaos” (MIT Press) in 2021. Currently lives and works in London, UK.

kinetic sound installation, 2025 AudioMulch, Adobe Audition, Arduino, modified wiper motors, stepper motors, custom audio players synchronized with stepper controllers, 5 speakers Gustavo Matamoros’ works are published by Subtropics Editions. This comprises a score (created after the fact), source audio, binaural audio recording. Memorial, a kinetic sound installation by Gustavo Matamoros, transforms the exhibition space into an auditory experience that unveils the unique acoustical signature of the room. Created in 2025, this work employs rotating speakers and computer-controlled playback to project sound from the center of the space onto the surrounding walls. Utilizing four-channel digital audio and customized acoustical analysis, Memorial traces and outlines the physical architecture through audible transient artifacts, resonant tones and sweeps. Developed in collaboration with CYFEST artists and staff, the installation invites visitors to immerse themselves in a dynamic interplay of sound and space. Gustavo Matamoros is a North American composer born in Venezuela who creates experimental music and sound art. He is the founder of the Subtropics Festival in Miami and a core member of Frozen Music—a sound art collective with David Dunn and Rene Barge that has included Russell Frehling and David Behrman. He is best known for his work with small sounds, as well as for his sound portraits; the use of “gated” recorded sound as an interactive element in live electroacoustic performance; his “noise melodies”; and for his site-specific and public sound art installations.

video installation, 2016 seven 40″ screens What is the meaning of Energy, after all? Changing and reversing the lapidary order of things. This is Energy Altering the rational pattern of our perception. This is Energy Overturning the very meaning of the work and extending its potential. This is Energy Running on unfamiliar terrain using unapproved strategies. This is Energy Entering and leaving without fear of the circumscribed borders. This is Energy Crossing without complexes the separateness and discomfort of creativity. This is Energy The true and authentic Energy, in the end, is only that of the light of a flash in the deep darkness of the night. — Fabrizio Plessi Fabrizio Plessi is a pioneer of Italian video art and is the first to have used a television monitor as material which runs a relentless water and digital fire flow (his first video installation goes back to 1974). His numerous participations in the Venice Biennale since 1970 and in film festivals and international dance have enabled him to create innovative and anticipative art experimentations. Internationally he exhibited at Documenta, in the Guggenheim Museum in New York and Bilbao, Scuderie del Quirinale in Rome, Martin-Gropius-Bau in Berlin, IVAM in Valencia, MoCA in San Diego, Ludwig Museum in Budapest and Koblenz, and The Fundació Joan Miró in Barcelona. His site-specific installation The Golden Age, was inaugurated on the facade of the Correr Museum in Venice in 2020 (thanks to the contribution of the Maison Dior). In Milan in 2021, the first monumental-scale video sculpture was inaugurated at the Generali Tower, The Seas of the World—Homage to Zaha Hadid. For Dior, he created MOSAICA, a unique piece of the iconic Lady Dior bag. Invited by the Brescia Musei Foundation to design and create an impressive widespread exhibition, Plessi marries Brixia, which is dedicated to the archaeological and historical-artistic heritage of Roman Brescia and the Santa Giulia Museum and can be visited until January 2024. Plessi was one of the founders of the Kunsthochschule für Medien in Cologne, where he was also Professor of Humanization of Technologies and Electronic Sceneographies from 1990 to 2000.

video [00:06:23, sound, b/w, loop], 2018–2022 With participation of Kiki Dellisanti, Giovanni Dinello, Gustavo Frigerio, Antonella Mancino, Matilde Sambo Camera: Furio Ganz Music: Pyotr Tchaikovsky. Symphony No. 6 “Pathétique”. Leningrad Philharmonic Orchestra conducted by Yevgeny Mravinsky Thanks to: Ferruccio Busetto, Giorgio Busetto, Augusto Maurandi, Fabio Naccari, Lucia Veronesi; Fondazione Ugo e Olga Levi di Venezia The Pathetics move like puppets with motivations that elude us, passing from joy to despair, from fear to serenity, from aggression to desolation, abruptly, with no apparent motives other than internal ones made manifest by the music. They are driven by unconscious inner forces that determine dynamics, facts and destinies. Everything changes quickly and everything repeats itself in a kind of carousel without beginning or end. This is a work about human nature. We are “The Pathetic Ones”. Mariateresa Sartori is a visual and sound artist. Her research revolves around three thematic fulcrums: empirical scientific method; behavioral dynamics, often in relation to neurosciences; music and sound in relation to language. She often collaborates with experts from the various disciplines she explores geologists, theoretical physicists, linguists, musicologists, musicians, singers, actors, botanists, and ornithologists. She has exhibited in numerous museums and galleries in Italy and abroad, including the Therese Giehse Halle, Münchner Kammerspiele, Habibi Kiosk (Munich), Stanislavsky Electrotheatre (Moscow); Chopin Museum (Warsaw, Poland), Cairn Centre d'art (Digne-les-Bains, France), Ikon Gallery (Birmingham, UK), Fondazione Querini Stampalia (Venice, Italy), Moscow Museum of Modern Art (Russia), Palazzo Fortuny (Venezia, Italy), Museum of the Russian Academy of Fine Arts (St. Petersburg, Russia), MACRO Museum (Rome, Italy), Hangar Bicocca (Milano), Les Ateliers d’Artistes (Marseille, France) and many more. Lives and works in Venice, Italy.

site-specific installation, 2024 C, Python programming; MQTT, Modbus; worm drive, stepper motor, stone, custom-made circuit board, indicators, Raspberry Pi Adviser: Alexey Grachev Supported by CYLAND MediaArtLab The stepper motor rotates the stone at a speed proportional to the wind speed data from the weather station in Saint Petersburg. The stone gradually turns into sand. In real time, this natural process occurs constantly and is called Corrasion. This work is an attempt to realize the power of processes occurring in nature and their tremendous scale. The densely stacked matter was formed layer by layer in the nonhuman time scale period. A stone is grating a stone, and the history of the Earth is revealing and immediately disappearing while turning into fine fractions. To be rearranged in the remote future into a new entity. Dmitriy Shishov is an electronics engineer, Nature explorer and weather observation enthusiast. Born in Vyborg (USSR). Graduated from the St. Petersburg Electrotechnical University (Russia). He works on developing electronic devices for industry and art. Electronics engineer at CYLAND Media Art Lab. Participated in such festivals as Chaos Constructions (2019, St. Petersburg, Russia), Archstoyanie (2024, Nikola Lenivets, Russia), CYFEST 16 (Yerevan, Armenia). Lives and works in St. Petersburg, Russia.

sound installation, 2025 Automatic Piano; Touch Designer; Solenoids, Arduino, Servomotors; screens, piano extended with electronics, computer This piece was produced with the assistance of students from UAM Lerma. In 1700, Bartolomeo Cristofori invented the pianoforte. With the commercialization of electronic keyboards there was much speculation about the instrument's decline. We now know that neither its timbral quality nor its semiotic significance are easily replaceable. The pianoforte is an instrument with very characteristic sonic properties, an object with a historical significance and a transcendence as a sign and symbol that keeps it indifferent to digital modernity. The piano, as a material object and as a sound object, still remains a fixture in the collective imagination. This installation proposes a unique interpretation of the aesthetic elements, which is at the same time generic in its intention to relate the piano as an object to an increasingly dynamic, volatile, ubiquitous, and much more virtual environment. Hugo Solís García is a sound artist focused on the intersection of art, science, and technology. His work has been shown and performed on national and international venues over the last years. He has received grants, prizes, and awards from FONCA, UNAM, TELMEX, MIT, UW, IMEB, 4Culture, Seattle City, among others. Currently, he is a full-time professor at Universidad Autónoma Metropolitana in the field of Digital Art and Interactive Technologies. He has been a member of the Sistema Nacional de Creadores de Arte of México, and is a member of the Sistema Nacional de Investigadores of México.

immersive kinetic sound installation featuring magnetic spheres, electromagnetic fields, and gravitational force, 2024 C++, Arduino; custom circuits, microprocessors ESP32; pendulum and coil mounts, assembled pendulums, neodymium magnetic spheres, coils and aluminum cores, electric wires Technical assistance: Juan Amaya, Catherine Serrato, Carlos Serna Knight Foundation Digital Commissions Series, Locust Projects This installation delves into the inseparable relationship between our tangible surroundings and the imperceptible forces that govern the natural world. It features a room filled with magnetic spheres that either levitate or pendulate as they interact with magnetic fields. Each system consists of a magnetic sphere and two coils. When a coil emits a magnetic field, the sphere levitates near it, manifesting the field’s intangible presence. When the field dissipates, the sphere pendulates freely, propelled by gravity. The work behaves like a collective—a sort of organism composed of interrelated parts. Controlled by a probabilistic code, the spheres exhibit individual and collective behaviors. Amidst the randomness, moments of synchronized activity emerge, evoking a living entity that constantly self-generates. Alba Triana is a Miami-based, Colombian-born sound and intermedia artist. Through immersive installations, sound and light sculptures, and vibrational objects, her work explores the relationship between the natural world and the human condition. Engaging with vibration, energy, interconnectedness, and nature’s self-organization, she examines how the vitality of all things — living and inert — shapes our human experience. Her work has been shown at Ars Electronica Festival, Lentos Kunstmuseum (Austria), the Getty Foundation’s PST ART (U.S.), Le Centquatre-Paris, Biennale des Arts Numériques (France), and ISEA — International Symposium of Electronic Arts. It is part of collections like SOLO and Otazu (Spain), Banco de la República de Colombia, and MAMBO — Museum of Modern Art of Bogotá.

single-channel video, 2024 video [00:02:42, color, stereo, loop]; Generative Adversarial Network, 40" screen, headphones Machine learning engineer: Aisthesis Savage Sound performers: Ku Hsiang-Yu, Yang Yu-Chiao Folk tale narrator: Yang Yu-Chiao Sound designer: Chen Lin-Shuang Data organizer: Ray He Supported by the National Culture and Arts Foundation (Taiwan) Based on the artist’s experience of practicing calligraphy for many years, Calligrapedia: A Universal Algorithm #2 utilizes a machine learning to analyze a large number of calligraphy drafts. Drawing inspiration from natural elements such as landscapes, animals, and plants, it has developed a series of human-machine-made Chinese characters that flow between script and organic things. On the other hand, through collaboration with a folk tale narrator, it reinterprets ancient oral stories passed down worldwide with “qualitative transformation” as its core. Deconstructing machine learning’s aspects of image style recognition and simulation, the work explores how words, language, and mythological narratives in human history continuously interpret themselves through learning from the world around them. It constructs an intertwined view of human-machine-nature interaction. Mu Tuan is an artist and independent curator based in Taipei. He seeks ways in which new media could reinterpret the unique worldview of traditional Asian culture, using a poetical approach to explore human perception and thinking in this age of technology. Combining media such as AI, XR, 3D animation and installation. His artworks have been presented in numerous international exhibitions, including Durres Biennale, Athens Digital Arts Festival, Asia Digital Art Exhibition, CutOut Fest, Miami New Media Festival, Now & After International Video Art Festival, Venice Immersive Market Taiwan Pavilion, Festival ECRA, CineGlobe Film Festival and CYFEST Media Art Festival.

installation, 2017 Max/MSP, Jitter; computer, 2 screens, camera, sound monitor, steel structure, welding Because we don’t know when we’re going to die, we can think of life as an inexhaustible well. Yet everything only happens a certain number of times, and a very small number in fact. How many more times will you remember a certain afternoon from your childhood, an afternoon that is so deeply a part of your being that you can’t even imagine your life without it? Maybe four, five times, maybe not even that. How many more times will you watch the full moon rise? Maybe 20. And yet it all seems limitless. — Paul Bowles, The Sheltering Sky Vanishing Line stages these particular images that Paul Bowles talks about, on which the flow of life stumbles. The video captures of some of these moments slide across the surface of a horizontal screen. These images are placed randomly under an observation camera that broadcasts them on a second screen as a cinematographic continuity. On this screen are condensed the hatching of time, the decompositions of notable moments of the “film” line of life. Often, the camera re-films the images that it has just captured. The resulting “feedback” process causes a degradation in the quality of the images, evoking the process of erosion of memory and finitude. Eric Vernhes is a time-based media artist. Lives and works in France. Since 2000, he has been designing and implementing computer tools that enable him to condense the editing, image/sound processing and broadcasting phases into a single operation. Surrounded by improvising musicians, he creates stage performances in which the creation of digital images and music proceeds from the same moment and gesture, either in interaction modalities, or thanks to the mastery of image improvisation, made possible by the development of specific interfaces. In 2008, he turned to the creation of kinetic, visual and sound devices and installations, programming their behavior according to self-generating, interactive or hybrid logics. The digital processes he uses are extracted from their technical context to serve a timeless discourse inspired by literature and philosophy. 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.).

sound installation, 2023 stainless steel, electronics, speaker, field recording [04:00:00, single-channel sound, loop] An Antipodal point refers, on the surface of a sphere, to two diametrically opposite points. The proposal for CYFEST aims to metaphorically connect the exhibition space to its geographical opposite. This location is in the southeastern Indian Ocean near the Kerguelen Islands, Specifically, roughly 650 km southwest of the islands, in the open sea. The proposal reflects on the invisible, what can’t be seen at first sight, what lies beyond apparently insurmountable barriers. It is an opening to a journey through the imagination. The installation draws its inspiration from the air ducts present in old buildings, the perception of muffled and barely audible discussions, decontextualized pieces of life devoid of visuals that act like a cerebral catalyst and opens the field to the imagination. 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 or Ars Electronica or Venice Biennale.