Video, 2023 10″ digital picture frames, plexiglas; video [00:02:50, color, sound, loop] Life is a movement, and it takes place even after that life is buried under ground. This could be invisible for the eye (if the remaining windows are to be backfilled), but we shall always hear at least a faint sound.

Installation, 2023 Music: Johann Sebastian Bach, Ricercare à 6 (The Musical Offering; BWV 1079) Performer: Jeremy Cole The installation “Rescue Ship” is an analogy to Aivazovsky’s painting “The Relief Ship”, banned in Russia. This installation plays the music that constitutes the essence of western culture. Music opens doors of the forbidden, pushing the boundaries of art towards the oceanic horizon.

Video Installation, 2023 Video [00:06:18, color, sound, loop]; 32″ screen, frame “Because we go and beauty stays. Because we are headed for the future, while beauty is the eternal present. Aesthetic sense is the twin of one's instinct for self-preservation and is more reliable than ethics.” — Joseph Brodsky, "Watermark" The fragility and vulnerability of human life, its brevity and finiteness are questions that torment a person, everyone is looking for their own answers. The consolation in this kind of reflection is beauty. The beauty of nature, art as a kind of "beauty". Rainer Maria Rilke wrote "For beauty is nothing but the beginning of terror". The horror is that beauty remains in the eternal present, in eternity, and man gets only a moment. The installation "Eternal Present" is a monitor inserted into an antique frame and looks like a painting hanging on the wall. On the "picture" you see, reminiscent of abstraction, a composition of bright spots. There is a close-up view of a fragment of a natural landscape. At a distance of two steps, this picture should surprise with color and composition. But, from a closer distance, the strange movement that takes place on the screen among these bright spots is recognized and it becomes clear that under the layer of leaves and shells of shrimp, armies of worms move in their eternal movement.

Selection of records from CAA, 2013 — ongoing 25 vinyl records, turntable, headphones 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 58 releases in the archive, including works by more than 80 artists from every continent except Antarctica. All the records are available for listening on cyland.bandcamp.com. Sound art has consistently been a part of CYLAND’s festivals and exhibitions. We have been experimental with our approach, largely because when exhibited amongst multimedia installations, sound art can easily fall in the shadows. It was a long process of trial and error to find a concept that would manifest in physical form a presence of sound in an exhibition space. There were probes with using portable players or tablets, headphones or directional speakers. Surprisingly, the most suitable medium — vinyl records — has always been available and remains to be a means of record and archive, it’s so well suited for representation of sound. Using records, we can now store, and showcase sound art in its most natural physical form. First-hand interaction with a turntable became a good additional feature. While the curator’s job is to compile a selection of records for an exhibition, people themselves manage the rest — they choose records to play, and run through descriptions. Each of the releases presented, are a stand-alone pieces accompanied with an artist statement, short commentary from auteur. — Sergey Komarov Selection of records for CYFEST-15 in Yerevan: CAA—1 Nick Edwards CAA—2 Peter Vogel CAA—3 Hans Tammen CAA—4 Dmitry ::vtol:: Morozov CAA—5 Kurvenschreiber CAA—7 Art Electronics CAA—8 Pete Um CAA—9 Jonas Gruska CAA—10 Yoshio Machida CAA—12 Vasily Stepanov CAA—13 Sasash Ulz CAA—14 Georgy Bagdasarov CAA—15 Max Kuiper & Thorstan Soltau CAA—16 Mark Hannesson CAA—17 Akira Rabelais

Installation, 2023 Arduino C, Python; Raspberry Pi 3, Arduino controllers; micro projectors, media players, LED strip; artificial plastic rock, podium Engineers: Philipp Avetisov, Denis Andreev, Eugene Ovsyannikov, Dmitry Shirokov Video engineer: Alexander Bochkov Supported by CYLAND MediaArtLab In her work “Obstinacy and Persistence”, Anna Frants reflects on these apparent synonyms. Obstinacy is common to both humans and animals, and even more so to the latter, since the saying goes “obstinate as a mule”, and not the other way around. As for persistence, it is mainly characteristic of people who possess this quality, helping them to win at any work, even as meaningless as the one Sisyphus had. Camus, however, believed that the Sisyphean labor has as much meaning as most of our contemporary jobs in factories or offices. An obstinate creature will make every effort to not budge. But a persistent person will be moving forward or upward, overcoming all the obstacles and being guided by a star in the sky or, by flickers of light running up the tamarind seedpod.

Site-specific object, 2023 Pencil, stairs Nothing is as vulnerable as human perception. For instance, one black line can change the perception of steps from horizontal to vertical and vice versa. And an illusion begins to be perceived as reality...

Generative AV, 2020 Python, StyleGAN2, Magenta DDSP Timbre Transfer; video [00:07:15, color, sound, loop]; 40″ screen, headphones The project was started during MA in DA FEFU (Vladivostok, Russia) Can we imagine plants that do not exist in nature? Is there any technology that may help us imagine such things? “The Night in gale” is a generative video art that answering this question. Neural network StyleGAN2 was trained on a huge data set of plant images from the archive of New York Botanical Garden, and the video is representing the imagination process. The audio track is a nightingale song processed by the neural network algorithm Magenta DDSP Timbre Transfer to make it sound like a viola.

Bio-installation, 2023 In memory of my friend "Նա" [Na] is a pronoun like he/she in English. However, "Նա" is used for both women and men. There is no gender in Armenian. There are many pronouns in Armenian: "Սա", "Դա", "Նա", "Այս", "Այդ", "Այն" but it seems only "Նա" is versatile and breathy. "Նա" is born, "Նա" lives, "Նա" dies without diminishing, disappearing, annihilating, as long as we pronounce those two simple sounds. We love Նա, we hate Նա, we lose Նա, we miss Նա, we remember Նա and Նա takes shape every time we utter it. Նա is embodied in us. You may not see "Նա", but you are also "Նա" inside someone when you are no longer there for "you". You are no longer "Նա", but you are there, when they remember you. ՆԱ is an experimental bio-installation, for which the necessary biomaterial is bees and dyes with natural raw materials. For the exhibition period, they are placed in a glass polygon, with two separate flat levels. Holes in layers allow the insects to move freely in between the flat floors, staying inside. Bees feed by raw materials dyes. Gradually, the inner layer transforms into a beeswax texture. Its appearance is unpredictable, as a natural result of the transformation of matter by the activity of insects. — Styopa Grigoryan

Installation, 2023 C++, Arduino IDE; Arduino microcontroller; water pumps, motors with nozzles, glass slumping kiln, glass objects, water pool structure "Guidance" is an installation that invites visitors to explore the delicate interplay between strength and vulnerability. A jet of water powerfully directed upwards, only to be resolutely redirected downwards by an object hanging above. Within this display, the water embodies qualities of strength and vulnerability, mirroring our own human condition. Its cascading movement echoes a delicate balance. Viewers are invited to reflect on the innate connections we share with water and the profound significance of the control we exert over our surroundings. "Guidance" shows our relationship with forces beyond our control, our vulnerability. And the beauty of surrendering to our vulnerability. The art of losing.

Video installation, 2023 Bunker, video [00:06:00, color, sound, loop] Video: Sergey Kishchenko Music: Roza vetrov by Iraida Yusupova Performance: Lydia Kavina, Theremin Duck Test № 5 (Venetian), video [00:11:15, color, sound, loop] Video: Sergey Kishchenko Music: Mixolydia by Jorge Antunes Performance: Lydia Kavina, Theremin “Venetiae: Quintum Corpus” is a series of video-works prepared expressly for a joint performance with Lidia Kavina, composer and Theremin performer. They were created in Venice and dedicated to it. I have been living in this city for over half a year by now. My life here proved to be full of amazing, unexpected discoveries. I photographed umbrella pines in dense fogs in Alberoni, dunes and forest reserves in Lido and Pellestrina, lions with human faces in Venice and Chioggia, glass blowing in Murano, Venetian sky and courtyards and, finally, sinister bunkers and artillery fortifications left from the times of World War II. Working on this series I used the philosophy of fluid flying screens in order to underline the world's fragility. One of the video sketches is dedicated to my alter ego "Duck-Man", his memories of the lost motherland and his perceptions of Venice. — Sergey Kishchenko

Installation, 2019 Inflatable fabric sculptures, photo printing, potted plants, furniture Commissioned for “The City of Tomorrow” group show at the New Tretyakov Gallery, Moscow In the installation of the “relaxing columns,” Irina Korina recalls her childhood in Moscow, trips with her parents to the museums, cartoon characters, caricatures from magazines, children’s books and cinema.

Sound installation, 2023 Copper sheet, droppers, piezoelectric pickups, active speakers “Drop by Drop” is a sound installation comprised of manipulated analogue granules and refers to the inclusion of natural substance in the process of creating sound. In this sound installation, water becomes a conductor between man and sound, creating a sound organism. Each drop falls on the piezoelectric element, becomes a sound granule, and is broadcasted through the speakers. The system is controlled by the participation of the viewer, who has the ability to change the speed of the falling drops on each of the droppers, thus completely changing the sound event.

Sound installation, 2023 4 speakers, the inner atrium’s architectural space; non-stop loop of 00:01:14 Glass House is a sound installation created for the large glass atrium at the Botanical Garden in Yerevan. This kind of sound installation seeks to make audible aspects of the particular acoustic personality of the given space. These acoustical features can be incredibly evocative when experienced as sustained tones. As they stimulate the architecture, these tones help transport the listener to a different realm of awareness and to experience a deeper connection with the invisible nature of the space. As a point of contrast, I usually like to bring in an additional, more familiar sound that is foreign to the site to provide a contrasting point of reference. — Gustavo Matamoros

Drawing installation, 2021 10 charcoal and ink drawings, digitally printed on fabric Scientific advisor: Ana María Bedoya, biologist specialized in Podostemaceae, a family of aquatic plants to which Macarenia clavigera belongs Singular life forms have emerged in isolated geographies, from the interaction of the specific conditions it hosts. The endemic plant “Macarenia clavigera” grows on the westernmost part of the Guiana Shield, the oldest exposed rock formation on the surface of the South-American continent, shared between the Guianas, Venezuela, Brazil and Colombia. The surface of this rock is molded with shapes that evoke the movement of waves of the ocean that once covered them. Only where water touches these rocks and flows again over them does this plant flourish.

Interactive sound installation with 3D printed sculptural objects, 2023 Arduino; proximity sensors, audio interface; multichannel speaker system, dimmable LED lights and spotlights; 3D printing; pedestals Special thanks to Knar Khudoyan, Sone Baghdasaryan “RE:Born” is an immersive art installation in Yerevan's Botanical Garden. This experience weaves sound, motion, poetry, and artifacts, reflecting emotions found in hospital waiting areas, intertwined with military loss, maternal resilience, and societal procreation pressures. Motion sensors trigger poetry recitals, and a soundscape mirrors the hospital ambience and nature's serenity. The viewer is invited to explore 3D printed artifacts symbolising the journey of women expecting their newborns following IVF treatments, representing loss, hope, and resilience. “RE:Born” sparks contemplation on societal impacts of war, fertility, and motherhood.