created with co-authors,
art-group “Boundless expanse”
/Yevgeny Schlivko, Dmitry Stepanov,
Andrey Nosov, Anna Tolkacheva/
camera: S.Provorov/
cast: Mitiay Zamota,Dmitry Stepanov,
Vladimir Parshin, Nikita Levitansky,
Kirill Kuzharin,Yuri Zlatov,
Timophey Malyarov,Ivan Loginov,
Roman Balabanov
administrator: Andrey Nosov
support: Volga-Vyatka branch of
the National Centre for Contemporary Arts

The project “Canons and Eves” refers to a complex of notions based on
the binary opposition of "high and low" culture. Image of "grotesque body"
which compilates in itself postulates of "sublime" and "humiliated" stands
in the centre of the piece as an ethical element of overcoming naked man's
shame and obscenity. "Canons and Eves" thus becomes the expectation
of suffering in subjects, excluding the possibility of empathy between
those who look and those who show.



directors:Galina Myznikova & Sergey Provorov/
camera:Andrey Skvorzov, S.Provorov/
cast:Veronika Starostina
administrator: Andrey Nosov
support: Openspace project

Eternity is a child playing…
(Heracletus of Ephesus)
Eternity depicted as an abstract “homage” to No Wave movement on one hand,
and on the other – as an experimental visual text – ascends to the works of
Portuguese filmmakers of the “new wave” in its technique.
An absurd landscape with a form recirculating in its narrative tradition is transformed by the artists into interdisciplinary statement about loss
of a message, impossibility of a dialogue, labyrinth of meanings.
Monotony of action inclines to multitude of associations: myth about Sisyphus;
Frieda of Bulgakov, who is constantly offered a handkerchief; grown-up daughter
of Stalker, roaming in the Zone which gives neither fulfillment of desires,
nor relief.
The authors slowly immerse viewers into multilayered space, where surrounding reality is dissolving, and so is human sight, which rediscovers
itself on the border in searches of initial static point.
Such creative exercises can also be marked by rather expected desire to arrange knowledge and understanding of cinematograph in contemporary context of visual communication and conversion of created work into completely different,
unexplored quality of the art.
The authors present performative practice of tactile probing/exploration
of the world through throwing a stone, scrupulously delivering meanings from
the outside; this practice is gradually replaced by reflection on simulation
of tactile experience, ceaseless lamentation. Here, eternity is perceived as something transcendental which extends beyond limits of intelligible sphere,
like a series of some mortal cyclic circumstances, in which a little girl
finds herself; where life itself becomes the Eternity and death –
just an instant.



directors:Galina Myznikova & Sergey Provorov/
camera:Andrey Skvorzov, S.Provorov/
cast: A.Tolkachiova, A.Inkin, A.Tatarov, D.Korytov, D.Klukin,
K.Frolov, K.Smirnov, A.Nikiforov, P.Belov, D.Otladnov/
music: O.Shaydulina/
administrator: Andrey Nosov
support: NCCA (Volga region branch),
The Cultural Capital of the Volga Region Foundation,
PRO ARTE foundation,
NCCA (Ekaterinburg)/

The film director’s message addresses the modern world’s vital problem of loss
of consideration for an individual man, who is an object requiring global-scale compassion and contemplation. The scenes that were made in a pseudo-documentary manner of the rebellious 1970’s remind of medieval Pieta exalting self-sacrificingness, pain, suffering and religious ecstasy. Richard ‘Hell’ Meyers,
one of the representatives of the rock culture of the 70’s, came up with
a term of ‘blank generation’ (the term may evidently be interpreted as a ‘lost generation’) to describe himself and his friends and thus advanced a philosophy
of people seeking self-destruction. They get involved in meaningless and deadly situations to find a justification for living their lives. The film represents
a story about wounded young men, who find themselves on an island and meet there
a girl sailing the seas in a military launch, as a metaphor for an attempt
to save the ‘blank/lost’ generation.



script: G.Myznikova and S.Provorov/
directors: G.Myznikova and S.Provorov/
camera:Andrey Skvorzov, S.Provorov/
producer: A.Gor/
curator: E.Belova, A.Savitskaya/
cast: V. Maximov, D.Stepanov, A.Kuritsyn, Chak/
music: Paraphases on “The Well Tuned Piano” by La Mont Young/
edit: S.Provorov /
administrator: A.Nosov, O.Muromtsev/
support:NCCA (Volga region branch)/
technical support: Roman Alexsanin studio/

PROVMYZA's statement
Human beings are able to distance themselves from their immediate environment
and perceive the world as something bigger than self. A man has been gifted
with vision as an act connected to remoteness, to distance, as the point
of view turns from multiple and close to a united remote world view like
painting of “packed space” turns gradually into painting of the “empty space”.
It is important to squint in order to see better the demonstrated tragic picture
of the world. The thinline of the leash, connecting dog and man, appears and disappears from view, defining the fragility of their relationship and preceding their break-up. The helicopter jarring with nature in a split second tears apart
the connection between the dogand the man. Its powerful energy field is vested
with a specific performative task — to destroy the harmonious architectonics
of the natural state. Formally it forms the individualized space of a snowstorm
as some special place with its own history and simultaneously creates a special
and temporal border between the calm of nature and an artificial chaos (blizzard). The polyphonic interweaving of natural, human and technological images creates
the principle of defamiliarization (ostranenie), of combining the incongruous,
of incommensurability of logical, sensual andchaotic thinking




Russia-The Netherlands
support:NCCA (Volga branch)and KW14

PROVMYZA's statement
A certain expression philosophical views about the Nature, making impression of inner and immanent unity, essential sameness of Man and Nature. The Nature here is not so much part of space with the figures of people located in him. There is the certain environment reproducing a certain state of soul. It is the world of slowed down time, metamorphoses of space, tense silence and, at last, poetics of anxiety.
Narration here is dissolved in system of visual images, leaving only sensations.
Steered only by the river current the boat is left to the mercy of wild Nature. The people have stiffened in tense expectation and stare into the water depths. There arises certain tension between the water and the people in the boat and expectation that something is about to happen. The river tempts the people to be forever upset, lost and drowned in the strange and restless environment.
The people veiled by trees and bushes, a strange creature hiding in the water, the faces covered by hair – all of these create an atmosphere of obscurity, secrecy and invisibility. The vagueness and mysteriousness of the actions as well as the unsteadiness of the arising images create an effect of anxious observation of Nature and represent the theme of human hopelessness and despair.
Galina Myznikova and Sergey Provorov's Voodushevlenie (Inspiration).
Mysterious human figures, head down, are moving along the river. "The colors of their clothes are mixed with green and brown muddy water and mud. The gestures and choreography of their bodies and the elements of nature mark the slow passing of time. Powerful, disturbing and incomprehensible, with an extraordinary technical and formal care, the new video of the pair of Russian artists and Myznikova Provorov (together they [are known as] Provmyza) is a new chapter in their creation, a primitive apocalyptic dimension, in which humanity and its rituals seem to [appear] for the first time; Man and Nature and celebrate the ritual of their meeting."
announcement of Venice International Film Festival



script: G.Myznikova and S.Provorov/
directors: G.Myznikova and S.Provorov/
camera:D.Maximenko, S.Provorov/
curator: A.Savitskaya/
cast: A.Tolkacheva, E.Blagodarjschev, A.Pomilov,
I.Mironova, A.Remneva and others/
edit: S.Provorov /
support: NCCA /Volga region branch/
production: Provmyza2009

of National Russian award of S.Kuryokhin
in contemporary art


"Three string quartets for one video" is the first project under the program "Synthetic" of Center of Contemporary art begun in 2007. New video "Confusion"
by The Provmyza group as a field for music reflections was offered to three
composers - Georgy Dorokhov, Alexey Nadzharov and Alexey Shmurak. The string
quartets written by three composers excercise a function of soundtrack, but additionally they become a result of the different interpretation of the visual
art-work, its synopsis, emotional mood, metaphors, narrative accents. The presentation of the project is thrice premier showing of the video "Confusion"
to the accompaniment of Moscow Contemporary Music Ensemble.

Brief Synopsis:
It exploits the plot of a strange situation that arises at a party of young people. What happens there stirs some vague feeling, curiosity and fear in those present, i.e. those feelings that constitute confusion. This mysteriousness and secrecy gradually become so intense that the girls cannot bear the suspense and faint.
Their fainting fit resembles a prolonged performance. The girls hang on the boys’ arms for a long time and in an expressive manner. The scene does not receive further development, it virtually freezes and turns the people into sculptures.
The girls’ confusion ends in a passive form of ‘self-oblivion’, an extreme form of anxiety – a fainting fit. The boys’ confusion transforms itself into fast-growing aggression. The initial cause is the ‘living-dead’ bush hidden behind the hanging theatrical curtain.The boys inflict certain actions upon the object of nature which may be interpreted as humiliation or abuse. The cruel joint deformation and gradual destruction are the fate of the ‘stranger’ that has made a sudden appearance at the party.Throughout their lives humans are at odds with the surrounding nature. They are in constant conflict with each other, and this is where life dramaturgy lies.
The Confusion focuses on an individualized natural object – the bush – which was originally believed to pose potential threat to the people but fell victim to the feeling of confusion after suffering the unexpected aggressive will of the crowd.






directors:Galina Myznikova & Sergey Provorov/
camera:Branko Sujic/
cast:Ana Bastac,Dubravka Subotic,Lidija Antonovic,
Predrag Radovancevic,Branislav Jeremic, Emilija Kavic,
Aleksandra Sekulic,Isidora Ilic, Bojan Radanov/
support:Academic Film Center of the “Students’ City” Cultural Center,

The plot of the video is based on the famous photograph by the well-known English photographer Henry Peach Robinson who created his works in the middle of the nineteenth century. The action is centered around the sick girl lying in bed and the crowd of people who have come to bid farewell to the dying girl.
The sunlight and wind with their metaphysical qualities, which keep appearing in the room throughout the plot, make it possible to perceive the video work through sensory, existential and poetical associations.The end is not far off. But the living process does not come to an end. It takes the shape of water which slowly fills the bed and, in a way, continues the sentimental and lyrical plot, running pitter-patter.
In yet another of their artistic studies the artists touch upon the very nature of the mechanism of communication, expressed through the original visual aspect, contact performance and an affective model of communication. Their creative expression touches upon such a vital problem of Contemporary Art as the loss of the lyricism
and the poetics of artistic form, more and more often they focus the attention
on the human as an object, requiring universal empathy and contemplation.


directors:Galina Myznikova & Sergey Provorov/
camera:V. Skuchaev/
cast:A.Kurizyn,A.Nosov,I.Yeroshovets and others
support:National Center for contemporary art, Volga branch/

-Winner Tiger Award for Short -
38th International Film Festival Rotterdam

There is an incredible artistic wit of mimicry, that can not be explained
by the fight for life, and is too refined to cheat casual enemies….,
and that seems to be created just for sensible human
eyes by an amusing artist.
/Vladimir Nabokov, writer, philosopher/

The most radical manifistation of the mentioned three elements: minimalism,
subject turned into object by the context and image outside of symbolic dimension – is project of Provmyza devoted to problems Of Mimicry. Being  unable to endure the intensity of light and aggressive visual aspects of the environment, the organism assimilates to its surroundings, becomes a spot in the picture, mimicries. In the work “Despair” the environment takes a group of people into possession, they become “objectified” i.e. turn into a part of the total scare, but not less powerful because of that visuality. The visible is not significant or colossal, but its impact is total and omnipresent.
Rodi On, art criric /Japan/

PROVMYZA art group is two artists – Galina Myznikova and Sergei Provorov who have been working together for nearly 15 years. In spite of their constant and
intensive artistic search in the area of video art, they manage to preserve
their own distinctive style based on metaphoric presentation of the permanence
of objective reality in visual forms.

Their new Despair video project is ambivalent. Primarily, this applies to the content: we are told a story, although devoid of either concrete daily-life, historical or other links, yet quite comprehensible: a bird, saved by people, survives in human hands, stays free and flies away. The story is quite ordinary
and very humane – the plot of a timeless parable. On the other hand, it is not a story, but a kind of dance – figures on the snow that either mimic the poor monochrome landscape or, on the contrary, display the plastique of unusual
postures and indefinable movements. The potential discord between man and nature gives rise to their internal suspense. The stream of man and the stream of nature
are separated rather than united, but the drive to unification takes place
in performance. The term performance, as one of the main genres of modern art,
quite precisely defines the meaning of this strange show: this is performance
proper, the extras’ movements along the designated trajectories, submission
of the group of people, filmed by the camera, to a certain external will, shown through a perceptible degree of suspense. The beginning and end of the performance resemble ‘a still life’ suggesting Accord – it is ‘stasis’, a form which may
absorb a deep and contradictory feeling and transform it into the expression
of something united (accordant) and reinforcing the life concept.
The bird’s transformation from a still life to a living being resembles a dance.
That is, in terms of the plot, it is a discourse on the most important subject
of art, on the eternal and insoluble issue of life and death, on their, at times, elusive borderline, on the transition of the material to the non-material and contrariwise sometimes. The Despair is the artists’ desperate attempt to speak
to the utmost generally, simply and clearly. But as it may be expected, in modern
art (because it is also typical of the modern world), nothing turns out so simple, but ambiguous: dark and concealed, hidden and beautiful, mysterious, unseen.
The ultimately simple but monumental landscapes and interiors are a kind of signs, almost formulae due to their characterlessness and emptiness. The black-and-white colour scale totally devoids the image of all ‘support’ that might suggest links
to certain recognizable objects, but, at the same time, the two spaces – the inner and the outer – are easy to recognize and identify as they simultaneously resemble both all ruins in the world and all snow-covered fields with lonely trees. Every frame is a preparation for the exit or the exit itself into the extra-frame
field of timelessness: nowhere means everywhere.
PROVMYZA belong to those authors who rely on the classical tradition and do it deliberately and fearlessly. The Despair reveals a distinct influence of Dreyer
and Bruegel, 17th century still lifes and Tarkovsky’s rhythmic. This is the choice declared by the artists who rely in the 21st century on culture per se
without stylization and direct quotation.
Anna Gor, art criric /Russia/

“ Fugue ”

directors:Galina Myznikova & Sergey Provorov/
cast:A.Silichuk,P.Kotov,P.Sinchenko and others/
support:PRO ARTE/
- Best Experimental Film -
Chilean International Short Film Festival /Santiago, Chile/;
- Special Prize of Jury -
The Open Film Festival of CIS countries, Latvia, Lithuania and Estonia
/Anapa, Russia/;
- Special Prize of Student Jury -
“Brno Sixteen” International competitive festival of short fiction films
/Brno, Czech Republic/
Nominee of National Premium of Contemporary Art “Innovation” /Moscow, Russia/;
Nominee of National Premium of Contemporary Art “Kandinsky Award” /Moscow, Russia/


The metaphysical story, which has happened at a concert, forms an outline of the film. The young people who have come to the early music concert instead of taking pleasure from instrument fine sounding, have to struggle with a wind forced by the organ into the music hall. The air streams subjected to musical impulses, run into a listener in spite of his will. Voices are not audible, but they sometimes break through noise of the wind and music. Force of an air influence gives compound psychophysical experiences. Something tries to establish a certain transcendental dialogue, which sets in for a moment, but then disappears… At one time the wind accompanied by low monotonous organ noise, brings motionless sitting people to certain unconsciousness, to mad activity: fight is started at the concert. The authors into a space of compelled contact locate characters of the "Fugue" and they must participate in individual and collective events, experience art by their own bodies. The constant provocative authors' position induces to remind spectators that the most harmless subjects and phenomena conceal unexpected perils.


“ The Slippery mountain ”

/06.06/DV CAM/Ch1Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
cast:Nikolay Sosnov,Valery Azonov,Evgeny Losev,
Maksim Zimorodov,Sergey Popkov,Alexsander Vesiolkin,
Alexsey Sviblov,Dmitry Kubasov,Konstantin Lebechev,Vladimir Lukov/
support:NCCA RF/
The project is finalist for the All-Russian competition Arsenale 2004
- Gran Premio for the Best Competing Film -
Assolo International Art Film Festival /Assolo(Trevisto),Italy/;
Prize of Croatian Film Critics
“25 FPS” International Short Experimental Film and Video Festival /Zagreb, Croatia/;
Prix “Neuroestetica“ for best video art
“Imaginaria” International Film Festival /Conversano, Italy/;
- Prize of Jury -
“Alternative Film/Video” International Film and Video Festival /Belgrade, Serbia/;
- Second Prize -
30th Moscow International Film Festival, "Media Forum" /Moscow, Russia/;
- Honorable Mention -
“Brno Sixteen” 47th International competitive festival of short fiction films
/Brno, Czech Republic/;
- Special Mention - Premio Aprile -
Milano International Film Festival /Milano, Italy/;
- Special Mention of Jury -
”Unimovie” International video and short film festival /Pescara, Italy/


The youth of the modern society are geographically remote from the military operations that take place on the world's periphery. But they are trying to simulate such psychologically extreme situations. In film a group of extremity-minded people are explicitly imitating a collective execution by a firing squad in a mountain.
The sight of the extreme performance will remind a curious spectator of the horror of the formerly endured nightmare, in which the spectator had to climb up and roll down a steep slope, as well as of the punishment of mythic Sisyphus. The modern extreme games of youth are the very potentially useful work the outputs of which are useless in the framework of the existing society, and the work itself is endless.
But as Camus believed, a struggle to reach the top is sufficient to fill
one heart with hope.



“ Three Sisters ”

/04.40/DV CAM/Ch1Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
cast:S.Polovinkina, Y.Polikina, E.Savchenko/
support:NCCA RF/
- Best Videoarte Film -
“Imaginaria” International film festival /Conversano, Italy/;
- Honorable mention -
“Brno Sixteen” International competitive festival of short fiction films
/Brno, Czech Republic/;
Nominee of National Premium of Contemporary Art “Kandinsky” /Moscow, Russia/


Similarly to three sisters from Chekhov's play, children face to a choice. They are given right to play degree of their decision importance, fraught with serious consequences. It is a certain theatrical performance for children, an aspect of competitive spirit and, at last, an element of entertainment. But children's imagination is those that their behaviour actually balances on the verge of "game-life". It becomes more similar to performance. The presented artistic interpretation of Chekhov's play is contained in performance behavioural strategy. Children play performance, which is similar to theatrical game and on the contrary.

Characters inhabiting the Provmyza's  videos are passive, relative, as if time and place of their existence would settled exclusively by the moment of the action directed on them. In the Three Sisters project from Chekhov's play, children face to a choice. They are given right to play degree of their decision importance, fraught with serious consequences. It is a certain theatrical performance for children, an aspect of competitive spirit and, at last, an element of entertainment. But children's imagination is those that their behaviour actually balances on the verge of "game-life". Three sisters are a seductive and immersive contemporary video that based on a literary pre-text (Chekhov) combines two russian traditions – one deriving from the fantastic folk fairy tales and the second one with the ostranienie (V-) effect of the absurd, bizzare dada- based avantgarde.
Branka Bencic and Lorena Tadorni

“ Wet table ”

/01.15/Betacam SP/Ch1 Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
camera and light:V.Skuchayev/
production:Provmyza1997(reconstruction 2005)

Dark room. On a table there is a decanter with water.
Unexpectedly the decanter falls. There can be it the Flood.

There is a borderline between Reality and Non-Reality,
the Material and Non-Material and many other philosophical notions.
Water is a physical state which is able to blur' the clarity
and sharpness of any separating line. A stream of water
in constant motion carries a hidden metaphor of flow and
is associated with a stream of consciousness and time.
Consciousness is like water: it changes together with
the surrounding world and time. The sensory images of objects,
the feelings and the ideas crowd' and overcrowd' the consciousness
and blur the borderline between the metaphysical and the physical.
An object affected by water loses and changes its original architectonics.
The shape becomes unstable and abstractly elusive to mind.
Halting time and motion with the help of media means (freeze frame)
gives a possibility to study the newly created object of water
and a thing and grasp it with one's consciousness.
This virtual time-halting is the intermediate stage between clarity
and vagueness of perception.



“ The Girl - Helicopter ”

/01.00/DV CAM/Ch1 Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
camera and light:V.Skuchayev/
support:NCCA RF/

The girl has long and beautiful hair. In order to dry it quicker
she turns her head from side to side. The moving of hair vertically
and horizontally looks like a helicopter.

The project models real events by modern media means.
It presents such an ordinary activity as drying hairs
with dryer as hyperrealism. The camera motion and quick turning
of her head from side to side gives us abstract and dynamic vision
what is happen. And it looks like a helicopter blade.
The metaphoric name "The girl - helicopter" shows a search
of modern visual associations and says that poetic metaphor now is
on the border line between technical and humanitarian ideas.
The author's poetic attitude to media technologies gives
specific sensitivity and makes narrative emotionally dense.



“ Alternative Play Station ”
/series of children’s performances/

/11.45/DV CAM/Ch1Ch2/Russia-Austria/
cast:Evgeny Zarahovich/Darja Loginovskih/
Elizaveta Scibireva/Alena Dedova/
Galina Klochkova/Maria Kalmanovich/
Alexander Zhiganov/
support:KulturKontakt-Austria/NCCA RF/

"The Alternative Play Station" is a title ironically subversive
and at the same time positioning the idea of the work in the context
of the practice and theory of games which have been acquiring
special importance alongside the development of information technologies.
At present the idea of game has turned into a rational tool of structuring
and managing one's actions in pursuit of either educational,
entertaining, business or propagandistic goals. The potential and powers
of the media technologies give a possibility to create incredibly
sophisticated kinds of game that, on the one hand, simulate
the physical reality with an increasing accuracy and, on the other hand,
reincarnate the gamers in characters of artificial worlds
with increasingly deep emotion. This is the developmental logic
of the technology and simultaneously of the commercial product
of the computer game industry - the Play Station. However instead
of the latest-tech gadgets, thrilling special effect and
colorful visualized scenes in ProvMyza's video work we see children
rather bored than playing from the conventional point of view
about children's games. On screen they are left alone
with ordinary home furniture - chairs and a wardrobe.
They make subconscious, undirected, unmotivated, un-interpretive
movements using the furniture not according to its functions
or as imagination-transformed substitutes of other realities.
For the children the pieces of furniture are only obstacles
in the emptiness of the area assigned for the utmost chaos
of children's spontaneous games unburdened with rationality.
Free of pre-assigned scenarios, devoid of possibilities
to copy the incomprehensible reality of traditional social
practices, devoid of children's toys that imitate adults' toys,
left on their own and in front of the camera,
the children turn in neurotically disorderly bodies
that constitute their own existence which does not depend
on the rules of normal behavior. The spontaneous choreography
of their subconscious bodily improvisations is appropriately
and laconically captured by the camera which is watching
them impartially. The montage is like a half-dozing
observer's blinking. In "The Alternative Play Station"
the artists, in a way, bring the reverse negative idea of the
game to its logical maximum, depriving it of the purpose, shape,
structure deriving at the same time and capturing the performances
of naive movement unique in their suddenness and spontaneity.
/Tatiana Goryucheva, Arts Critic, Historian of Contemporary Media Arts
/Moscow, Amsterdam/.


“ Wet chicken ”

/04.30/DV CAM/Ch1 Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
camera and light:V.Skuchayev/
support:NCCA RF/

We are concerned with the theme of violence
not the explicit bodily or disciplinary kind of violence,
but the kind of violence which imperceptibly penetrates
into the life of each of us and destroys our freedom.
The media environment around us harbors quite a few sources
of danger and compulsion, e. g. advertisements.
The advertisements intrude into our audiovisual space,
subjecting us imperiously to their rhythm, vocabulary,
to say nothing of imposing things to choose.
Our "soaked hen" is a (ironic) metaphor
of a weak-willed object of violence.
Soaking and drying the girl in front of the video camera
we deliberately achieved commercial attractiveness
and high image quality. There would be no difference
between this work and any to which the model girl was
exposed when the commercial was being shot.
The aesthetics of advertisements can swallow up everything,
even the statement about the advertisements' abuse.
It turns one into a weak-willed consumption object.


“ Falls and Rises ”

directors:Galina Myznikova & Sergey Provorov/
support:De Balie-Centre for Culture and Politics,Amsterdam,The Netherlands/

The film in symbolical and at the same time arty effective and technically progressive form represents a psychological level of a social shock, captured people after improbable acts of terrorism which became tremendous events in history of media show. The panoramic realization of the performance creates a metaphoric picture of a terrorist act. The imagery consisted of some positions showing a group of people standing in a dune landscape, falling down, lying in the natural landscape and standing up in a continuous repetition. The reference to 9/11 is almost implicit, the images poetic, deliberately vague and set in a slow sideway motion as if they are moving in the wind in the dunes.



“ 20.21

/15.05/Betacam SP/Ch1Ch2/Russia-Sweden-Germany/
support:Raster noton/

A visitor enters a library as the loudspeakers information
on the library departments and the rules of their use.
The visitor begins his search of the catalogues.
The book he seeks arrives from the stacks soon after
and the visitor proceeds to the reading hall,
where he finds himself amongst other readers. Suddenly,
a book falls to the floor from one of the desks.
Damaged,the book is then sent to the restoration department.
Stylistically, "20.21" is an experimental video project
developing structuralism towards the absurd
the film consists of 30575 still frames.
It is based around a musical piece written
by the contemporary Sweden sound artist Ivan Pavlov,
working in the area of electronic minimalisme.




“ More good products ”

/00.30/BETACAM SP/Ch1 Ch2/Russia/
directors:Galina Myznikova & Sergey Provorov/
camera and light:V.Skuchayev/
production:Provmyza1998(reconstruction 2002)

People have invented many kinds of household equipment.
Some of it heats up, some cools down.
Sometimes it comes to the point of absurdity.



“ Ball, skate, racket, bicycle in aggressive attack ”

/09.20/DV CAM/Ch1Ch2/Russia/
camera and light:V.Skuchayev/
support:NCCA RF N.Novgorod,MAK-Wien Gallery/

The diagram of militant rhythms, images and sounds
is intended to shock and frighten the audience.
The prestigious and fashionable attributes of
basketball and tennis defy the surrounding them
radiance and turn into an assault weapon.


Hunter Ivan Billialetdinov ”

/22.00/Betacam SP/Ch1Ch2/Russia/

Ivan Billyaletdinov, a hunter,
goes for a hunt to a nearby pond.
Having submerged in the thick of the muddy
water he observes underwater urban scenery.
Searching for prey he runs into various
industrial objects which are the only shelter
from the hunter's harpoon for the underwater inhabitants.
Killing fish the hunter notices a dog
that is swimming just beneath the pond surface.
Not to fall prey to the hunter
the dog has to move strenuously its paws.


“ Counting the harvest ”

/02.20/Betacam SP/Ch1Ch2/Austria/

A large harvest of apples.
People do not copy with their work.
Overripe apples fall down.
People put apples into crates.



“ Miss Ragozina as metronome ”

/15.20/Betacam SP/Ch1Ch2/Austria/

In the work Miss Ragozina as a Metronome, visual angle and the way
a camera moves help viewers to submerge into drabness and monotony
of housework. Insularity of space and time along with repeating actions
create neurotic tension of subjective world perception of a housewife.
This is a highly artistic view of life. Correlation with the conventional.
i.e. habitual and commonplace, visual and figurative vocabulary, understandable
to anyone, is not a methodological principle here. The unique language
of these works, as well as of video art in general, is not so much a language
of description and representation of objects of reality, as it is discovery
and research of these features in the aesthetic field by means of video.


“ Line.Structures ”


Purely minimalistic work where all the attention is focused
on plastic deformations of lines on the screen. A line, as a basic
constructive element of any, be it artistic or applied, visual structure,
i.e. formal structure invented by a man, was aesthetically emancipated
in the art of the Russian constructivists and supremacists back in
the beginning of the century. Here, by means of video, it transforms
into some substance which develops though time synchronous to the real
and is correlated with life rhythms. Technically, it was achieved though
re-recording of a deformed film.