Marina Alexeeva

Looking at you

video mapping, 2026 Outdoor 15.10.2026, 20:00 Engineer: Aleksandr Bochkov If you keep looking at the Cascade, eventually it looks back. Marina Alexeeva has worked with small-scale installations since 1991. Working with recognizable objects, architectural details, and everyday settings, Alexeeva turns standardization into a field for play and transformation. In her works, ordinary things remain in seemingly familiar places yet begin to behave differently, escaping habitual patterns of use and perception. Rather than reproducing reality, Alexeeva explores its capacity for transformation, mimicry, and unexpected shifts of meaning. Her installations connect cultural memory with contemporary everyday life, revealing how even the most conventional surroundings can become unstable, theatrical, and newly imagined. At the core of her method is a distinctive way of looking at ordinary things and discovering within them new images and possibilities. \ gisich.com/ru/artists/alekseeva-marina/

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Marina Alexeeva, Looking at you, video mapping [03:00, loop], 2026

AES+F

Digital Safari: Fables of the Jungle

Special Events Auditorium 16.10.2026, 17:00 In Digital Safari: Fables of the Jungle, AES+F draws on a long visual tradition of portraying humans with animal heads, from ancient Egyptian deities to European political caricature. Six animal-human hybrids—Jaguar, Hyena, Vulture, Tiger, Wolf, and Pallas’s Cat—become avatars of contemporary social-media behavior. Dressed in couture-like costumes and ritual masks, they move through a digitally saturated rainforest, watching one another while fixing their gaze on the viewer. At moments the balance of power shifts, and predators become prey. Fleeting movements also reveal the human faces beneath the animal façade. Mozart's Lacrimosa from the Requiem, reimagined by Vladimir Rannev in the fragile register of a mechanical music box, turns sacred mourning into uncanny repetition. The rainforest functions as both stage and allegory: dazzling and dangerous, these hybrid figures confront ecological anxiety, political volatility, and the seductions of digital spectacle. AES+F was founded in 1987 by Tatiana Arzamasova, Lev Evzovich, and Evgeny Svyatsky (AES). In 1995, photographer Vladimir Fridkes joined the group, forming AES+F. Working across photography, video, CGI, sculpture, and installation, the collective is recognized for large-scale digitally constructed works examining myth, power, and contemporary visual culture. AES+F participated twice in the Venice Biennale: representing Russia at the 52nd Biennale in 2007, and presenting paintings and sculptures from the Trilogy, selected by the curator, at the Venice Pavilion in 2013. The collective has exhibited internationally at major museums and biennials. Website: aesf.art / Instagram: @aesplusf

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AES+F, Digital Safari: Fables of the Jungle

Video Screening Program:
What’s in a Story?

Сurated by Barbara London

Special Events Auditorium

17.10.2026, 15:00

I emerged as a young curator based in a bankrupt Manhattan during the pre-internet days of counterculture activity. Since that moment in the early 1970s, a lot has changed but a lot hasn’t. The world moves at a faster pace, now as multifarious news flashes across the screens of handheld electronic gadgets at nearly the same moment that events unfold globally. Onscreen a plethora of alluring voices calls out and enticingly grabs users’ attention for a second. Given the current surfeit of information readily at hand, who stops and considers the source of a particular news bite, how the information arrived, or even what constitutes truth? In fact, what makes someone stop and pause for a moment is the idiosyncratic statement that intrinsically asks, what is reliable knowledge? This necessitates new forms of thinking in a communication society, where narrative seems to matter more than facts.

Today what bears weight is artwork with both a sense of immediacy and a storyline.

What’s in a Story? features eleven short media artworks produced by artists from different generations and different geographies, all made with contemporary tools—from camera to computer software. Each artist questions underlying biases, and explores the indeterminate distance between lived experience and ensuing narrative. And for each, home is a choice, something mutable for a range of personal reasons. It is the creator’s imagination that brings identity and agency together to encourage change. In different ways, the participating artists engage directly with the viewer and hold our attention with a sense of urgency discovered in their scenario. The short works are arranged thematically.

Sky Hopinka

Mnemonics of Shape and Reason

2021. Video, 4:13 min. Camera, sound, edit: Sky Hopinka Text: Flesh and Ghost. Music: Room Thirteen. Sky Hopinka explores memory and spirituality through a cinematic blend of landscapes, poetic text, and audio. His video is a powerful meditation on colonial devastation, selfhood, and indigeneity. The work traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.

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Sky Hopinka, Mnemonics of Shape and Reason. 2021, video, 4:13 min.

Eva Papamargariti

Mutants, Crawlers, and Shapeshifters

2025. Video, 9 min. Eva Papamargariti has a practice that spans moving image, printed matter, and sculptural installation. Her work often unfolds within suspended moments where the grotesque, fictional, and real converge, giving rise to hybrid and mutable worlds. Using video, text, sound, motion capture, AR, CG animation, 3D scanning, character-creation software, sculpture, and textiles, Papamargariti’s projects investigate becoming, liminality, techno-romance, and the symbiotic relationships between human and non-human agents. These explorations trace the entanglements and kinships that emerge from continuous interaction with technological and machinic systems.

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Eva Papamargariti, Mutants, Crawlers, and Shapeshifters. 2025, video, 9 min.

Tamar Zohara Ettun

IVF Document

2025. Video, 9:30 min. Tamar Zohara Ettun works with sculpture, video, and performance art to invert the semiotics of our existing political, social, religious, and personal rituals. This video is a poetic reimagining of an ancient healing ritual, addressing the somatic, emotional, and physical realities of In Vitro Fertilization. The work incorporates animations made from printed genetic testing results and medical bills, aiming to create a visual language for an experience our culture struggles to articulate.

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Tamar Zohara Ettun, IVF Document. 2025, video, 9:30 min.

Andro Eradze

Flowering and Fading

2024. Video, 4K, 16:22 min. Courtesy the artist, Lo schermo Dell’arte, Fondazione in Between Art Film, and SpazioA Pistoia. Andro Eradze is an artist and filmmaker based in Tbilisi. His practice explores the qualitative nature of images, both still and moving, and their ability to evoke states of presence, memory, and spectrality. Eradze studied at the Shota Rustaveli Theatre and Film University and later completed the MFA program at the Center of Contemporary Art Tbilisi (CCA-T). Working primarily in Georgia, he constructs narratives that emerge on the fringes of human habitation.

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Andro Eradze, Flowering and Fading, 2024, video, 4K, 16:22 min.

Jane Bustin

From a Mezzanine Window

2019. Video, 1 min. Jane Bustin’s practice spans three decades of work in painting and ceramic, as well as installation, text, film and performance. Her paintings—in such materials as copper, aluminum, wood, ceramic, acrylic, textile—are made as sequential, monochrome abstract works. They explore the metaphysical potential for painting to 'make visual' philosophical concepts found primarily in modernist literature, feminism, theology, as well as music and dance. Bustin uses the aesthetic disciplines found in formal abstraction to both push and pull the viewer’s attention. Her film From a Mezzanine Window acts like a moving painting, a still life of both inner and outer worlds, a reflected history, nostalgia for times past and a foreboding sense for the future.

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Jane Bustin, From a Mezzanine Window. 2019, video,1 min.

Maitha Abdalla

If… To Be Born

2024. Video, 8:29 min. Abdalla harnesses the performative and constructed character to tackle themes that range from folklore and mythology to gender, social conditioning and psychology. For the artist, the theatre is a space where she might confront and destabilize that which she has encountered in her social world, her imaginations, memories and fantasies at an objective distance. The artist's fantastical scenes shift between abstraction and representation and are charged with drama and melancholy. Abdalla's art forms an ongoing investigation into the self.

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Maitha Abdalla, If… To Be Born. 2024, video, 8:29 min.

Shi Zheng

Tearing in Time #11

2026. Video, 8 min. Shi Zhang's artistic creations range from audio-visual installations, digital music and live performance, demonstrating the artist's ongoing interest in simulation and "machine vision". Shi further embodies his reflection on the philosophy of technology, digital voyage and "latent time" by extending the audience's visual and audio experience.

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Shi Zheng, Tearing in Time #11. 2026, video, 8 min.

Wendi Yan

Visions of Phosphine Earth

2025. Video, 13 min Wendi Yan is an artist, writer and technologist. She uses CGI software to simulate alternative scientific progress through videos and games, and writes about the history and future of scientific discovery. She constructs speculative epistemologies through research-based worldbuilding, using CGI, game engines and documentary practices to interrogate the boundaries of scientific imagination. Her work—spanning films, interactive media, and fictional archival installations—examines the embodied challenges of facing alien epistemic systems across time.

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Wendi Yan, Visions of Phosphine Earth. 2025, video, 13 min

Carla Gannis

Cathexis Core

2025. Video, 2 min. In this video, Carla Gannis worked with multiple AI systems to produce a moving-image work seeded from physical assemblages she developed over two years. She layered digital montage with wig hair, costume jewelry, silk flowers, and other remnants of artificial adornment, dissolving them into hallucinatory expressions of myth, femininity, and transformation. Fire and ice, the human form, and a national flag converge to examine how internal perceptions persist amid external change. Gannis developed the soundscape with ChatGPT and Beatoven.ai, intensifying tensions between permanence and metamorphosis within a technologically reshaped world.

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Carla Gannis, Cathexis Core. 2025, video, 2 min.

Video Screening Program:

Generation and Extinction: The State of Japanese Moving Image Art Today

Сurated by Sung Nam Han

Special Events Auditorium

18.10.2026, 12:00

Duration: 60

As light from screens and sounds from speakers flicker into being and fade before our eyes, we weave them together in our minds like threads, recognizing and processing what we see as moving images.

While distinct in approach and theme, these six short video works simultaneously delineate the “now” and the “future” of a world labeled the “Anthropocene” as it carries on, proposing "something" to the viewer. Life and death within living beings constitute the only absolute truth, and moving images structurally embody it.

Perhaps video art exists alongside humanity as a symbolic artifact, together with the still unsettled definition of the word “Anthropocene,” serving as a form of intersubjective knowledge. Verifying the premises of this shared understanding, video artists embed possibilities for an “alternate” world into their work, presenting us with their final scenes.

ABITA@KAC, a performance record by nakice in Kyoto, traces a path where objects and bodies blend equally within the space, as a harmonious chaos moves toward a de-chaotized realm born from chaos itself.

Shota SHIMURA's Mobile Literature: London Calling is a series belonging to "Mobile Literature" — a practice where texts written about specific cities are projected onto the local ground while cycling. It transforms urban graffiti into a more fleeting, ephemeral occurrence, establishing a physical performance as a video artwork.

(Virtual) Clip Channel is a project by animation artist and scriptwriter Numata, with clips of (Virtual) VTubers uploaded onto video sharing sites.These clips paint both gentle and powerful pictures of yearning, imagination and humour towards worlds that may yet exist, and worlds that may have once been. This animated series seeks a new era with new fiction and ways of storytelling.

Kazuki NAGATA's "Bed-town AI" explores the physical infrastructure supporting AI and the changing suburban landscape, taking the planned construction of a large-scale data center in Hino City, Tokyo—where the artist grew up—as its starting point. Intertwining the artist's own labor experience at a logistics warehouse, 3DCG simulations of data centers, and live-action footage, it addresses us as an ongoing, evolving video artwork presenting a new suburban scene.

Sung Nam HAN's "La Joconde and Sunflowers in the sea" forms part of a grand social experiment using the ocean as its venue, an endeavor HAN has pursued since the COVID-19 pandemic. It captures how artworks, existing as hybrid entities on the threshold between the artificial and the natural, adapt and evolve over time.

Keiji AIUCHI's "Fluxes" is a one-of-a-kind work that visually expresses an eerie, squirming presence through simple techniques. It has won awards and been screened at numerous film festivals.

(Virtual) Clip Channel

Cherry Blossom as Save Point

2022, 9 min 32 sec VTuber (Streamer) Izumi Tsurumaki reports to her fans via streaming that she has moved back to her parents' house. Looking up at the cherry blossoms blooming in her hometown, she says she suddenly felt that the cherry blossoms is like a save point. Everyone has a moment when they think back to a time when they might have followed a different path. On the other side of the world, cut off forever, I who should still be alive today. (Virtual) Clip Channel (沼田友) born in 1988. Graduated from Tama Art University, Department of Information Design, Information Art Course (now the Media Arts Course). Began creating short 3DCG animations while at university, releasing over 20 short films in about four years, receiving 18 awards, including a Grand Prix, and holding over 50 screenings across Japan.

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(Virtual) Clip Channel, Cherry Blossom as Save Point, 2022, 9 min 32 sec

Keiji Aiuchi

Fluxes

2023, 10 min 23 sec The world is always changing and never stands still for a moment. A flock of crows flutters through the forest, disturbing the city air. In old group photos taken between 122 and 54 years ago, there are people waiting nervously in front of the camera for the shutter to be released. The gaze that stares into the camera lens transforms into a gaze that stares back at us, piercing us. A moment of time from the past that remains frozen. The frozen time that suddenly begins to buzz intersects with the camera's gaze, trying to find something there. As the frozen time begins to vibrate as countless gazes intersect, the memories of others and the time that has passed come to life. Selected Screenings & Awards: New York Indie ShortFest: Award Winner/Best Experimental film 2026 Washington Film Awards: Award Winner/Best Experimental film 2024 Hong Kong Indie Film Festival: Award Winner/Best Experimental film 2024 Philadelphia International Filmmakers Awards: Award Winner/Best Experimental film 2023 Los Angels Short Film Awards: Honorable Mention 2026 Keiji Aiuchi s an interdisciplinary artist who has created and presented works across a range of fields. His practice includes video art, experimental and art animation, drawing, painting, installation, objects, and stage design, as well as writing and curating exhibitions and screening programs.

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Keiji Aiuchi, Fluxes, 2023, 10 min 23 sec

Sung Nam Han

La Joconde and Sunflowers in the sea

2026, 5 min 15 sec This video work assumes that we, living in the present, are the humans of the future. By treating art installations submerged underwater as "relics," the project frames our contemporary era as a past phenomenon, attempting to critically observe our current situation through an archaeological lens. Following her acclaimed 2021 5-channel video installation Diver — which tracked the labor of professional divers — Sung Nam Han conceived of a "museum that can only be viewed underwater" in response to the COVID-19 pandemic. In 2022, she realized Japan’s first Japan Undersea Art Museum (JUAM) along the Sanriku Coast in Ofunato, Iwate Prefecture. At the venue in Ryori Fishing Port, a sculpture mimicking sea squirts (hoya) was installed within an actual sea squirt farm. Over time, the sculpture became coated with marine organisms, evolving into a hybrid entity existing in the liminal space between the artificial and the natural. The project’s second iteration took place from June to October 2024, followed by a third from August to October 2025 at Shikinejima in Niijima Village, Tokyo. As the world’s first underwater museum specifically designed for the exhibition of contemporary art, this project presents a new perspective on modern society by "tracing" the activities of human civilization onto the seafloor. Furthermore, through the act of viewing art underwater, the work explores the expansion of the spectatorial experience, bodily functions, imagination, and creativity, while seeking new possibilities for underwater activities. Sung Nam Han is a filmmaker and artist whose practice spans film, installation, and performance. She is the founder and director of the Interdisciplinary Art Festival Tokyo, Art in Country of Tokyo, and Interdisciplinary Art Project Kobe, as well as the inaugural director of the Japan Undersea Art Museum. Her body of work encompasses single-channel films, video installations employing blue-screen keying, AR-based photography and video, immersive performances, and installations exploring the theme of “blue.” Drawing on her original concept of “Superlinear,” she creates hybrid performances that weave together film, theater, and dance. She has also contributed to the international art and film community as a juror and programmer for festivals in South Korea and France. \ jonart.net \ Instagram: @sungnamhan_jonart.net_

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Sung Nam Han, La Joconde and Sunflowers in the sea, 2026, 5 min 15 sec

Kazuki Nagata

"Bed-town AI”

2026, 9 min 53 sec This work takes as its starting point the construction of a large-scale data center planned for Hino, Tokyo, where the artist grew up, and examines both the material infrastructure that supports AI and the transformation of suburban landscapes. In Japan, the term "Bed-town" refers to a commuter suburb that developed primarily as a place for people working in central Tokyo and other urban centers to return home and sleep. Today, these suburban areas are increasingly becoming sites for large-scale facilities such as logistics warehouses and data centers that support contemporary information society. The work interweaves the artist’s own experiences of suburban life and working in a logistics warehouse with a 3D simulation of the planned data center created by local residents, as well as live-action footage filmed from a car approaching the construction site. Through these different images, it brings into view the physical foundations that exist behind the seemingly immaterial world of information — land, architecture, labor, and energy — and considers what a new suburban landscape might look like. The narration is performed by an AI-generated voice trained on the artist’s own voice. Through it, the work reflects on personal memory and on a suburb being transformed by information technology. Kazuki Nagata is an artist based in Tokyo. Working in video and installation, he explores suburban landscapes and contemporary infrastructure through subjects such as AI, data centers, and chain restaurants. Moving between research and personal experience, he examines how information technologies and consumer culture reshape everyday environments.

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Kazuki Nagata, "Bed-town AI”, 2026, 9 min 53 sec

Shota Shimura

Mobile Literature: London Calling

2025, 8 min 18 sec Mobile Literature is a series that seeks to fuse cycling-based movement and projection technology with literary expression. Using a bicycle rebuilt into a projection device, the artist cycles through each city, projecting onto the ground texts written for that place. This work, Mobile Literature: London Calling, edits into moving image a text written on the theme of London, projecting it onto the ground while cycling by night along the city's cycle superhighways. In Mobile Literature, writing is the act of inscribing into text the sensation of motion, the rhythm of breath and movement, obtained through the speed of the bicycle — a human scale faster than walking yet slower than the automobile. The characters projected onto the ground respond to physical sensations such as the force of pedaling, the vibration of the road surface, and changes in gradient; shifting and shading according to speed and the texture of the road, so that the same passage emerges each time bearing a singular, unrepeatable expression. Shota Shimura is a media artist with a master’s degree from the Institute of Advanced Media Arts and Sciences (IAMAS). His practice explores narratives of place, experiences of movement, and the media environments of recording and communication. Using mobile technologies such as iPhones and bicycles, he pursues a new form of media expression grounded in literary imagination.

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Shota Shimura, Mobile Literature: London Calling, 2025, 8 min 18 sec

nakice

ABITA@KAC

2026, 7 min Dots emerge along the contours of the core forms. They multiply like bubbles. They connect with dots emerging from another core. Faint outlines begin to appear. nakice: Artist Yohei Fujishiro and choreographer Miwa Okuno draw on their backgrounds in stage work to construct spaces using materials such as sound and the body. With a little manipulation, we observe what shapes are like before they are named and after their names are removed, and how they change through their arrangement.

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Marina Alexeeva

Looking at you

AES+F

Digital Safari: Fables of the Jungle

Video Screening Program: What’s in a Story?

Sky Hopinka

Mnemonics of Shape and Reason

Eva Papamargariti

Mutants, Crawlers, and Shapeshifters

Tamar Zohara Ettun

IVF Document

Andro Eradze

Flowering and Fading

Jane Bustin

From a Mezzanine Window

Maitha Abdalla

If… To Be Born

Shi Zheng

Tearing in Time #11

Wendi Yan

Visions of Phosphine Earth

Carla Gannis

Cathexis Core

Video Screening Program:

(Virtual) Clip Channel

Cherry Blossom as Save Point

Keiji Aiuchi

Fluxes

Sung Nam Han

La Joconde and Sunflowers in the sea

Kazuki Nagata

"Bed-town AI”

Shota Shimura

Mobile Literature: London Calling

nakice

ABITA@KAC

Video Screening Program:
What’s in a Story?